Impresario who made the Sex Pistols infamous dies in Switzerland at the age of 64 after a long battle with cancer

Malcolm McLaren, the former manager of the Sex Pistols and impresario, has died from cancer, aged 64.

He died in hospital in Switzerland with his partner, 37-year-old Korean- American Young Kim by his bedside, along with his son Joe Corre. Ms Kim told The Independent: “We were there with him when he passed away. He was diagnosed with cancer in October. He was very active until the end of February when his tumour became very aggressive. He just went very quickly. He said he wanted to be buried at Highgate cemetery. We are now taking steps to try to make that happen.”

McLaren had kept his illness quiet. In February he had travelled to New York in February for the launch of an art book before returning to Switzerland to be treated at a clinic.

 Best-known as the manager of the punk band the Sex Pistols, he achieved the notoriety he sought – and which never left him – when the band’s anti-establishment single “God Save The Queen”, released during the Queen’s Silver Jubilee, was banned from the airwaves by the BBC and the Independent Broadcasting Authority.

He was raised by his grandmother in Newington Green, north London, after his war-deserter father left home when he was two. After having been expelled from several art colleges, he opened a clothes shop on the King’s Road, with his then girlfriend Vivienne Westwood in 1971. The couple’s son, Joe Corre, went on found the lingerie company Agent Provocateur.

Last night Miss Westwood said: “When we were young and I fell in love with Malcolm, I thought he was beautiful and I still do. I thought he was a very charismatic, special and talented person. We hadn’t been in touch for a long time. The thought of him dead is really something very sad.”

The shop became a focal point of the fledgling punk movement. It was here that he first encountered a young John Lydon, aka Johnny Rotten of the Sex Pistols. Last night Mr Lydon said: “For me Malc was always entertaining, and I hope you remember that. Above all else he was an entertainer and I will miss him, and so should you.”

 

 

Street Voice: First off what gave you the idea of setting up Bristol Archive Records?

 

A complete desire to provide an accurate account of all the amazing people who have made up the Bristol music scene since 1976/77.

 

Bristol is regarded quite rightly as the home of  Massive Attack,  Portishead and Roni Size, the home of Trip Hop. These bands deserve all the amazing recognition they get on a global perspective but Massive for example come out of the Punk , Post Punk scene in Bristol and therefore I’m sure took some of their influences from this underground, dynamic scene. The label is about the following:

 

We aim to showcase music from the diverse Bristol Music scene and provide a historical account / document of all things Bristol that should never be forgotten. Many of the artists and releases are rare, unknown or never before released. The material has been lovingly digitally remastered from vinyl, ¼ inch tape, dat or cassette. The original vinyl releases would generally have been limited to runs of 1000 copies or less.

We would like to thank the original label owners and/or the artists for allowing us to share with you their forgotten works and provide a statement of how brilliant bands have always been from the city of Bristol and the surrounding areas.

 

Enjoy and never forget the talented ones from the past, they deserve to be recognised & remembered.

A friend of mine Dave Bateman died suddenly in Spain and it got me thinking about all the other fantastic people that had slipped away or would die in the coming years. This label is about putting the record straight and plotting the scene as we know it in Bristol.

 

Street Voice: How long have you been going as a label?

 

Started in 2001 but really kicked off about two years ago

 

Street Voice: Will you be doing other releases apart from punk / new wave bands?

 

I’m really excited at the moment about a reggae compilation featuring Talisman, Black Roots, Restriction if possible and a whole host of other obscure rare tracks. It would be great if I could Daddy G from Massive to write the sleeve notes as these period in Bristol history was amazing with the St Pauls Riots on the Frontline, the links back to the slave trade, the Blues parties and the development of the underground dance culture through The Wild Bunch and then Smith and Mighty to arrive at what became Trip Hop. I’m sure these massive bands Talisman and Black roots had a part to play in the development of Black music not only in the city but in the UK.

 

Street Voice: Are there going to be any full albums released on CD or are you just going to do compilations?

 

I’d love to do a Talisman album. I’m waiting for The Cortinas album to come out on June 21^st and then I’ll approach The Pigs. I’ve always promised myself I’d release The Various Artists album if at all possible so there is loads to be going on with, plenty to keep me on the straight and narrow. 

 

Street Voice: When you release your material on CD do they come with well packaged booklets telling the story of each band etc?

 

Bristol The Punk Explosion comes with an eight page booklet, 4000 words by Shane Baldwin and the sleeve is being done by a great Bristol designer Sam Giles so yes is the answer you are looking for.

 

Street Voice: There is some criticism that labels such as Captain Oi! and Overground have released much of the early punk material you’re working with in various guises over the year. Any comment?

 

Mark Brennan at Captain Oi has been most supportive with licensing the Riot City material but the early material from 1977 to 1980 has never seen the light of day before in most cases. I would therefore challenge this view as The Cortinas have never agreed to release any of their material before as they didn’t want to be showcased on a PUNK label. They think that the concept of Bristol archive is fantastic and they want to be involved with helping our label and spreading our music as Mark Stewart very recently is quoted as saying …’ Bristol boys make more noise’

 

Street Voice: What has the feedback been like from both the press and customers?

 

Amazing especially in Japan. I genuinely believe that most if not all people see the label as it should be seen, as an historical account, as story, a book, a journey an experience. There can’t be another city in the world that has pulled this together and managed to get everyone working together – It’s totally unique!

 

Street Voice: Are there going to be any DVD’s released of live footage?

 

Not that we have planed at this stage

 

Street Voice: Any plans on writing a book on the history of the Bristol music scene?

 

Yes we’ve just done a deal with Tangent Books in Bristol and we will have a series of books on the scene by photographers from the scene. Our first will be John Spink and I’m hopeful of a book from Stephen Swan, brother of Dan Swan from The Cortinas so you can guess what that book will be focused on – it’s all very exciting at the moment

 

Street Voice: Anything you’d like to add?

 

Keep an open mind, give Bristol music a chance and learn about history as you enjoy it

 

Mike Darby

www.bristolarchiverecords.com

April 2010

 

Interview on the website:

http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=22963792&blogId=532585902

‘LIVE MUSIC SCENE’ INTERVIEW

Mike Darby Questions

 

http://www.live-music-scene.co.uk/news.asp 

 

How did Bristol Archive Records get started?

We released a compilation cd ‘Western Stars the Bands That Built Bristol’ in 2001 featuring great bands from 1979-1981.It didn’t sell very well so there was no follow up until about two years ago when a friend of mine Dave Bateman,Vice Squads guitarist suddenly died in Spain. It got me thinking that there was no record anywhere of the people that made up the Bristol scene and if someone didn’t pull the project together lots more people would start dieing and then the music potentially could be lost forever. Bristol as we all know is thought of as Massive Attack and Portishead and rightly so for their recognition around the globe but there were and are hundreds of fantastic people, musicians who helped create the scene from 1976 to get to the first Massive Attack Album. Mission impossible therefore had started.

 

What can we expect from Bristol Archive Records?

We aim to showcase music from the diverse Bristol Music scene and provide a historical account / document of all things Bristol that should never be forgotten. Many of the artists and releases are rare, unknown or never before released. The material has been lovingly digitally remastered from vinyl, ¼ inch tape, dat or cassette. The original vinyl releases would generally have been limited to runs of 1000 copies or less. We would like to thank the original label owners and/or the artists for allowing us to share with you their forgotten works and provide a statement of how brilliant bands have always been from the city of Bristol and the surrounding areas. Enjoy and never forget the talented ones from the past, they deserve to be recognised & remembered.

 

How did you get involved in music?

Formed a band called The Rimshots in 1979, released our first of two singles in 1980. Played with The Beat, Hazel O’Connor and The Body Snatchers. Didn’t achieve global domination or recognition but had loads of fun. Started managing bands in 1984 with Fear of Darkness and later Love Jungle and then later again Rita Lynch.

Sugar Shack Records started in 1985 to release the Fear of Darkness single ‘Lay Me Down’.

 

How do you balance your time between Bristol Archive Records and Sugar Shack Records?

Most of the time these days it’s focused on the Archive. There is so much previously unreleased fantastic material that every week brings something new and exciting. New music has taken a bit of a back seat but as we all know it only takes one song to get you excited again.

 

How would you describe the current Bristol music scene?

Not sure as I haven’t been to a gig for two years now.

 

If you could have any line-up for a gig, what would it be?

The Pop Group supported by Talisman, The Electric Guitars and The Various Artists.

 

What future releases can we expect from Bristol Archive Records?

Bristol The Punk Explosion out on cd June 14^th

The Cortinas album ‘MK 1’ out on vinyl June 21^st

Avon Calling 2 on cd

The Best of Heartbeat Records on cd

The Best of The Bristol recorder and Wavelength Records

Hopefully a compilation featuring The Best of Bristol Reggae

Plus tons of digital only releases

 

What’s the long-term goal for Bristol Archive Records?

To make Bristol proud by doing a good job, providing an accurate account and a fair and sensible approach to the business end of things

 

For www.live-music-scene.co.uk

Mike Darby April 2010

 

The link can be found here at::  http://www.live-music-scene.co.uk/news.asp 

 

                     

April News Update

 

“Bristol’s famous for many things like Chatterton the poet, Cary Grant and now the Archive can be added to fellow locals ‘Blackbeards the Pirates chest’, as a true treasure trove of wonders”.

Bristol Boys make more noise…..

Mark Stewart  (THE POP GROUP)

 

NEW RELEASES:

CLAYTOWN TROUPE    ARC144           ‘PATIENCE EP’

Rare First Demo!!

CLAYTOWN TROUPE – Back in the late 80′s this lot were the only real alternative to The Cult. More anthemic and more authentic than Astbury & Co’s rawk; Moving a few hundred thousand units internationally over their short period in the limelight, they even broke the UK top 40 before disappearing.

Formed in Bristol in 1984 by lead singer Christian Riou (who claimed in a 2004 interview that a famous local clairvoyant advised him to form a band called the Clayton Troop!)

Claytown Troupe was an Alt-Rock act touted as a cross between The Cult’s fake rock and the authentic crusty rock of Pop Will Eat Itself and Crazyhead.

In truth there was more to them than that and they suffered much in coming from England at a time of ‘Crusty’; a time when high expectations in Rock, and Rock itself, were generally frowned upon.

By 1986 they had an accomplished yet chaotic live show which earned them an exciting reputation on the underground scene.

They signed to Island Records in 1988 without management, Christian & Rick then assigned Steve Abbott, (known as Abbo, who had been the singer in seminal punk act UK Decay) who was introduced to them by The Bolshoi manager Pete McCarthy.

 

METROPOLIS DC ARC143         ‘DEMOS’

Well, we became Metropolis D.C. because there was an earlier band called Metropolis, and being a well known conceptual thinker, I thought the idea of a fresh start seemed attractive.

 

 

 

NAUTICAL WILLIAM          ARC141         ‘LOVE HOUSE EP’

Nautical William were formed  around the song writing partnership of myself, Damian Dingley and  good friend Jim Cemlyn-Jones in the Victorian coastal town of Clevedon, North Somerset, back in 1987.  Influences centered on melodic guitar pop from bands like The Beatles, Crowded House, XTC and Lloyd Cole.   In the early days we found ourselves developing our song writing skills around two acoustic guitars and a drum machine.  Early recording sessions comprised a Tascam 4-track Portastudio and a lot of overdubbing.  A band of sorts was cobbled together adding real drums, keyboards, flute and cornet primarily to record a decent demo at Foxhole recording studios in Hanham, Bristol with Martin Hyler.  An interesting session where the fast forward control on the 16 track machine wouldn’t work!   Two songs were recorded, “This Sinking Feeling” and “Sea of Sighs”.   Looking back I think the ocean/water theme in the song titles was coincidental but I should check with Jim…

 

TEMPLE       ARC137         ‘SEDUCTION’

 

The Temple Album was recorded between Jan 1986 and May 1987

I met Mathew Butler in Weston Super Mare where I was forced to live for six years due to a parental decision. Weston can be found at the end of the M4 and many say it’s the end of the world, closed all winter and full of tourists all summer. He caught my eye one day, walking in the high street with his friend Sean and god knows why they chose to visit Weston, I suppose even Goths like the sea side. I approached them and introduced my self as a musician looking for a vocalist and Matt said he was up for singing if I could form a band. So without even knowing if he could even sing, I agreed.

THE A.T’s     ARC139         ‘INTO THE A.T’s’

 

Stig and Russ started playing music together when they were at school from the age of 13 years old. Both Talented guitarists and played in several bands before going on to form ‘The Heat’ in 1977. They soon discovered an American band of the same name so they were forced into changing the band name to the ‘AT’s’ in 1978.

 

THE ROYAL ASSASSINS   ARC142          ‘DEMOS’

 

Blending rock and funk rhythms, with textured lead guitars, rumbling, hypnotic basslines, synthesisers, odd percussion noises, and early use of ‘found sounds’ pre-cursing the trend for sampling to come later, this was to be Bristol’s answer to a combination of Talking Heads, Killing Joke and the Doors.

 

THE SPICS ARC145         ‘DEMOS’

Then in 1976 I saw the Cortinas, Dr. Feelgood and the Damned. I might just be able to do that. Saturdays were spent trawling the racks at Disc & Tape on the Gloucester Rd. Stax and Motown gems 5p a go discovering the Phil Spector girl groups and digging out those New York Dolls albums that didn’t sound so weird anymore. A guest appearance at The Stonehouse led to John Britton asking me ‘Do you wanna be in our gang? ‘and over the next few weeks, the Spics came together, everyone who wanted to sing was in, thank you Phoebe, Charlotte and Heidi, and we slimmed down from 11 to a then huge 9 piece band

 

THE X-CERTS        ARC138         ‘RATED XXX’

With a shared passion for music The X-Certs were inspired by the punk explosion and (in a rather unpunk fashion) spent evenings rehearsing in the crypt of St. Luke’s Church, Barton Hill, putting together a set of original and cover material. Publicity was free and home made, Lawrence Hill underpass providing one public wall for the spray painted slogan:

The X-Certs, a new band is coming – you have been warned!

 

THE PHOTO GALLERY:

 

Amazing portfolios of pictures added from John Spink, Tim Williams and Simon Edwards.

 

FANZINES:

New cuttings added from Out West and Venue

 

BANDS 1982 ONWARDS:

 

We’ve added information on the following amazing bands:

GOD BLESS YOU

FRESH FOUR

ME

HERB GARDEN

THE MOONFLOWERS

PRAISE SPACE ELECTRIC

MONK AND CANATELLA

 

THE PEOPLES SECTION

 

We’ve added information on the following personalities:

JIMMY GALVIN

JOHN STAPLETON

JERRY UNDERWOOD

SIMON EDWARDS

 

ARCHIVE RECORD LABELS

 

Full discography has been added on Circus Records

Full discography has also been added for Fried Egg Records

 LOADS OF NEW PICTURES ADDED AND MP3’s

 

NEXT MONTH new releases:

 

Us and Them – EP
The Delegates

Subject Technica (I Must Be Firm Like a Green Banana)
Pregnant

Secrets
The Sidneys

Pregnant Go Poofing In Venus
Pregnant

I Go Wild
The Wishing Storm

3 Songs
Wendy Partridge

 

NEW CD RELEASES:

THE BEST OF FRIED EGG RECORDS – OUT NOW!

BRISTOL THE PUNK EXPLOSION – OUT JUNE 14^TH

NEW VINYL RELEASES:

THE CORTINAS ‘MK 1’ – RELEASED JUNE 21^ST

^{ALL THE ABOVE AVAILABLE ON LINE FROM ALL GOOD RETAIL SITES OR FROM YOUR LOCAL RECORD SHOPS}

OVER AND OUT

WWW.BRISTOLARCHIVERECORDS.COM

 

 

 

 

 

 

 

 

 

 

 

 

 

‘Whisperin and Hollerin’ Interview

By Mike Darby of Bristol Archive Records

http://www.whisperinandhollerin.com/chat/chat.asp?id=6928
1.    According to one of the other interviews you’ve done (reproduced on your website) you say you personally missed the pre-1978 wave of bands on the live circuit (i.e. The Cortinas, the Pigs, Social Security). Which local bands did you first encounter on the local circuit and which ones fired you up the most and made you want to join a band yourself?

My favourite bands were The Various Artists, Electric Guitars and Talisman.

Various Artists because of the song writing genius of Jonjo Key, Electric Guitars because of their look, their energy, their sense of melody and style. Talisman because of their confidence, their swagger, their tunes and the number of people that went to their gigs.

The Rimshots started more because of the Two Tone scene with The Beat and The Specials. The Beat were and are one of my favourite bands of all time.    

2. You were in The Rimshots with Simon and Angelo (ex-Art Objects and future Blue Aeroplanes) Respect to you!  I know you made two singles in ’80/ ’81. What were the high points of the band and what are your fondest memories of being a Rimshot?

Supporting The Beat. Playing some shows in London, we thought we’d made it getting in the van and heading up the motorway. Recording our first single at Crescent Studios, Bath.

Simon and Angello were never in The Art Objects, Angello was in The Numbers and now plays with Massive Attack 

3. Still relating to The Rimshots: “Little Boys & Little Girls” (recorded at Crescent in Bath) was engineered by one Steve Street.  This isn’t the same Stephen Street as in The Smiths, Blur, Babyshambles etc?

Nop it’s the other one, who is now my brother in law and runs The Archive with me. Steve was in The Europeans then Apartment. He also joined the Bath band Interview for a short while. Steve owned a recording studio GBH which later became SAM Studios, he recording most things from Bristol from 1977 to 1985 before he went to work for Tears for Fears.

4. These days, the term ‘eclectic’ is horribly over-used to describe the mix’n’match/ i-Pod shuffle music world we inhabit, but ‘eclectic’ is the word that springs to mind when I hear bands as fascinating and different as The Various Artists, Electric Guitars, The Pop Group etc.  Where, in your opinion, does Bristol’s rich diversity spring from?

Dope, middle class, art, St Pauls, Bristol University, Bristol Grammar School, wealth, Reggae, the beautiful fragmentation of all the suburbs from the posh Clifton scene, to the underground St Pauls and Easton vibe to the predominantly white working class areas like Knowle West and Barton Hill.

5. In my review of your excellent ‘Best of Fried Egg Records’ compilation, I (perhaps cheekily) refer to Fried Egg’s Andy Leighton as Bristol’s answer to Independent Label moguls like Tony Wilson or Geoff Travis.  Did he ever see himself as a svengali or did he simply love music and just put out whatever moved him at the time?

Fried Egg Records was an extension of his band Shoes for Industry and his Theatre troupe – Crystal Theatre. They owned a warehouse and would put on shows and parties. Andy now owns the rights to The Rocky Horror Show and I remember him living in a big flat in Clifton. I’m not sure he saw himself as an industry mogul as most things that happen or come out of Bristol are not following national trends or fads. To our downfall within the Industry we have always been on the outside looking in or on the outside not even looking   

6. According to Gerard Langley’s fascinating sleeve notes, Andy Leighton allegedly disappeared when he was left an inheritance of a Caribbean island or some such thing?  Is this simply myth-making?

As above The Rocky Horror Show comes into play

7. In another of your interviews, you mention that your three favourite Bristol bands from the late ’70s/ early ’80s were The Various Artists, Electric Guitars and Talisman.  What was it about those bands that really made them stand out for you?

I’ve already answered this question above.

It’s weird because these were three of the first bands to get involved with the Archive. Steve Street recorded all the demos for The VA’s and The Electric Guitars and did out front sound for the EG’s including their support slot on the first Thompson Twins tour. He lost touch somewhat when the signed to Stiff Records and were taken under the wing of Peter Gabriel.
8. Listening to the Electric Guitars tracks on the Fried Egg comp reminded me just how fantastic they were to my mind as well. What happened with them? They should have been huge!

God bigger than huge.  Andy the guitarist is firmly of the opinion that they made the classic mistake when signing to Stiff. They employed Martin Hannett to produce them which took them in an electronic direction when they should have gone with the guys that produced Madness. They would have become more commercial but still retained their weirdness and therefore crossed over to the mainstream easier.

Richard the bass player went solo and signed to Island publishing, Andy transferred to Tears for Fears and played guitar on a couple of world tours. The other three guys I think packed music in and the girls transferred to Shreikback as their backing singers
9. Another band you mention as a favourite are The Pop Group.  Despite their uncompromising stance, they achieved a fair amount of success and certainly left behind a whole lot of influence.  Were they as wild as a live band as I imagine them to be?

I never saw them but my wife did on several occasions. It’s a weird story really because Steve Street can remember them rehearsing at his GBH Studios in Old Market and he’d have to let them in and lock up after they’d finished. In those early days they were a Pop Group, really catchy songs with loads of hooks and then BANG from nowhere they changed to the band we all love and remember so fondly.

10. Despite being based in the North West and being weaned on bands in Liverpool and Manchester, I was aware of Bristol venues such as Trinity Hall, the Locarno and (for bigger groups) the Colston Hall, but which venues were especially important for nurturing local talent?  Which gigs did local bands really need to get to make strides forward?

The Stonehouse, a tiny gig at the bottom of the M32

The Green Rooms on King Street

The Western Stars Domino Club really close to the Stonehouse

Cawardines on Park Street

Here is a list of all the venues in the late 70’s and whether they are still open or not:

1.     Exhibition Centre, Anchor Road – SHUT DOWN

2.    Colston Hall – STILL OPEN

3.    Brunel Technical College – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

4.    Locarno – SHUT DOWN

5.    Barton Hill Youth Club – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

6.    Students Union, Bristol Uni – STILL OPEN BUT NOT PROMOTING LOCAL LIVE MUSIC

7.    Granary – SHUT DOWN

8.    Tiffanys – SHUT DOWN AND KNOCKED DOWN

9.    Hope Chapel – STILL OPEN

10.  Ashton Court Festival – STILL GOING STRONG

11.  Stonehouse – SHUT DOWN AND KNOCKED DOWN

12.  Hillfields Youth Club – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

13.  Romeo and Juliets – SHUT DOWN

14.  St Mathias – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

15.  Bristol Bridge Inn – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

16.  Trinity – STILL OPEN

17.  Arts Centre – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

18.  Carwardines – SHUT DOWN

19.  Redland Site, Bristol Poly – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

20.  Crystal Theatre Warehouse – SHUT DOWN

21.  Avon Gorge Bar – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

22.  Green Rooms – SHUT DOWN AND KNOCKED DOWN

23.  Dockland Settlement – SHUT DOWN
11. When we think of ‘Punk’ and how it evolved, we tend to think of ingredients like frustration, boredom, lack of opportunity, but also a DIY spirit borne of living in squats and existing on cheap booze and drugs. Was there a big squat scene in Bristol and how did it influence the sound of the city’s music?

Not as I remember in the late 70’s this came with the 80’s Punk Squat scene with Disorder, Lunatic Fringe and so on. The 70’s Punk scene was more Arty, obviously there were the odd exceptions like the brilliant X-Certs but in the main it was about Grammar school kids being rebels.

12. I’m waiting to hear the new Bristol Archive Punk Comp as I type, but I believe Shane Baldwin, Vice Squad’s drummer wrote the sleeve notes.  Are Vice Squad still performing in any capacity these days?  I was sorry to hear Dave Bateman died a couple of years back.

Becky or Rebecca Bond as I used to know her are still going strong with three new musicians.  Shane and Mark haven’t played for years now with Mark joining The Crazy Trains after Vice Squad and Shane forming Sweet Revenge but also playing with Cold. The sleeve notes all 4000 words are excellent, Shanes done a fab job.

Dave dying was tragic as he fell over banging his head in Spain and never woke up, again he hadn’t played for years after Sweet Revenge split and was more interested in following his beloved Bristol City.

13. Objectively, is it harder to run a ‘label’ these days Mike?  On the plus side, I know we have the internet, MySpace etc, but the ‘industry’ is in a real sorry state and I do mourn the fact young kids don’t have the excitement of collecting 7″ singles etc the way we used to and ‘following’ bands from the grass roots level.  What’s your take on trying to exist in the current music world?

In some respects it’s much much easier but music doesn’t have a value anymore. It’s not precious and loved in the same way. Yes kids till go to gigs probably more than ever and hero worship the bloody AMERICAN ROCK bands !! AGH!!! But people won’t be seen on Mondays outside Virgin Records desperate for it to open so they can buy the new 12” by The Police or Never Mind The Bollocks by The Pistols. I remember my brother nicking Never Mind The Bollocks from the original Virgin Records store down in the subway by Paradise Garage- those were the days! 

14. Aside from the Bristol Archive set up, you also have a label called Sugar Shack.  Can you tell us a little of its’ history and which current Bristol bands you’re working with we should be listening out for?

Sugar Shack started in 1985 with Fear of Darkness and then Love Jungle. Our biggest band to date is still Redefine with their critically acclaimed album ‘The Daisychain Cycle’. Our biggest sellers are Crashland and Septembre (ex Vex Red).We currently have Left Side Brain, Darkhorse and Full Scream Ahead.

www.sugarshackrecords.co.uk

15. Finally, what releases do you have in the Bristol Archive pipeline for 2010/2011? Also, will they be available on CD or via download?

New cd releases scheduled or in production:

Bristol the Punk Explosion

Avon Calling 2

The Best of Heartbeat Records

The Best of the Bristol Recorder and Wavelength Records

The Best of the Private Dicks

 
Limited edition vinyl album from:

THE CORTINAS ‘MK 1’ – without them the label would not have got the kick start it needed and therefore I am indebted to the band and Nick Sheppard in particular

Hundreds of new download only releases

 
Mike Darby

www.bristolarchiverecords.com

April 2010

Interview can be found here: http://www.whisperinandhollerin.com/chat/chat.asp?id=6928
 

‘Room Thirteen’ Interview Bristol Archive Records

 Mike Darby Questions

Link: http://www.roomthirteen.com/features/745/Interview_with_Mike_Darby.html

 

Q: What was the inspiration behind releasing music by old Bristol punk bands and what did you hope to achieve in doing so?

 

Bristol Archive Records is a record label dealing in Bristol post punk 1977 onwards.

We aim to showcase music from the diverse Bristol Music scene and provide a historical account / document of all things Bristol that should never be forgotten. Many of the artists and releases are rare, unknown or never before released. The material has been lovingly digitally remastered from vinyl, ¼ inch tape, dat or cassette. The original vinyl releases would generally have been limited to runs of 1000 copies or less.

We would like to thank the original label owners and/or the artists for allowing us to share with you their forgotten works and provide a statement of how brilliant bands have always been from the city of Bristol and the surrounding areas.

Enjoy and never forget the talented ones from the past, they deserve to be recognised & remembered.

 

The Archive started in 2001 when we released ‘Western Stars the Bands That Built Bristol’ on cd, featuring acts form 1978-1981. The record didn’t sell very well so there was no follow up until a friend of mine Dave Bateman, Vice Squads guitarist died two years ago .It started me thinking that somehow there ought to be an historical account, library of all the people that have made up the Bristol music scene.

To me Punk or Post Punk was the starting point and therefore there must be a record of how it all started and who was influential at the time.

 

 

Q: Were you already aware of all the bands and records that you have released or have you had to do a lot of hunting around?

 

All the recordings from 1977 onwards that were released originally on Vinyl I had copies of, but there are loads of rare previously unreleased material that we found on cassettes under peoples beds or up the loft. There are also lots of recordings taken from ¼ inch tape that Simon Edwards has kept for 30 years in his office at home.

 

Q: Does the label mainly release punk rock music from Bristol or are other genres included?

 

All genres of Bristol music are released on the Archive. We also move through the decades from the 70’s, 80’s and 90’s. It’s a never ending mission to catalogue the history of the Bristol music scene and as many people as possible that were involved. We start in 1977 with The Cortinas though and there is no better place or band.

 

Q: At the end of the ‘70s, punk rock made a huge impact on the whole country. In comparison, what was the punk scene like in Bristol at the time?

 

I was in a band 1n 1979/1980 and the gig scene was amazing, you could catch 3 or 4 gigs a night. Here’s a list of some of the famous or not so famous venues:

 

1.    Exhibition Centre, Anchor Road – SHUT DOWN

2.    Colston Hall – STILL OPEN

3.    Brunel Technical College – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

4.    Locarno – SHUT DOWN

5.    Barton Hill Youth Club – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

6.    Students Union, Bristol Uni – STILL OPEN BUT NOT PROMOTING LOCAL LIVE MUSIC

7.    Granary - SHUT DOWN

8.    Tiffanys – SHUT DOWN AND KNOCKED DOWN

9.    Hope Chapel - STILL OPEN

10.  Ashton Court Festival – STILL GOING STRONG

11.  Stonehouse – SHUT DOWN AND KNOCKED DOWN

12.  Hillfields Youth Club – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

13.  Romeo and Juliets – SHUT DOWN

14.  St Mathias – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

15.  Bristol Bridge Inn – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

16.  Trinity – STILL OPEN

17.  Arts Centre – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

18.  Carwardines – SHUT DOWN

19.  Redland Site, Bristol Poly – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

20.  Crystal Theatre Warehouse – SHUT DOWN

21.  Avon Gorge Bar – STILL OPEN BUT NOT PROMOTING LIVE MUSIC

22.  Green Rooms – SHUT DOWN AND KNOCKED DOWN

23.  Dockland Settlement - SHUT DOWN

 

The scene was very much a cross over between the Black and White parts of the city as they were in those days. Reggae and Bristol reggae bands were at the top of their game with Talisman and Black Roots being the biggest and the best. 

 

Q: Did you have much involvement in the scene back then?

 

As I’ve said I was in a white reggae band called The Rimshots, we played with the Beat, Hazel O’Connor, The Body snatchers and all of Bristols finest. Our second single released in 1980 is just about to be rereleased by www.1977records.com in Japan.

 

Q: Apart from yourself, who else has been involved in Bristol Archive Records?

 

Steve Street – legendary Bristol recording engineer from GBH, SAM Studios

Mike Crawford – Singer in The Spics, The Viceroys, The Nitecaps and Apache Dropout guitarist.

Simon Edwards – Head of Heartbeat Records and Riot City Records

Thomas Brooman CBE – Head of The Bristol Recorder, Wavelength records, Womad and drummer in The Spics, The Media and The Sidneys

Shane Baldwin – Vice Squads drummer

Paul Whitrow – Recording engineer from Channel house Studios

 

Q: Who were the most important Bristol bands to come out of that scene and who were your personal favourites?

 

The most important from 1977 – 1980 were:

 

THE CORTINAS

THE POP GROUP

GLAXO BABIES

TALISMAN

BLACK ROOTS

ELECTRIC GUITARS

SHOES FOR INDUSTRY

THE X-CERTS

 

My favourites were:

 

THE VARIOUS ARTISTS

ELECTRIC GUITARS

TALISMAN

 

Q: Do many of the old venues still remain from back then?

 

See the list above for evidence of the destruction of the inner city and the venues that we all enjoyed in the late 70’s

 

Q: A new compilation album ‘Bristol The Punk Explosion’ is to be released soon. Is the album meant to provide an overview of the whole scene?

 

It’s meant to plot Punk from 1977 – 1983 in Bristol and all the great bands that have come out of the city. There are fantastic sleeve notes written by Shane Baldwin following interviews with members of all the original bands – 4000 words and loads of great pictures.

 

Q: What is your opinion of punk rock music these days, both within the UK and outside?

 

Punk for me was a 1977 thing which evolved into New Wave. The 1980 Punk scene in Bristol was more squat punk fuelled by Cider and other substances. I see modern day Punk as Rock and I’ve released many of these records on my other label Sugar Shack Records.

 

Q: Do you think that the Bristol punk scene of the past has had much of an influence on the city’s music in more recent years?

 

That’s the point really! Bristol is known world wide for Massive Attack, Portishead, Tricky, Smith and Mighty and Roni Size quite rightly because of their global success. The scene though has produced many fantastic bands that would have influenced some of the above bands but they remain largely unknown. Many of the musicians who play in the bands listed started off because of the Punk scene and played in bands in 1978 and onwards.

 

Q: Although Bristol has become known for other types of music recently, do you think there is much of a punk scene there now? If so, what do you think of the bands that there are?

 

There has always been a great underground Rock / Punk scene but there hasn’t ever been a guitar band to make it on a Global level like Massive have. Many of the Sugar shack bands come from this scene, Redefine, Two Day Rule, Grebo, Mea Culpa, Left Side Brain, Anemic.

 

Q: Bristol was recently named “Britain’s most musical city” in a survey. Do you agree with this statement? If so, do you think that the punk scene had an effect on this?

 

There is a web / a jigsaw of musicians that make up the scene now and from the 70’s. It has always been a great place to live, to much weed though to make bands active enough like other less attractive cities but yes it might be reasonable to call Bristol ‘Britains most musical city’

 

Q: You also run another label, Sugar Shack Records. What is the history behind that?

 

Started in 1985, still releasing records but hot any where near as prolific as in the mid 90’s and into the 2000’s. Our biggest success is still Redefine although our best selling records were Septembre (ex Vex red) and Crashland – check www.sugarshackrecords.co.uk

 

Q: What bands on Sugar Shack should people be looking out for at the moment?

 

LEFT SIDE BRAIN

DARKHORSE

FULL SCREAM AHEAD

 

Link : http://www.roomthirteen.com/features/745/Interview_with_Mike_Darby.html

 

Mike Darby

April 2010

www.bristolarchiverecords.com

www.sugarshackrecords.co.uk