Bristol Archive Records Blog

Archive for July, 2010

The Pigs – Vinyl Album Release

Tuesday, July 6th, 2010



Released on 4th October 2010


100 Copies will have a special Limited Edition Insert featuring stories and exclusive pictures


“When we finally got to see The Cortinas at the Granary – up till then we had them down as more of the Feelgood thing – wow we really got the message!! And that’s what did it. It was so energizing, it felt like we had to get our band started the next day, the same night probably. The Punk train came and we all jumped on it, like a lot of people did, but we were the first ones on in Bristol, after The Cortinas.”

So says guitarist Kit Gould, who indeed formed The Pigs with drummer Ricky Galli, bassist Nigel Robinson and singer Eamonn McAndrew, in time to release the second Bristol Punk single to hit the shops after said Cortinas debut.

New Bristol Records was set up after the band supported Generation X at Chutes, where they met Miles Copeland. “We decided to set it up, it was our idea, with Vernon and John (their managers), and he just went along with it”, says Kit. “Now, looking back, it’s obvious that if Miles Copeland’s going to pay for you to do a recording, he’s not just donating it to you so you can set up your own label, whereas at the time that seemed like an entirely realistic proposition. It’s just naïve kids really that don’t have a clue about the music business. Miles Copeland came on board, he was our London connection.”

The band went into Sound Conception Studio on 12 August 1977 and recorded their whole set, from which four tracks were selected for the ‘Youthanasia’ EP. It gained airplay on John Peel’s show and sales were reasonable, but it proved to be their only release. They continued to gig regularly, including two more shows with The Cortinas, a support slot with Siouxsie and the Banshees at Barton Hill Youth Club, and even a headliner at the legendary (but by that time sadly ailing), Roxy, on 13 January 1978 with Open Sore and The Heat, but they called it a day the following March.

And now we are proud to give you, for the first time, all eleven tracks that the band recorded at Sound Conception, on lovely vinyl, in a rather dinky sleeve.


TITLE: “1977”

LABEL / DISTRIBUTION: Bristol Archive Records / Shellshock


FORMAT: Limited Edition 500 copies Vinyl Only


Avon Calling 2 – First Review

Sunday, July 4th, 2010

Bristol Archive

This has been compiled by Simon Edwards, the man behind Heartbeat Records who gave the world the first AC comp, and if this doesn’t quite match that brilliant offering in terms of overall quality this will interest any Punk or Post-Punk fan because these are all unreleased beauties. It’s full of stylistic surprises, starting with SOCIAL SECURITY clearly a bit confused by their punk status during the dinky fun of ‘Self Confession’ where the singer reveals he is living for rock ‘n’ roll, and if you’ve ever wanted to hear a fey version of The Who covering ‘Rebel Rebel’ you’re in luck, because here’s EUROPEANS and their ‘The Only One.’

APARTMENT are impressively moody with ‘Broken Glass’, stirred by murky drums and bass as the guitar drips away from the grim vocals. PRIVATE DICKS are like a hyper version of The Members in ‘You Got It’ and the consistently aggravated X-CERTS surge bitterly through ‘People Of Today’, while a skimpy ESSENTIAL BOP do a lilting but seedily grazed ‘Audition Room.’ APARTMENT spin slowly through a chunky ‘Retrospect’ and they’re an interesting band as they led to The Escape but then on to the depressingly dire White Hotel. SNEAK PREVIEW also have an off-kilter jaunty punk spirit rubbing alongside the organ-based pop of ‘Mr Magoo.’ JOE PUBLIC come on like breezy punk mods in ‘Letters In My Desk’ then the urgently tawdry 48 HOURS get worked up over ‘Train To Brighton.’ (Imagine a more tuneful ATV.)

DIRECTORS further the mod cause with indie guile during the softly burnished ‘Showcase’ as PRIVATE DICKS drift in a becoming fashion through ‘Want Some Fun’ with some slow commercial smears encouraging nicely narrow punk tension. SNEAK PREVIEW bring us some intentionally perverse Play School reggae during ‘I Can’t Get Out’ and STEREO MODELS not only believe they’re in with the in-crowd, but have a thing for Cockney Rebels ‘Middle Of No Where’ disports itself in a genteel manner.

Who are THE PHONE? Their prickly ‘Any Takers’ sits up and deserves a pat on the head, and SEAN RYAN’s shaky ‘Suicide Man’ is also intriguingly forlorn early indie with guitar edge. JOE PUBLIC go a bit soppy in the well meaning but limp ‘Faster’ TVI’S get strangely dramatic in ‘Dancer’ then go seriously off the boil and DIRECTORS sound you’re your parents impersonating The Carpettes throughout ‘Empty Promise.’ That just saw us dip down quite a lot but we finish with UNKNOWN and ‘You Might As Well Enjoy Yourself’ which is another fascinating hybrids of punky angst and a fuller melodic sense of muted drama with catchy tendrils wrapping round the singers throat.

It’s a fantatsic compilation, available in August, and of some historical importance to people obsessed with that 1978-1980 period.

The cd and download are released 23rd August 2010
Written by Mick Mercer –

Great Album Review

Friday, July 2nd, 2010

VARIOUS ARTISTS: Bristol “The Punk Explosion”

Possibly my favourite ever band, never mind just â punk band, came from Bristol you know? FIVE KNUCKLE were around in the mid 80’s and were obviously too late for a compilation such as this, but it just goes to show the depth and longevity of the punk scene in the South West.

This twenty-track CD highlights many of the bands that were around between 1977 and 1983. The whole point of this collection is to showcase the musical mood of Bristol during that period, but really it’s quite illustrative of what was going on in cities the length and breadth of the UK at the time. And where this album also scores is that the tracks are listed chronologically, so the listener can see how the punk scene was changing during that six year period, with the songs becoming harsher, harder and more abrasive as the album (and years) progress.

Opening with one of the two most famous bands of the time to come from the city (although there are several listed here who will be remembered by original punk fans) THE CORTINAS were one of the first pioneers of this new music. They played the city’s Roxy Club, released a couple of singles on the Step Forward label, were featured on the cover of the seminal Sniffin Glue fanzine and recorded a Peel Session. Defiant Pose is their contribution to the compilation and is pure old school punk bliss with everything you’d expect from an original punk band. Simple, repeated riffs, shouty vocals and gang-backing.

National Front by THE PIGS follows. Brilliant! A song with a distinct anti-racism message even if it is put across in a rather patronising manner: “The National Front are fascists, there’s nothing wrong with the black kids no way” the chorus goes. Genuine sentiment, of course but could that line pass the PC brigade today? A¦ the innocence of 1977!

THE PIGS actually have a second contribution shortly thereafter: Youthanasia. The recording sounds like it was done with their dads old tape recorder in the living room, but this just adds to the overall flavour of the album. The previous two tracks are interspersed by two from 1978 and SOCIAL SECURITY “I Don’t Want My Heart To Rule My Head” is the first, the guitar riff seemingly plagiarised from The Bannedâ hit at the turn of 1977, “Little Girl”. Their second song is Choc Ice which is slightly Buzzcock-esque in sound.

So off to a blistering start and it continues this way right through to the end. I’d happily write all night long in praise of this collection, but time and space is a bit of an inhibitor. Instead, I shall just mention the following highlights. Well, EVERY track is a gem, but these just shine a little brighter for me:

VICE SQUAD were always favourites of mine, so it’s good to see Resurrection included here. And the political age in which we lived then is brought to the for with two songs that relate to the troubles in Northern Ireland at that time: 48 HOURS have A Soldier (Demo) included and THE VERDICT sing IRA Man. THE X-CERTS have two songs that were previously unreleased Fight Back is a chugging guitar driven punk anthem with a shout-a-long chorus, while Stop The Fussing And The Fighting is a nine and a half dub / reggae epic. Again, the almost primitive sound on this just takes you right back to the time and parties in dingy basements.

Moving onwards through time, the album culminates with some early hardcore / Oi from the early Eighties. You can tell by the change of tone in the bands names that the music has taken on a more aggressive feel. The likes of DISORDER; CHAOS UK; LUNATIC FRINGE; CHAOTIC DISCHORD and ONSLAUGHT are all represented with tracks that just go to show even Punk moves with the times.

For anyone around at the inception of the punk scene, this is an essential!

It’ll be straight to the top of my personal playlist, I can tell you!

(Released through Bristol Archive Records and available now July 2010)

(10 / 10)

Taken from