RELEASES

The X-Certs – ‘Fussing & Fighting’

“Fussing & Fighting”
by The X-Certs
Released for the first time on CD 28th June 2019 via Bristol Archive Records

From the very beginning the band were politically motivated and early gigs were filled with songs detailing the frustrations of the time. The political stance of the songs earned the attentions of The Socialist Workers Party and organisations like Rock Against Racism, who invited the band to play at many functions (usually on the back of a lorry ending in a confrontation with the police). The association with R.A.R. helped to promote the band and a dedicated following started to form, some of whom would travel with the band to gigs, in the back of a hired Ford Transit van (sitting on an amplifier if they were lucky, being crushed under one if not!) It was mad, chaotic and full of energetic fun.

The early line up of The X-Certs recorded a number of tracks for Simon Edwards at Heartbeat Records and their first release was “Blue Movies” on the 4 Alternatives EP, shortly followed by “Anthem” on the wonderful Avon Calling compilation album. By 1979 The X-Certs had come a long way in a short time, a Manager was on board and the band were beginning to expand and experiment outside of the “punk” musical boundaries (including introducing a Reggae element into their set), but individual passions within the band were pulling in different directions and eventually Chris Bostock replaced Phil on Bass. With a new member, the band went through a period of intensive rehearsing and gigging, becoming a much tighter unit and with confidence, flexed their musical muscle, found their own sound/direction and started to consolidate their reputation as an important West Country band, especially on the live circuit.

The band became a popular opening act for visiting bands to Bristol and played with The Only Ones, The Angelic Upstarts, Pere Ubu, The Associates and The Buzzcocks, to name a few, but the pinnacle was undoubtedly when they were given the opportunity to open for The Clash during their 16 Tons Tour, at Sophia Gardens, Cardiff on 11 February 1980. The X-Certs arrived in their hired transit for their sound check, only to be told they would need to pay the Lighting Engineer £50.00 if they wanted any lights. A quick emptying of pockets and the money was scraped together, they took up their positions and the stage was illuminated with light. “You need to pay the Sound Engineer £50.00 to” came the sucker punch. Penniless and unable to pay, the biggest gig of their career so far was turning into a disaster an hour before the doors opened.

Nicky “Topper” Headon (The Clash’s drummer) appeared to ask what was going on and when told, in true punk camaraderie, he muttered “Fuck that, I’ll mix you meself!” So, with Topper’s assistance, an hour later The X-Certs opened the gig; with The Clash watching the performance from the wings and 4500 in the audience dancing up and down, could it get any better?

Shortly after supporting The Clash, Simon was replaced by Kevin Mills on guitar and the band looked to forge ahead. It was 1980 and the new line up began to hone their musical sound and direction even further, introducing more reggae influenced tracks and becoming the tightest version of The X-Certs so far. The band continued to gig extensively, but this year also saw the them spending more time in the studio, perfecting recording skills (with the guidance of Steve Street) and preparing to take themselves onto a more mature musical level; the fun and spontaneity from the live sets wasn’t lost though, and always ready to try something new for a different sound, the band experimented by recording the backing vocals for “Stop The Fussing And Fighting” in the Studio toilets! Early October saw the band in GBH Studios laying down a pre-recording demo, mid October they were in Crescent Studios, Bath, recording “Queen & Country” and “Visions Of Fate” for the Bristol Recorder 2 album and a few weeks later they were back at Crescent Studios recording their first single for Recreational Records, a self penned reggae number, “Together”.

The tracks recorded in that period demonstrated they were now as comfortable in the studio as they were playing live and the even though there had been some changes along the way, the politically motivated passion and rawness was still there, bursting through. A headlining gig at Tiffany’s, Clifton in November, the planned release of the single in January 1981 and it looked as if the doors to dreams were beginning to open, but by Christmas it was as good as over.

Bernie Rhodes had tempted some of the best musicians in Bristol away to professional contracts as Subway Sect and then later JoBoxers, this left The X-Certs without Chris on Bass. “Together” the single was released in January and received nightly airplay from John Peel, A-Side and B-Side Dub version. Kid Jensen gave it coverage on his Radio 1 tea time show too, but the band had hit a brick wall. Despite an extensive search for a replacement Bass player and a London gig promoting the single (with a stand in Bassist), the musical chemistry had been lost and the journey that started with such excitement in 1978, fizzled out in early 1981.

The Escape – ‘Live in 1982’

“Live in 1982”
by The Escape
Released on CD and Digital Download 27th July 2018 via Bristol Archive Records

From the stale suburbs, sleepy satellite dormitory districts of the outer reaches and inner city vacant Victorian vicinities of Bristol, three young men came together in the city with a vision to make the public sit up and listen. They wanted to get out there and gave themselves the right kind of name – The Escape.

They were fuelled on a diet of Comsat Angels, Bauhaus, Killing Joke, Echo and the Bunnymen, Television, Southern Death Cult, Theatre of Hate and the combined content of a typical John Peel radio programme, out there fanzines and the most alienated individual anywhere with their prized record collection. A constant input of dark, Goth, strident and nowhere to go angst and alienation combined with a desire to make serious waves drove the band.

In their electric live performances throughout 1982 The Escape seemed at the time like a band of brothers and a tight unit both musically and artistically. Bassist, Stuart Morgan, provided rooted but also sharp-edged lines and visual hair action; drummer Emil (just Emil, no surname) was an intense-eyed polyrhythmic machine of shockwave pulsating percussion, and guitarist / vocalist, Alan Griffiths created sonic mayhem to accompany his tales of searching and scorching assessment of life.

The music industry soon took note. The Escape were given a live review preceded by a full page feature in Sounds before they had even released any material. The NME wrote a smaller feature and the band got attention from local and national radio and TV, leading to sessions and appearances on BBC Radio One and the Beeb’s new music show, ‘The Oxford Road Show’.
None of the live recordings have ever been released – until now – in what is a seminal release on Bristol Archive Records. ‘The Escape Live in 1982’ features the band in their pomp playing at student union venues in their home city and in London, as well at a club in the appropriately dystopian surroundings of Basildon in Essex.

Stuart and the now, sadly, late Alan Griffiths – this album is something of a tribute to him – went on to work with U2 and Tears for Fears respectively. Emil stopped playing music altogether in order to eventually to pursue his interest in photography.

But these live recordings show the three of them blasting with early twenties energy, passion and sense of adventure. This is the sound of a young guitar band in full flow and at the top of their all too short game.

The questions were always calling for The Escape, and they answered most of them. Listening to this album may do the same for you.

The Cobras – ‘The Striking Sound of the Cobras’

“The Striking Sound of the Cobras”
by The Cobras
Released on CD and Digital Download 29th June 2018 via Bristol Archive Records

Presented in a vinyl replica, greyboard-backed, front laminated ‘flipback’ sleeve (emulating a 1965-era LP release) with a vinyl style black CD and sleevenote insert.

Comes with a faithful reproduction of an April 1965 edition of Western Scene; a Bristol-based music paper, copies of which are now extremely hard to find.

The influence of Rock n’ Roll cannot be underestimated, it has permeated all aspects of British life over the last 70 years. Fashion and Art owe something to the genre, but of course its influence on music has been the most significant. Rock n’ Roll gave us such musical luminaries as Elvis Presley, Chuck Berry, Little Richard and Jerry Lee Lewis to name but a few. But it wasn’t just the American artists that caught the attention of the record buying public, there was the home- grown talent as well, such as Cliff Richard and The Shadows, Johnny Kidd and the Pirates, Billy Fury and even The Beatles who all tried to emulate their American heroes.

Bristol four-piece band The Cobras were no exception, coming from a generation that had been weaned on the likes of Frank Sinatra, Bing Crosby and Dean Martin, a style of music that was more identifiable with their parent’s teenage years than their own. Like most teenagers The Cobras were looking for their own form of excitement, an excitement they were to find in Rock n’ Roll and its many derivatives such as Californian Surf Music.

Formed in the early 1960’s, the Cobras through hard work and perseverance reached a level of musicianship that enabled them to credibly cover many of the hits of the day as well as performing their own material. Luckily for us they had the foresight to record for posterity many of their practise sessions, live performances, and very limited self-financed studio time.

Listening to the 14 tracks contained on this CD some 50 years later, is a real treat. Compositions from household names such as Chuck Berry, Gene Pitney, Bruce Welch, Little Richard, Duane Eddy and Lee Hazelwood sound as good today as they did when they were first performed all those years ago. And it wasn’t just Rock n’ Roll that The Cobras could turn their hand too, the Hazelwood/Eddy composition 3.30 Blues really hits the mark, but it’s the self-penned tunes that really show what might had been had the Cobras landed that elusive recording deal. Their superb composition “Ghoulash” could easily have been included on any Shadows album or film soundtrack of the day.
The Cobras were never going to topple The Shadows from their exalted position, but with a little bit of luck, encouragement and guidance who knows what they might have achieved.

The Bristol Reggae Explosion – Best of the 70’s and 80’s – Various Artists

“The Bristol Reggae Explosion – Best of the 70’s and 80’s”
by Various Artists
Released on CD and Digital Download 25th May 2018 via Bristol Archive Records

Eight years ago, Bristol Archive Records released “The Bristol Reggae Explosion 1978 – 1983”, probably the first attempt to document the development of a localised British reggae scene and capture that unique period of the late seventies and early eighties. Despite many hurdles, it was a time that allowed the music to thrive as a voice for a mostly disenfranchised black Bristolian community centred around the inner-city areas of St. Pauls and Easton. The rich vein of recordings made against the odds and ranging from roots through dub to Lovers’ Rock, struck a chord with a worldwide audience and allowed us to continue our musical exploration with a further two volumes painting a vivid picture of a scene that was in danger of being forgotten and lost to history.

With the first two volumes deleted and before we continue the story of Bristol reggae with further volumes, we decided we should keep many of the best tracks readily available with a single album compiled from the first three Bristol Reggae Explosions, “The Bristol Reggae Explosion – Best of the 70’s and 80’s”.

This new compilation contains 17 tracks kicking off with “Africa (Is Our Land)”, the Dennis Bovell produced classic from Joshua Moses, originally released in 1979 on the More Cut label and a record that regularly fetches three figures for original copies purely on its musical strengths. Joshua makes a second appearance with “Rise Up”, a track taken from “Joshua To Jashwha Thirty Years in The Wilderness” which gives a career spanning overview of one of Bristol’s most unique voices.

Another distinctive voice is Bunny Marrett represented by his rare 1980 12” cut, originally released on Shoc Wave, “Times Are Getting Harder”, a nice slice of underground British roots. In contrast, his second contribution is the more jazz influenced “I’m Free”. With a musical career spanning more than fifty years Bunny can probably lay claim to be the patriarch of the local scene. Founding members of Talisman Dennison Joseph and Dehvan Othieno started their musical careers more than forty years ago as Revelation Rockers. Under both names Talisman lead the field with three contributions, “Jah Praises”, “Takin’ The Strain (Cave Mix)” and the 7” mix of “Dole Age”. It’s good to know that this label’s reissues helped encourage Talisman to reform in 2010 and since then they’ve gone from strength to strength, even surpassing the great performances they gave in the seventies and eighties.

Two other bands that share very similar line-ups are Zion Band and Restriction, the latter being formed by members of the former. The two bands provide a brace of nice early eighties tracks, “Twelve Tribes” and “Four Point Plan”, both originally released on scarce local 12” pressings. The St. Paul’s riot of 1980 provides inspiration for 3-D production’s “Riot”, an overlooked gem when originally released on 7” and a single which is very difficult to find, even in Bristol. Like the rest of the tracks on the album it’s worthy of wider exposure.

The late great Popsy Curious, who provided this label with so much encouragement and support, showcases his own unique style with “Chant Down Bobby Rome” before making a second appearance with an entirely different approach as part of Vibes with “My Love”. Vibes also featured Veereal and the vocal talents of Winston Minott who lent his distinctive voice to Cool Runnings on the soulful “Playhouse” and “You Can’t Pay Me”. Unfortunately, female voices are somewhat scarce in the reggae world, but we were able to include Sharon Bengamin’s top drawer slice of Lovers’ Rock “Mr. Guy”. Last and by no means least is another veteran of the Bristol scene Dennis McCalla aka Dallas and “Peacemaker”.

“The Bristol Reggae Explosion – Best of the 70’s and 80’s” is the perfect introduction to the amazing underground reggae scene that flourished without any support from major labels and bears testimony to the talents of the original Bristol bass sound. The album is released on CD and digital download on 25th May 2018, distributed by Shellshock and available from leading retailers and on major digital platforms.

Make Me Special (The Ultimate Collection 1987-1990) – Love Jungle

“Make Me Special” (The Ultimate Collection 1987-1990)
by Love Jungle
Released on CD and Digital Download 25th May 2018 via Bristol Archive Records

Love – definition: “a profoundly tender, passionate affection for another person; a feeling of warm personal attachment or deep affection; sexual passion or desire; a love affair.” 

Jungle – definition: “a wild land overgrown with dense vegetation, often nearly impenetrable, especially tropical vegetation or a tropical rain forest.”

Mix those two definitions together and you have a well-named band, Love Jungle. Finally, their work in the late 1980’s and early 1990’s is set to see the full light of day through the CD and online release of the ‘Make Me Special’ 21 songs album via Bristol Archive Records.

At the heart of this Bristol quartet was the creative and personal dynamic between guitarist, Neil Darby and singer/keyboardist, Angela Huggins, not an unusual thing in bands at the time. The likes of The Sundays, T’Pau, Skin Games and Eurythmics saw the musical mixed with romantic between the female singer and male guitarist (usually). Love Jungle had a small part of the elements in those acts, but had a lot, lot more to them.

 ‘Am I Good Enough?’ is a question that many will have asked of themselves especially in the world of romance and relationships in general. It has a lush Echo and the Bunnymen era sound-bed topped by Huggins vaulting vocal pyrotechnics, producing a heady, whipped cream explosion. 

The journey through the late 1980’s continues with the tougher, strident Cult evoking ‘This Covenant’. Love Jungle show serious rock teeth here. In total contrast ‘When I’m Gone’ summons up something of a Sixties Phil Spector era ‘wall of sound’ theme and production in full folk opus mode, while the bitter-sweet summery pop vibe of ‘Peace and Love’ pulls apart some of the preconceptions in the phrase.  

Some more redemption can be found in the sparkling ‘Holy Water’, full of sonic textures and soaring vocal harmonies. This song was an example of a band stretching its’ wings and exploring as many new possibilities as they could, a process they took forward in recordings made in studios in the Bath and Bristol area. 

‘Make Me Special’ is a sturdy body of work that shows off a talent from a satellite town near Bristol hacking its way through the steamy wastelands of hope, emotions, fun, disappointments and other experiences to a point of clarity and excitement. Delve in, it’s worth the journey.

The Bristol Recorder 4 – Various Artists

THE BRISTOL RECORDER 4
by Various Artists
Released on Limited Edition Clear Vinyl, Gatefold sleeve with 20-page magazine (500 copies only) for RECORD STORE DAY 21 st April 2018

Back in 1979 The Bristol Recorder was one of Bristol’s most unusual musical entities and in 2018 The Bristol Recorder Volume 4 aims to restore a vinyl voice for Bristol and its music through our relaunch of its original incarnation.

The Bristol Recorder is a unique combination of vinyl record and topical magazine devoted to the music and cultural life of the city. The gatefold sleeve of our LP becomes the front and back cover of the magazine exploring, celebrating and challenging all things Bristol. The ten vinyl tracks are by local and nationally recognised artists and the magazine’s twenty pages are chock full of engaging articles on Bristol’s cultural and social scene, past and present. We have a strong design aesthetic, completely black and white, reflecting our heritage and featuring original photography and illustrations. We are also grateful for the support of both local and national advertisers in the magazine pages.

Most magazines and newspapers are discarded within weeks, if not days, whereas the Bristol Recorder is kept for years. Original copies from 1979 and 1980 are now collectors’ items.

Our musical and editorial standards are high, and the artists featured on vinyl give an eclectic view of Bristol’s music scene, reflecting the huge diversity and quality on offer in our wonderful city.

Fear Of Darkness – ‘The Virgin Land’

THE VIRGIN LAND
by Fear Of Darkness
Released on CD and Digital Download on 2nd March 2018

When you come from a small town, then as the song goes, the only thing you want to do is to get out. That certainly was the aim of Fear of Darkness. They tuned into their hearts, picked up guitars and drums and set about their business. ‘The Virgin Land’ is a punk-driven yell of rage from the mid-1980’s, turning into a healthy racket, all straight down frantically picked and plucked T-Rex rock and roll, merging into a maelstrom slalom ride of energy and expression of youth. The 18 tracks on this 17 song album – you get 2 versions of the band’s self-titled epic – pack a punch and have plenty to say.

‘All Fall Down’ sees FOD come over more as a Goth version of The Clash, with overtones of Gene Loves Jezebel and The Cult, very electric reaching out with thunderbolts of spaced-out, raise the roof guitar squalls and sonic boom boy grooves, taking in a James Bond homage en route: 007 and rising. It’s a feature that recurs. ‘After the Fire’ and ‘Keys of Time’ is filled all the light pours out of me, forceful, youthful, aggressive, questioning, impassioned, no playing dead, sometimes naïve but never less than enthusiastic energy. ‘Inside Your Heart’ oozes a more pop-rock sensibility, with a near crooning backing vocal. ‘Chains and Gates’ almost pre-dates the modern romantic gesture of putting locks on bridges, railings and gates.

Fear of Darkness was a band that could effortlessly translate their textured and spacious sound into a gig. Tracks like the live version of their eponymous tour de force show that off to thunderous effect. And they slay The Ruts classic ‘In A Rut’. The band’s attitude bristles from the opening salvos.

Sometimes the band over-stretched themselves, but it was always in the spirit of getting the maximum from what they had available. These 4 young lads from out in the sticks of Bristol made a good fist of trying to plug into a more anthem-driven, punch the air and raise the cell phones – or in these days of cigarette lighters – big crowd sensibility. They didn’t quite get to that level in the life of the band and their career, but it wasn’t for want of trying.

‘The Virgin Land’ is a worthy addition to the canon of 80’s alternative guitar albums. Check it out!

Essential Bop – ‘Chronicles’

CHRONICLES (The Post Punk Years 1979-1984)
by Essential Bop
Released on CD and Digital Download on 19th January 2018

Too weird for the straights and possibly too straight for the weirdos Essential pop emerged from Bristol’s post-punk maelstrom along with the Art Objects, The Glaxo Babies, The Pop Group and a bunch of other lesser-known outfits that came to dominate the Bristol scene for a few years. Formed by a bunch of refugees from earlier Bristol acts, including punk pioneers The Cortinas, they became known for a rather manically chaotic stage act and a slew of eclectic recordings which enthralled, bemused and confused by turn. Punk, Prog, Art Rock, Psychedelia, poetry – you want it, you got it.

Suffering, as did many Bristol bands of that time, from being ‘prophets without honour’ outside their home town they became surprisingly popular in places as far afield as Holland, Italy and the USA, but couldn’t get arrested in Beaconsfield…

Two popular singles (‘Raiders Blues’ and ‘Croaked’) sounded like they might do something, and assorted tracks on compilations, including ‘Chronicle’ on the famous ‘Avon Calling’ album – reputedly one of John Peel’s favourites – didn’t do any harm, either. These led to an NME cover (a big deal in 1981) and a Paul Morley interview. An album ‘The Flick Was Boss’ followed in 1984, by which time the band’s principal actors singer Steve Bush and keyboardist Simon Tyler had decamped to try their luck in The Smoke – along with virtually every other ‘New Wave’ musician in Bristol – where the band flickered, smoked, withered and then died. A reunion is threatened from time-to-time, but has yet to be realised.

The ‘Essential Bop Chronicles’ album combines the singles A and B sides, the best of the ‘Flick Was Boss album’, some live tracks plus the songs that originally appeared on ‘Avon Calling’ and the ‘Bristol Recorder’ compilations. Originally issued in the noughties, the album has been remastered and includes extensive sleeve notes and a selection of rarely seen photos, posters and other artwork.

For those seeking an insight into what was happening in Bristol in the days before Massive, Tricky and Portishead put Bristol firmly on the musical map Essential Bop’s ‘Chronicles’ will do the job, and some. The band may be a footnote in Bristol’s musical history, but they wore very large shoes.

`This Is 80’s Pop (Out West)` – Various Artists

THIS IS 80’S POP (OUT WEST)
by Various Artists
Released 6th October 2017.

Do you think of the West Country in the 1980’s as a source of plentiful pop acts? Go on, pull the other one! With the music that’s normally associated with Bristol, Bath and places out west, a number of stereotypes come to mind. That can be down to the known success stories or just plain perception.

There has always been a broad picture of the scope of music that has come out of the west end of the M4 and M5 in general, from the more fundamental areas of rock, indie, reggae, rap, R ‘n B and dance music, through to the more arcane areas of post-punk, jazz, punk-funk, punk jazz, art-rock and even once in a while a moody singer-songwriter.

The boys (and girls) from the region have always made a right old variety of noise! It hasn’t always been accompanied by mainstream acceptance with the resulting sales. That heady creativity included more straight up pop music and the ‘take’ that could be put on it, with the hope that acclaim would follow. Dig a little deeper into the western region’s musical history and they weren’t alone in ploughing a furrow into the field marked ‘80’s Pop’. It was no wonder. The ground in that decade was fertile for sowing the seeds of possible pop perennials.

‘Music from a Festival Field’ – Various Artists

VARIOUS ARTISTS
‘Music from a Festival Field’
CD and Digital Download (Limited Edition)

Womad co-founder Thomas Brooman has written his autobiography, My Festival Romance, to be published by Tangent Books on 2nd June 2017.

As a musical companion to the book, Thomas has put together a great selection of rare and unreleased tracks by artists from all over the world. All of them relate to the lifelong passion for music that Thomas expresses in his book. Many of these artists have played at Womad Festivals in years gone by and other tracks are simply some of his all-time favourites.

“All of the artists featured are fantastic and fearless collaborators, making music that reaches across cultural divides and established genres. It has been a privilege of my life to have worked with all of them.”

The compilation kicks off with the fantastic groove of Algerian superstar Hamid Baroudi. Sidi is the title track to Hamid’s third solo album, released in 1990. Highlights continue with Colombian Latin Grammy winner Totó la Momposina and then Groovin’ by Pato Banton.

Ghostland bring a brilliant track called Faith in Love featuring a guest vocal performance from Cara Dillon. David D’Or performs a Jewish liturgical song in the Hebrew language, an emotive, haunting arrangement of Lecha Dodi. followed by Pakistani Qawwali singer Nusrat Fateh Ali Khan. Every track is outstanding. Other artists featured are Kanda Bongo Man from Central Africa, The Well Oiled Sisters, Michael Messer’s Mitra and Billy Cobham, working with Cuban band Asere. The compilation concludes with a beautiful song by Lior, one of Australia’s best-loved singer songwriters, and then The Lion Spirit of the Hunter by Chartwell Dutiro from Zimbabwe.

My Festival Romance is an affectionate account of artists and music, people and places, dedicated to the teams that brought these many events together and to audiences all over the world. Music from a Festival Field captures the spirit of the book.