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Blood and Roses by Lance Hahn

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Before he died in 2007, Lance Hahn sent me some chapters from his still unpublished book 'Let the Tribe Increase'.
This is one of them.


(SOME) LIKE IT HOT
The Story Of Blood And Roses
By Lance Hahn

Blood And Roses are one of the most underrated bands in this book. Forging their own direction, like many other uncategorizable groups, they paid the price for their unique (but surprisingly accessible) musical vision.
Their story starts with Bob in Australia, a kid who’s teenage depression becomes a teenage dream with a tendency that seemed inevitably on a collision course with punk. But I might as well let him tell the story.
Bob Short, guitarist, “Ultimately, it’s a bit funny talking about why you got into punk rock. The thing is, it just kind of reflected who you were. It was like falling in love and you don’t ask why you fall in love. But why do you fall in love with one person and not another? In the case of punk, a whole lot of it came out of what you didn’t want rather than what you did.

That probably means you are about to cop a far bigger answer to than the question you asked.  What follows amounts to a standard response to this question that I just cut and paste. I get this question with every email interview I get asked to do and no-one has been interested enough to use any of it. The same goes for parts of my replies to questions two, three, four and five.

For me, my interest in music started with Suzi Quatro of all people. As you may imagine, with the hounds of puberty snapping at my crotch, the sight of this leather clad Amazon prowling the confines of my parent’s black and white television was quite an eye opener. Nothing had had quite this effect on me except for perhaps Catwoman and Batgirl in the sixties TV show. How was I to know that Suzi was barely five foot tall? She strode the neon tube like a colossus. Her musical legacy may have been limited to a rash of early singles before her fearful decline into “Happy Days” and balladeering hell but she left her mark. There was something in the frantic pace of the music. (I later found out that the producers sped up the tapes to make them sound more exciting).

Most importantly, there was a kind of power in the simple combination of drums, bass and guitar that made everything I thought of as ‘’real life’ up until this point seem bland and unimportant. Quite literally, I fell in love with the sound and I fell hard. By the way, I cannot stress how bland the world seemed to me at that time. I lived in a bland little bubble with fear at the door.

I grew up in Wollongong which was a red neck blue collar steel working town about eighty kilometers south of Sydney Australia. To me, it felt that I was living on the geographical equivalent of the biggest hemorrhoid on the arse hole of the world. Though this conviction was unshakeable, I think it was shared by a great many people in a great many different locations. The arse hole of the world seemed to spread from Glasgow to Leeds and London and then into Europe and America and all points beyond.

I’d fallen under the influence of a mob of born again Baptist Christians. My parents had wanted the kids out of the house and, what better place to send us than church. Especially since the church was quite happy to pick us up. Whether I like it or not (and believe me I don’t), this was hugely influential on my life. Just as there is no non smoker more vocal than an ex smoker, there is no atheist quite like an ex Baptist.

These people were, quite literally, insane. They pawed over the Book of Revelations pulling proof that the end was nigh from every verse. China was preparing to destroy two thirds of the wall but no-one needed to fear because Jesus was getting ready to suck us all up to heaven if we only would believe. Their eyes were dead behind their Osmond’s smiles.  They saw devils behind every action except those perpetrated by their right wing leaders. What if Nixon was a thief and a liar? It’s better to have him than to be overrun by a bunch of godless communists. If this sounds familiar, it rings alarm bells for me too. I seriously thought this nonsense was dead and buried until the recent rise of George Dubya. Once again, fat hypocrites talk of the end times and the four horsemen.

This was all pretty powerful imagery to be laying upon a child. They told me the world was riddled with sin and inequity. The inequity was obvious, the sin less so. If the world I was living in was riddled with sin then sin was far less interesting than they gave it credit.

Right away, you can probably see where a lot of my lyrical concerns were coming from. Incidentally, I seem to remember Lisa telling me that her father had been a minister but she didn’t talk a great deal about her growing up. She, too, did not seem overly fond of Christians.

So, into this drab world came a little Suzi. Whilst her talk of a “48 Crash” being something like “a silk sash bash” (?????)  failed to ignite any kind of political revelation, she did however start a little revolution in my head. She brought friends to the party like The Sweet playing “The Ballroom Blitz” and T-Rex, Alice Cooper, David Bowie and Slade. The guitars were loud and distorted and the songs were short and alive. The most beautiful thing I knew of was a seven inch single. Hey! Puberty was still snapping at my crotch. It hadn’t stuck its teeth in yet.

Then, as if by magic, I came across the first record to really change my life. My parents had literally forbidden the purchase of any David Bowie related material. They had seen him on television and he looked dangerously homosexual to them. Whilst Mr. Bowie hadn’t caused the warm tingling sensations that Suzi had provoked, even I could spot that his song writing was a step or three up the evolutionary ladder from my beloved Ms Q. And, as I have said, it was the music I had really fallen for.

So, there I was in a second hand shop and what did I spy sitting on the top of a pile of used vinyl? The New York Dolls first album clearly played once and dumped in disgust. I looked at the cover.  Jesus! If my parents thought that David Bowie was terrifying, wait until they got a load of this. All this could be mine for two measly dollars.

Now as soon as the needle hit the groove, I was changed. There was nothing in the world like this. It sounded like a train crashing through the house. Friends told me it sounded like the Rolling Stones sped up. The Stones were something out of the dark ages as far as I was concerned. I think I may have heard the song “Angie” but that had failed to move me anywhere.

The Dolls were all flash and explosions from the howl of “Personality Crisis” to the machine gun drumming of “Vietnamese Baby”. And the words!  How could anyone make songs up about this stuff? The words spoke to me so directly. I might not have had to worry myself about girl friends overdosing in bathrooms (that would come later). That feeling of alienation was easy to associate with. I knew exactly what it was like to feel “like a Frankenstein” or a “Lonely Planet Boy”. This was a kind of poetry that I could understand. There were guys at school who liked stuff like Led Zeppelin. They told me poetry was stuff like “Stairway to Heaven”. “If there’s a bustle in your hedgerow, don’t be alarmed now. It’s just a spring clean for the May Queen.” Do me a fucking favor, John.

The next album that really affected me came courtesy of my science teacher, Miss Campbell. It was an indirect path to be sure but that’s what I was saying about influences. Well, if you were going to have a crush on any of your teachers, you might as well have a crush on the one who talks about going to see Lou Reed play. Who the fuck was Lou Reed? I hadn’t heard either Walk on the Wild Side or the Transformer album that had probably led Miss Campbell to Mr. Reed. They didn’t play Lou on the radio. I went down to the record shop to investigate.

Sitting at the back of the Lou Reed rack was a scrappy looking black covered disc. Years of reduction stickers had bought the price tag down to one dollar and ninety nine cents. Okay, I could afford that if I skipped lunch for the next week. I certainly could not afford the more recent full priced discs. Suddenly, I was in possession of White Light White Heat by the Velvet Underground and I didn’t even know what I had. It had clearly sat there on the shelves since its initial release, unwanted and unloved. Just my kind of disc.

Whilst listening to the New York Dolls was to take a new glimpse at this world rendered anew, hearing the Velvet Underground was like looking down a very deep hole into hell itself. How these discs crossed my path, I can’t explain but of all the record collections in all the world, they walked into mine.

Politically, Australia was going through some pretty major changes. After an eternity of conservative rule under the “Liberal/National Party Coalition”, the Labor Party had taken the reins of power. Australia pulled its army out of Vietnam.  A national health service was introduced for the first time.  The whole country seemed to be being dragged out of a post war time warp kicking and screaming. Maybe there was just a chance that the world was going to get better.

This feeling of change and hope was short lived. The coalition controlled senate blocked supply to the government’s budget. The Governor General (who is the Queen’s representative) stepped in and fired the government and Australia went tumbling back into the nineteen fifties.  Imagine what would happen in the UK if the House of Lords refused to pass the budget and Queen Elizabeth sacked her government. There were demonstrations that did little against this establishment closing of ranks. Most Australians didn’t really like all this change that was going on.  The cities protested but the great rural centre shifted back to the right.

The protests did, however, mean I met people who claimed to be anarchists for the first time. They were older than me and so I didn’t really get to hang out.  Most of the protests came from Socialist and Trade Union groups. Whilst the socialists talked exactly like the Baptists, constantly reciting from received dogma, the trade unionists had the typical arrogance of old men who thought youngsters needed a haircut and a kick up the arse. The anarchists at least seemed alive and funny. This was 1970s Australia, however, and they were a little overly obsessed with notions of rural communes and decentralization received via the doctrines of Chairman Mao and a cloud of dope smoke.

Meanwhile, even the music sucked.  Abba held endless reign over the charts. Their single “Fernando” held the number one spot for sixteen weeks.  Glam vanished up the Bay City Rollers collective backsides and what a tartan clad atrocity that was. The hip kids listened to America and the Eagles and that mind numbing heavy metal crap played by show ponies in strutting flares. Once you’d listened to “Sister Ray” a few times, Deep Purple prancing around singing “Smoke on the Water” was patently ridiculous. I did not want to go through the desert with a horse with no name, visit the Hotel California or take a trip to the Dark Side of the Moon.

Now one thing I have learnt is that the world can’t stay that boring for long. My first hint that things were changing came when I saw the Runaways on television. Say what you like about Kim Fowley and his media manipulations, the “Cherry Bomb” video was incendiary. Not just because of the all female band but because of the energy. Almost immediately, you started hearing about bands like the Ramones and local bands like the Saints and Radio Birdman. Then, obviously, there was the Sex Pistols and it all gets a little obvious after that.

But really, it seems everyone attempts to deny the influence of the Pistols, The Clash and their ilk but that is just ridiculous. Whilst the Pistols without Lydon were an embarrassment of such epic proportions as to all but taint reputations entirely, no-one could deny the power unleashed by “Anarchy in the UK”. The kind of anarchy that was being advocated may have been little more than drunken nihilism but there was at least a modicum of political awareness and education behind it. The tabloids may have written the scene off as morons wallowing in their own vulgarities but the interviews told a different story.

Likewise, The Clash may have jumped on the CBS bandwagon with a clutch of lyrics that merely spewed venom back at the vileness of the world but their involvement with Rock Against Racism set the political agenda.
But the rise of these (and lesser known) groups did something else. Suddenly you realized that there have been a whole lot of people all over the world thinking the way you think, listening to the same music and sharing the dreams that you have. If there is one freak in every school in the world, that adds up to a whole lot of freaks in the world. And when those freaks got together, there was going to be a hell of a party.

I had been spending my nights in pointless acts of vandalism. Well, not pointless. There would always be a plan.  The idea was the important thing. Looking back, I think I should have applied for art council funding for these little events and installations. These included building walls across suburban streets with bricks plundered from local building yards; relocating cars between trees (you had to get a group of five or six people to pick it up and carry it); systematically scratching every copy of Abba’s Arrival at the local K-mart; casting down a storm of milk crates on the local bowling green and pouring petrol over a local creek and igniting it (you want to see Smoke on the fucking water?).

Whilst these acts seem ridiculous in hindsight, it is only now that I realize how interconnected they are to my later “artistic” pursuits. I don’t think I was particularly special or unique in this. Certainly, a lot of the anarcho punks engaged in vandalism as part of their identity. For example, Martin of Faction had a personal crusade to superglue the locks of every butcher shop in London whilst graffiti was considered our only legitimate means of communication with the masses. What tight suited bank clerks made of anarchist slogans is difficult to say. One would probably guess that the only influence such messages had was entirely negative.

My t-shirt collection had been getting me in trouble at school long before I’d even seen the works of Westwood and McLaren. The sacking of the Labor Government inspired my hand drawn “Fuck the Monarchy” shirt which had earned me a beating courtesy of a Vietnam Veteran PE Teacher. Not deterred in the slightest, I came back with my masterpiece. The Sunday Telegraph was proud to include an Abba iron on T-shirt transfer so you could make your own Abba t-shirt. I discovered that a pair of scissors and a little rearrangement of heads and letters could work wonders. The “Abba are shit” t-shirt was born. To my teachers, this proved beyond a shadow of a doubt that I was in need of psychiatric help.

The fact that I’d gone to war with the English department didn’t help. Asked to review Orwell’s 1984, I had described it as a satire of post war Britain and political allegiances. The teacher told me I was wrong, called it a dystopian fantasy and gave me five out of a hundred. It didn’t matter to her (or indeed Crass for that matter) that Orwell had initially wanted to call the book 1948. I was wrong and she was right and war was declared.
The next book up was Jane Eyre which I figured there was no point in reading. After all, the teacher was going to hand out notes on what she thought the book was about so I based my next review entirely on that document. Suddenly I had a mark of ninety nine out of one hundred and a pat on the back.

“’How did you improve so much?’ she asked in front of the class. And so I told her the truth, the whole truth and nothing but the truth. I ended my reply with ‘thus proving my original assessment of the book “1984”, QED.’
Now I had my very own school psychiatrist who would come and make weekly visits. He would tell me not to worry.  I wasn’t crazy but they were. This was mildly reassuring though slightly disappointing. Everybody else who got sent to him ended up with scripts for all manner of mind altering goodies.

Finally, my English teacher decided it was time for drama. She beseeched us to act out an escape. (Was she asking for trouble or what?). Kids huddled around walls under the gaze of imaginary spotlights. They crept under tables. They pretended to escape whilst escaping nothing. It was my turn and - you could feel everyone was just waiting for what I would do (the English Teacher War had been long and bitter) - I stood up, smiled and waved and walked right out the door - and out of the school - and out of Wollongong.
It was 1977 and I was going to be in a punk band.

The Sydney scene was pretty much dominated by Radio Birdman who mined a musical vein somewhere between the Stooges and the MC5 whilst lacking the nihilism of the former and the political edge of the latter. That shouldn’t be taken as any kind of criticism. This was a band that had decided to do what it was doing without the input or constraint of peers. They picked an unpopular road and beat their heads against it until people started listening.
I particularly liked the way they thought. No-one will book us so we’ll start our own club. No record company will touch us so we’ll do it ourselves. Whilst that became a fairly standard avenue to follow over the next couple of years, these were amazing ideas at the time;  the notion that you didn’t need to wait for permission.

In Brisbane, the Saints had pretty much done the same thing. Their self pressed “(I’m) Stranded” single hit the shelves the day after the Ramones LP. The UK bands at the time were all hanging out for major labels.  The only place the Saints could play was in the front room of their house. Nobody would have them. Live, they were amazing.  I remember sitting outside a hall listening to their sound check. Just the sound of the Bass drum sent shivers down my spine. Finally, they hit the stage and just ploughed through their set. They stood there looking like men braced against a storm, screaming feedback against the wind.

One of the biggest influences on my life has been this notion that you do what you do no matter how many times you’re told to fuck off and die. You don’t do it for fame or recognition or money. You do it because you don’t have any other choice but to do the work.

Arriving late from Melbourne came the Boys Next Door but their initial appearance in Sydney was met with howls of derision. They arrived as the headline act of a Melbourne New Wave package tour for Suicide Records. One of the majors had decided to cash in on the punk boom and create a specialist imprint. The resulting compilation was everything you’d expect of a corporations idea of what punk should be. The one exception was the Boys Next Door’s version of “These Boots are Made for Walking” which wasn’t without charm. I wish I still had my copy because the band’s famous singer is so ashamed of his murky past that he refuses any chance of re-release.

Live on stage, things weren’t quite so rosy. Singer Nick Cave (for it was he) copied every Bowie gesture he could think of including miming his way through the invisible wall. To make matters worse, two of the support acts had had their singers attempt to pull the exact same stunt already that night. If nothing else, this provided a good lesson in what not to do on stage.

Having said that, when the Boys returned a year later, they were a different - and spectacularly original band. A year after that they would wash up at The Rock Garden in Covent Garden under the name The Birthday Party and I guess the rest is history.

The turn towards more political bands was slow in Sydney. Johnny Dole and the Scabs flirted with Clash like political lyrics but their set was bogged down by pub rock style covers. They played more Rolling Stones songs than originals. Towards the end of their run, they had cut most of the flab and packed a considerable punch. They never quite rose above their less than fabulous beginnings.

X (no relation to the similarly named Los Angeles outfit), sung songs about low lives and the shit that rained down upon them. Somewhere out in the Western Suburbs, The Last Words cut a single called “Animal World” that seemed to come from a world somewhere between the Jam and Sham 69. My favorite band were the Psycho Surgeons who played like a feed backing chainsaw let loose in an abattoir.  They had songs with titles like “Crush” and “Meathook”. Their set lists were just a column of single words. Radio Birdman singer Rob Younger once gushed that this “represented the kind of minimalism that the Ramones could only dream about.” He wasn’t far wrong.”

With the backdrop of the crazy outlaw days of early punk in Australia, Bob began playing music in a series of confrontational punk groups.

Bob, “The first band I was in was called Filth. I’ll let someone else write about us. I don’t know who wrote this. A friend who collects fanzines came across it and it seems to come from the inner sleeve of a CD. I don’t know what CD it is and neither does he... It originally had a rather fetching photo of me revealing a scratched up chest but - as I posses a photocopy of a photocopy of a photocopy, there is little point in me scanning what is left of the image.

“‘Spewed forth from thin air (no-one really wanted to own up to aiding and abetting them) were Filth who took their moniker from the spectacle of a deserted table in McDonalds covered in half eaten food. Featuring guitarist Bob Short, barely in his fifteenth year, and vocalist Peter Tillman who would later front the Lipstick Killers so commandingly. Filth had to do only ten shows or so to make it into the history books. Arguably the most anarchic, downright dangerous band to take a stage in this country, reports circulated widely of gigs dissolving into violence, with audiences on the receiving end inelegantly thrown mic stands.’

All this is basically true except for the McDonalds story. Having decided to form a band, we went to the family restaurant in question to work out a suitable name for our little ensemble. This proved more difficult than I had given such things credit.  I began to amuse myself by safety pinning the disposable tinfoil McDonald ashtrays to various parts of my anatomy. (Hey, don’t get the wrong idea - none of them went south of the Equator.)

Suddenly an irate woman came running towards us, grandchildren clenched tightly to her side. “You’re Filth!” she cried and who were we to disappoint? As for being anarchic, the anarchy was more nihilist than anything else - though there was a definite political consciousness developing in my songwriting. To me, the songwriting was the most important thing. Learning to play guitar was a way to let off steam.  Writing songs was something else.  Something (and I use this word advisably) magical. I figured if something could just appear in your head like that, you had a duty to share it with others.

The first song I wrote was called “In Love” and it appeared like a gift as I was walking down the street. By the time I got home, it was all worked out and it didn’t really bother me that it sounded like something rescued from The Velvet Underground’s waste paper bin. The lyrics, however, were a bit of a worry. I wrote several versions - some in which I was in favor of this love thing and others that were not.  Later on, it evolved into “Fall Apart” which Blood and Roses would play but not record.

Responding to my poor showing in the lyrical stakes, the next song I managed to pull out of my hat was called “Do the Harold Holt”. Now I was getting somewhere. Harold Holt was an Australian Prime Minister who went for a swim and didn’t come back. Here was something that didn’t sound like somebody else’s songs. It didn’t matter to me if it was shit or not. It was my shit.

I followed on with songs like “America get fucked”, “Curse on You”, “Thalidomide Child” and “The Law is your Friend.” It was only when I wrote “Jesus” that I had a song bounced back at me. I couldn’t understand why people took such offence to slagging off religion. It also pointed to a greater schism within the band.

Whilst bathing in the attention that arose from singing songs about the slaughter of politicians, singer Peter Tillman really wanted to sing about cars and girls. Preferably, the girls should be armed with chainsaws and drive converted hearses to the beach but you get the picture. And don’t think I’m going to knock him for that. His next band, the Lipstick Killers, were a damn fine outfit. I just wanted to pursue the lyrical course I was taking. I thought of the mayhem we were creating as a kind of cultural terrorism. We would do anything to get a reaction. Pete once said that this was a band that destroyed people’s (the audience) lives.

It all came to a head when we went on tour supporting the Psycho Surgeons. After a performance of sheer noise attack and audience abuse, we found ourselves banned from all the venues we were due to play at. Everyone was getting on each other’s nerves and the Psycho Surgeon’s were desperately in need of a singer who could sing.

Returning to Sydney after the debacle of the Adelaide gigs, I formed “The Urban Guerillas” with Andi, Ross and Johnny Gunn. There’s another band now doing the rounds in Sydney with the same name but have nothing to do with us. At this time I think we could have been described as an Anarcho punk band. The political themes hardened up. Anti war. Anti Government. Anti Religion. We called ourselves punks. We looked like punks. We were unified in that kind of identity. There was a kind of safety in numbers. Everyone looked at us as if we’d come from another planet (and not in a nice kind of E.T. way). The villagers would light their torches and start sharpening their pitchforks when we walked by.

Whereas people like Johnny Rotten mocked later punks as clones and copycats, I always understood the need for an environment that allowed people to express their individuality. Plenty of people involved in the later day punk movement came out of dysfunctional families and abusive households. They were orphans in a storm looking for a family. The criticism by punk’s elder statesmen really arose from the selfishness of their concerns. It was not as if they hadn’t copped much of their style out of what had gone before them. Whilst this was widely felt, I think it was poorly articulated.
From mid summer in 1978 to February 79, the Urban Guerillas pretty much played a once a week residency at the Grand Hotel at Railway Square. It was the only venue that would book us. Pretty soon we had a fairly large, unique audience that really looked and acted punk. None of the other venues really wanted them either. By the end, we were playing to about two hundred people a night.

Our set included such songs as “Paradise”, “No Allegiance”, and “Mummy”, all of which later turned up in Blood and Roses’ set. Other songs included “The End of the Western World” and “Smash your TV”. To be honest though, there are about fifteen to twenty songs from this period that I have completely forgotten. At one stage I had a book with over a hundred and fifty potential songs with lyrics and crude chord structures that never got near a rehearsal.”

Having at that point exhausted the punk rock resources and interest level in Australia, like the aforementioned Cave, Bob relocated to England.

Bob, “A little from column A and a little from column B. Whilst the Urban Guerillas were probably a band that could have been successful, my own self destructiveness was on the rise. If I caught sight of the nose on my face, I saw no logical reason not to cut it off. There were some personal problems that amplified everything in that heightened teenage kind of a fucked up way.  Relationships fucked up. There were people I didn’t want to see.  However, whilst on one level I had the desire to run away, there was also the desire to run towards something else. It was a match made in heaven, literally, one day, I went to a party and I just got bored. I was fed up of the same old faces and the same landscape - not to mention the same fucking cops hassling me on a daily basis. I should have got drunk but I didn’t think that way. The next day I booked a plane ticket without even knowing how I’d pay for it.

I had been born in England and I still had a British passport and London seemed the logical place to go.”
Despite some of the obvious similarities, London was a very different place from anywhere in Australia. Instinctively, Bob was drawn in and eventually drifted into the intense squatting scene of the late ‘70s and early ‘80s eventually embroiled in the small p and capital p politics implied by that lifestyle.

Bob, “My first impression of London was that I had discovered the fall of the Western world. It was like standing on the edge of some terrible maelstrom watching all the shit on Earth falling into oblivion. Of course, I always had a flair for a dramatic turn of phrase.

London, of course, was a very different world than Sydney and that was a very different time than today. It was violent, squalid and down right dangerous to know. The music scene was as it always is. There are always a bunch of perverted money stealing morons running the show and, if you want to get on, you are expected to kiss butt with tongue. Talentless hacks get all the good gigs and the shop is locked up tighter than a fish’s bottom. If you want to do something, someone is always willing to help if you’re ready to pay the price but there are always no promises.
Business remains as per usual.

I rolled up in London with a guitar and empty pockets. Ultimately there was only one life style choice available and that was squatting. People didn’t squat for any one reason. There were older ex-hippy guys who squatted simply because they believed property was theft. There were kids who had run away from home. There were drunks, junkies, lunatics and the great and glorious freaks of nature. If I had to choose one answer on a multiple question test, I’d have to tick the box that said “I had nowhere else to go”.

Squatting was fun and terrifying, sad and boring. It was like living in an X-rated version of Coronation Street or East Enders. There was sex and drugs and rock and roll. There was also squalor, disease and death. I felt feelings of belonging and community I will probably never feel again but there were also times marked by emotional pain and loneliness. We had nothing but each other’s company but sometimes we hated each other’s guts.

But squatting firmed whatever you did into a lifestyle. There was no dressing up at the weekend. There were no excuses like jobs, families or pets. If you were going to something you had to do it. I’ve always been a doer and now I was surrounded by doers. There was people who didn’t talk to you like you came from another planet just because you were different. There was no place better to be.

Different squats had different vibes. It’s difficult to, say, compare the Fire Station at Old Street with Campbell Buildings in Waterloo or Derby Lodge in Kings’ Cross. Different people, different music and different drugs. Two months was a long time in London. One day everyone was doing speed and listening to the Ants and then suddenly we’re all dropping Valium and someone upstairs is playing Public Image Limited’s “Theme” over and over and over again. There you are, too off your tree to go upstairs and change the disc and someone has crashed out with the bar on the record player up so it is on eternal repeat. Twenty four hour a day exposure to John Lydon wishing he could die can have devastating effects on the human psyche.

“‘We have nothing to fear from chaos, we have always lived in holes in the wall.’  It’s almost definitely misquoted and I forget who said it but the point is obvious. Poverty is a great politicising force. Whilst the working class were growing enough enfranchisement  to vote Tory at the general election, an underclass was growing. In many ways, the system encouraged it. If you were on the dole, private rental was not an option in London and council housing was primarily targeted at families. If you were young, broke and pursuing any kind of alternative lifestyle, the system had no need or place for you.  It wasn’t like there were jobs going anyway.

Besides, who wanted to work anyway? If you worked, you made someone else rich. You were just contributing to your own oppression. I am shocked at how alien a concept that sounds twenty five years on. Whilst it was not a popular opinion with those in employment, it was certainly common coin in the squats.

Now I wouldn’t want you catching any kind of notion that the squats were one big anarchist utopia because they were not. The great schism in punk at the end of the seventies was between the extreme left and the extreme right.  The choice was between a society should be run by a consensus that respected the individual (who we shall call anarchists) and those who believed the society should be governed and governed hard against the individual (who we shall call Nazi scumbag bastards).
Prejudiced? Who? Moi?

Fascism holds an equally great attraction to the underclass underdogs. People can find identity, family and purpose in it. Without a suitable moral compass, many succumbed to this vice. The ill-defined rage and nihilism of the first wave of British punk had all the advantages of energy but its lack of clarity of intent bought about conflicting ideologies.
If you set out to destroy past morality and offer a void in its place, then that void will be filled. When Nietzsche declared the superman who was beyond good and evil, I seriously doubt he intended Hitler to invoke his philosophies whilst running extermination camps. When Johnny asked “when there’s no future, how can there be sin?” I doubt he expected that some would take it as license to rape, kill and pillage.

Then again, I knew one guy who took the lyrical content of Crass’ Penis Envy to mean that women essentially wanted to be beaten and mistreated. Suffice to say, this man was not a close personal friend of mine but his leather jacket was coated in the thick scrawl of anarchy signs and dogma.
Art is a dangerous thing and the only way you can truly take responsibility for your actions is to do nothing. (Which, of course, involves making an active choice which means you are actually doing something so you’re fucked whatever you do.)

The British Movement seemed to be the major political allegiance of the skinheads. They considered the National Front to be too wet and suggested its leader was a homosexual. This was an interesting complaint given these men’s attacks on squats in Camden Town and Kings’ Cross that, in addition to the usual carnage, involved the sexual assault of men. Not to mention the fact that - some years later when I went to see Test Department play at the gay nightclub Heaven - I saw a fair few of these ex Nazi boys involved in quite a different lifestyle choice. Funny that.”

Simultaneously in the squat scene, Lisa Kirby (now Lisa Burrell) was getting interested involved in music and other extracurricular activities of a less legal nature.

Lisa, singer, “I don’t think I did get into music, it was always there. I can’t remember a time I didn’t love music or dance make up songs. Well the time punk came it fit me like a glove, seemed the attitude was mine. Before punk had been into the black scene down the west end, at 15 I loved James Brown, Big Youth, Blues clubs was out all weekend just dancing. They used to call me and my friends The Sunday School Outing and they weren’t too far off the mark , all from an all girls,  High church of England school we were more used to reeling off Latin chants every morning at assembly than doing The Latin hustle down Soho (a dance by the way.) all weekend.  I loved the bass and rhythms plus the volume but the attitude stank towards women and the white people with their fake Jamaican accents made me laugh but it all used to wind me up as well. I was full of rage but pretty insular, mucked about with Ouija boards, stopped going to school, went sticksing with a couple of black guys I knew (pick pocketing.) the sticksmen used to always wear burberry back then, things don’t change much.

Punk came along and it was all brand new but far from shiny and scared the record business into taking chances was brilliant. I went down the clubs on my own as everyone I knew were still into the same old stuff.
The first club I walked into was The Vortex down Wardour Street. It was like walking down those dark steps was it. White faced, black eyed, black lipped and black heart. Was like walking through a very warped looking glass and it felt like home to me.”

Lisa’s musical career started with a groups that existed in every except for having a note of music. Perhaps post-modern in retrospect, it just showed the desire kids had to start a band long before they had the technical ability.
Lisa, “I was always into any form of expression; it was a necessary release for me. Was a very quiet person until you got to know me and that usually took awhile. I needed to release myself in other ways. I drew, danced wrote words down just as a way of hearing myself think sometimes. I think I sang out loud rather than talked out loud because it didn’t seem as weird and for some reason I thought that when people looked at me they could see that I was strange. At least when I got into punk I could tell myself it was the clothes and make up they were looking at. So I asked just about everyone I had a halfway decent conversation with if they wanted to start a band.

Me and a friend of mine did such a good spray campaign people were looking to interview us. We didn’t even have a band just a name. The Necrophiliacs, we should have chosen something shorter, took too much paint and too much time to write it.”

At the same time, Bob had a theoretical group of his own happening. This group would eventually evolve into Blood And Roses.

Bob, “I was squatting in a world of squalor, poverty, police harassment and an undeclared war against Nazi skinheads. I met Ruthless (aka Ruth Tyndall) at the squat in Old Street. She had a bass and I had a guitar and a pile of songs. There was a guy called Jock who had threatened to sing with us and his mate Beano could allegedly play drums. A band in theory, yes. We could certainly wander the streets of London and claim to be in a band but we never played or rehearsed. Jock went off to join the bloody army which seemed a damn peculiar choice for a skinny Sid Vicious clone. Time passed and Ruth and I found ourselves washed ashore in Campbell Buildings SE1.

This was where we met Lisa (Kirby) and Richard (Morgan) and the band that would become Blood and Roses really began to take shape. We began to learn the songs in peculiar acoustic rehearsals. At the time we called ourselves. We deliberately decided we would not have a name on general principle. We had a symbol that was like a hammer and sickle barred by a swastika and formed into a question mark. It provided the opportunity to bombard a variety of sites with some mind fucking graffiti but we were low life scum - literally street people - and no one was going to let us anywhere near a venue.

If asked, I think we would have all called ourselves anarchists. I know that I did. Richard’s notion of anarchy was probably a little different from my own and probably fell more towards nihilism. He was certainly the only member of the band who believed that getting a record out would lead to ownership of the kind of automobile that would make him “irresistible to the ladies”. I paraphrase there but - y’know - he was the drummer after all.

We had no amps. Just instruments and no-one in their right mind wanted to let us anywhere near there’s. It wasn’t like we were going to fuck with them deliberately but I think our fellow musicians looked at us in the same way as you wouldn’t give a child a gun to play with.

Finally, at the start of 1981 we got a gig at a pub in Bethnal Green. We were so dreadful that someone should have taken us out the back and put us out of our misery. We plodded through about eight of our ten song set, unable to hear each other. After trying to get it together for a year and a half, we just fucked it. Ruth made the sensible choice and left the band and abandoned the self destructive lifestyle.

It took about another six months to pull ourselves together again. Richard bought in one of his drug buddies to play bass. He came from Clapham and his name was Clapham and we musically, we improved for a while.  We had started using a lot more rolling drum patterns and spidery guitar lines. Clapham’s lines also began to become more intricate and the music began to lose cohesion. There was nothing to hold onto.

We would have worked something out but personalities began to clash. Clapham was just too damn straight. I always thought he looked down on us as freaks he could slum with until his real career took off. I really don’t think the rest of us had anything else we could do. We had dug ourselves so deeply into the life we had, there was no turning back. We played one gig in Clissold Park, Stoke Newington. They wouldn’t let us play without a name so at the last minute I said call us “ABCDEFG” because the Cramp’s song “Under the Wire” was playing on the stereo (technically the mono) and Lux gurgled that line out at the appropriate moment.

With Clapham ejected, Lisa found Jez (James) and he wanted to play like a Ramones, I had no objections. Our first gig (under the name Blood and Roses) was at the Anarchy Centre in Wapping on the first Sunday in January 1982. Ten days or so earlier, on Christmas Eve, a gang of skinheads had broken into the squat on a smash and injure mission. Some things never seemed to change.”

Lisa, “Myself and some friends had moved into a block of squats in waterloo and were setting up house, new people were moving in all the time, there were plenty of flats and loads of different kinds of punks, it was a really good mix loads of characters and a really good mix of music came with them.

Ruthless and Bob turned up. Ruthless and I became good friends, and then just got to know Bob too. They had a singer but things didn’t work out and then I had a go.

Was very unsure of myself at first and after all those plans I had when it came down to it I was petrified. Bob was brilliant though and he worked with me through the songs I guess he must have known how nervous I was because he was just really patient and gradually I pushed a voice out.”
With the band largely propelled by Bob’s will at the start, he also was the one to pick the name.

Lisa, “The name was nothing to do with me, Bob picked the name. It was so much more Bobs baby in the beginning.”
Bob, “The name came from Roger Vadim’s 1962 film of that title. A version of Sheridan Le Fanu’s Carmilla, I remember it mostly for its hallucinogenic central section. Obviously, we were looking for a different kind of a name than everyone else. I was taken by the poetic sound of the phrase. To me it suggested not just a darkness and a passion but a beauty too. There is an obvious menstrual connotation there to which, hanging around “witchy types”, I was quite drawn to.”

While the only true title that can be bestowed on Blood And Roses is “squatter band”, revisionist history often puts them as being involved with the goth, death rock or Batcave scene which the band actually preceded. What with some of the Crowley inspired content and the often creepy crawly guitar playing not to mention the growing interest in more tribal rhythms, it’s an easy mistake to make.

Bob, “It would have been a little hard to set out to be a goth band or a death rock band before these phrases were coined! In the end, it doesn’t particularly matter what people call us. You ultimately don’t have much choice about the pigeon holes others will try to find for you.

I think we started as a punk band but that we initially sounded a lot like a Sydney punk band as opposed to a London punk band. That kind of set us a little apart right from the get go. Then we just began to grow from the original seed into something else. By the early nineteen eighties, there were a lot of different kinds of music around to influence us. Perhaps we generally moved towards a darker edge and if people want to call that goth or proto goth, I don’t really care.
The only relationship I tried to have with the Bat Cave crowd involved chasing women dressed like Vampira or Morticia Addams. Sure, I went there but I also went there on nights where different club nights were happening. I felt no attachment to the scene and I hated the way thy would leave people queuing down into Dean Street as the door bitches worked their go slow policy in the name of cool.

I think some of the Alien Sex Fiend songs are pretty funny but they never really rocked my world. I thought of them more as a vaudeville routine. I’m not knocking them. I quite enjoy certain vaudeville acts. I don’t think Blood and Roses were a vaudeville act.
We weren’t entirely po-faced. “Curse on you” was kept in the set because it was funny. Even when I had written it as an unpleasant teenager, I probably meant the anger but expressed it with tongue clearly pressed to cheek. Other material was very serious.”

With that same sentiment, it would be hard to call Blood and Roses an anarcho punk band in the obvious sense. But with their involvement in the squat scene, their regular gigs at @ centres, their lyrical content and Bob’s relationship with the Kill Your Pet Puppy group, they were by default as involved as the Mob or Flowers In The Dustbin or the Apostles.

Lisa, “The bottom line really was finding a place to live, getting water, electric, food, drugs and music keeping on doing what you’re doing and meeting others who pretty much did the same. As soon as someone puts a label on something it creates a division.”

Bob, “As I said, I never referred to us as any kind of a band. I don’t really think we fitted into any convenient package. Our first gig as Blood and Roses was over at the Wapping Anarchist Centre and, when we played there, we didn’t sound out of place. They were without doubt the best gigs we played. That was where we felt at home. They were the people we liked playing to. We were squatting in the same squats and hanging out together all the time and talked about the same crap. Andy Martin of the Apostles lived just around the corner and the Mob were just a slightly longer walk away in Brougham Road. I can’t see any reason we would have thought of ourselves as out of place or different.

It is only in hindsight that people are desperate to work out who was in what category.
My very favorite gig was at Centro Iberico when we got up at the end of the night to play a short set because we were all there. We played three songs and the whole place just exploded. In the gaps between songs, the roar that came back seemed louder than the band. It was like some giant animal roaring at us. That was cool.
Playing the Anarchy Centre was not without consequence. Whilst we got the odd gig at the Moonlight and a few pubs here and there but the circuit remained closed to us. Later, I was told that this was because we had been one of the Anarchy Centre bands which had allegedly pulled the crowds away from the Lyceum and led to it’s closure. We had been black listed.

Of course, that story is stupid. The A centres rarely pulled more than a crowd of two or three hundred people no matter what anyone says.  You wouldn’t have been able to fit many more people into Wapping if you tried. Of course, these days, if some of the tales I hear are true, the Anarchy Centre must have been double the size of Wembley. The Lyceum’s decline was the fault of management. When your premier acts are the UK Subs, The Exploited and the Anti Nowhere League, you are really trying to run an empire off of the laws of diminishing returns.

Besides, you would have to pay me to go and see the Exploited or The Anti Nowhere League and you would have had to pay me well. I was not alone in this notion.”
Bob and the group were part of the anarcho scene almost by default.

Bob, “This was where I lived. This was a scene that wasn’t there to start with and grew up around the people involved and that included me. This wasn’t something I sought out, I just found myself there. It was a damn exciting scene to be in because it was filled with talented (and some not quite so talented) people who shared an enthusiasm to create something. We didn’t come out of middle class art schools and nobody’s daddy was in the wings paying the bills. We all started on the level playing field of having less than nothing and it didn’t even phase us.”
With this broad appeal, the group found themselves playing with a wide variety of bands from the anarcho groups to the proto-goth groups to post-punk units.

Bob, “Oh, you know what it’s like. Sometimes you play good and sometimes you play not so good. There wasn’t a whole lot of fold back so it could be fairly difficult to work out what we played like. From the moment we started playing, people started jumping around and that was a good thing.

We played with the Mob and Part One. We played with the Apostles, the Witches and Oxy and the Morons. We played with the Sisters of Mercy and UK Decay. We played with The Sex Gang Children, Brigandage and the Damned. We’d play with anyone who was happy to let us share a stage with them (and quite a few who were not). Once we rolled up to find a whiny little loser had nailed himself to the front of the stage and was going to play regardless. He turned out to be Billy Bragg. I’d like to tell you he was brilliant but I got so bored that I walked into the other bar to watch Culture Club on the Video juke box.

Personally, I didn’t care who we played with. I always maintained the arrogant notion that when we had the stage it belonged to us. We were more than happy to share it with members of the audience but we never thought in terms of us supporting anyone or them supporting us.

People would turn up to see us and then either leave or cause trouble for any bands that followed. This would further jeopardize pub support gigs. Once we were playing at a pub near Earls Court supporting the highly touted Playne Jayne. We played and left. The audience demanded Playne Jayne get off the stage and let us back on. Windows were broken and furniture smashed. It was a rare instance of being banned from a venue even though we were already on the 73 bus and half way back to Stoke Newington.”

Bob was also getting involved in the aforementioned Kill Your Pet Puppy collective. While the title “collective” may have been largely bestowed upon them by the outside world, the group did revolve around the fanzine of the same name.

Bob, “I don’t think there was really anything you could really describe as a Kill your Pet Puppy collective. It was more a social group than a collective in the “Crass” sense. This is something you should really talk to Tony D about because, although I knew everyone who wrote for that fanzine and hung around with them socially, I was at no point involved in the production of that magazine.”

But many of the interests of the Kill Your Pet Puppy group started to come up in Blood And Roses interviews including revisiting punk’s relationship with the Situationist International.

Bob, “Well, I don’t think we alluded in interviews. I think we quite openly discussed these topics and therefore they obviously affected the music and the group. On one level, we were clearly affected just through lifestyle and the social groups through which we moved. We alluded to some of these things lyrically whilst other things were sung about more directly.

A song like ‘Paradise’, though more poetically phrased than many of its genre cousins, is clearly about what I disliked about ‘normal’, nine-to-five, nuclear family wage slavery. It is a straight forward text. A song like ‘Necromantra’ needs to be scratched at to decipher meaning. A song like ‘Spit on Your Grave’ probably needs a road map.”

While these ideas were implicit with the group, Lisa found it best expressed through the music and less through interviews.

Lisa, “Ahhh! Interviews, I always thought it wise to keep my mouth shut and this is pretty much the first time I’ve ever taken the time to say anything. You can probably tell by my grammar.
There was always much talk and it’s good to shift a few ideas around but it’s like once someone has printed them you’re stuck with them. And then someone sticks a label on you and puts limits on you.
I really just like to take each situation or day as it comes and do the best with it that I can.
Blood and Roses were a group of four different individuals it would be impossible to say that we were all on the same track; we made music together and added to the mix until it had its own sound our attitudes were tuned on that level and that’s pretty much all that mattered.”

In attempt to somehow label and therefore find a place in history for this new generation of groups, the NME promoted the notion of Positive Punk of which Blood And Roses were unwittingly involved.

Lisa, “I haven’t got a clue. Positive Punk was probably something that sounded good; I know I didn’t come up with. It was a title for a piece in the music papers which we read then got on doing what we were doing.”

Bob, “Well clearly something was happening musically as 1983 raised its ugly head but it didn’t have a press agent behind it so the music papers were confused. As the Bob Dylan song says ‘Well, you know something’s happening but you don’t know what it is. Do you Mr. Jones?’

Basically, I think it was the sound of punk moving out of the ghettos it had allowed itself to fall into. Maybe it was the birth of Goth and maybe it was just a tree branching out into a wider range of possibilities. Richard [Cabut] North wrote his very passionate article for the NME but its contents were overshadowed by those two dread words on the cover.

Actually, it would have made a good cover for 2000AD with Judge Dredd pushing the barrel of his gun up the nostril of some guy with a Robert Smith hairdo. “Are you Positive, Punk?”
It was just a label that didn’t stick because those words are essentially meaningless. The article itself is titled Punk Warriors and that is equally meaningless. If a sub editor had plastered the words “The New Noise Terrorists” across the cover they would have probably had a better response even though such a phrase would also be quite meaningless. It’s just that everyone would be queuing up to be called a “New Noise Terrorist”.
Maybe I missed my calling in advertising.”

By this time in 1983 the group had been together for some three years. Though none of it was released until 1984’s “Life After Death” cassette, the group had been self-documenting on tape all the while.

Bob, “The first line up for the band was complete by early 1980 and we recorded our first demo that year. We scraped some money together and tried to record a demo tape at Alaska studios. The results were dreadful - bad enough to make you want to throw your instrument in the dustbin. Some guy from Essex actually stole the one copy we had and we were eternally in his debt. I hope he recorded something off of the radio over it.

Why was it so bad? Well, I’m sure some bad chemicals were involved but, more importantly, no-one behind the desk had a fucking clue what the music was supposed to sound like. They looked at us as if we were the scum of the earth. Even 999 (who were rehearsing next door) tried to hide from us. The management wanted us out as quickly as possible. We recorded two songs (No Allegiance and Paradise) in about fifteen minutes including guitar and vocal overdubs. Go to whoa and no second takes or sound checks. Then they told us to fuck off and come back the next day to pick up the tape.

The result was all heavily treated vocals and cardboard box sounding drums. The bass was audible but the guitar was sweetened and distortion free. They had made me plug directly into the desk with the promise of adding distortion later.

These days, with a bit more experience, I know that it is difficult to record this kind of punk music. The guitars present as a constant barrage of chords which fight for the frequency space of the vocals. A lot of the early punk tended to chug along on the bottom three guitar strings but the stuff that we played let all the strings ring out with a heavy treble bias. As I said before, I’d taught myself to play by listening to ‘White Light White Heat’.

Having noted those difficulties in recording techniques, I am still certain that a deaf gorilla could have done a better job than those guys at Alaska. All they seemed interested in doing was separating bands from their cash. They told you they’d do you a demo tape for about forty five quid or something. This was when the dole was about fifteen pounds ninety a week.

Even to this day, I think the largest part of the music industry is solely designed with the purpose of preying on the musical aspirations of the young.
We just cassette recorded after that for a while. Some of those recordings can be heard on the ‘Life After Death’ cassette. I quite enjoy listening to our version of ‘Louie Louie’ even though it is decidedly lo-fi. It was certainly a better result than the Alaska studio fiasco.

In 1982 we went into Starforce Studios, an eight track at Clapham Junction. The results were an improvement but the sound remained quite thin. Too many engineers are fixated with clarity and it sucks the life out of things. On ‘Life After Death’ you can hear some of these recordings.

We then went to Oxy and the Moron’s basement and recorded on a four track Portastudio. We were much happier with the sound we got there. The guitars were rougher and there was more spill. These too are on ‘Life After Death’.”
The first official release from Blood And Roses would be the “Love Under Will” 12” EP on Kamera.
Bob, “In fact, “Love Under Will” was released in 1983. Our low budget demo recording had convinced us we needed better resources to record so self financed releases were out of the question. Besides we had no money. I can’t even hint at how little money we had. We were all on the dole and the money was always gone the day after we got it. Kamera offered us a deal and we jumped on it. Anagram had also had their feelers out but that hadn’t amounted to anything.”

Lisa, “‘Love Under Will’ always went down well at gigs, right sentiment. Crowley from the little I know of him was another one looking for his own way. Searching for something more than we are allowed to look for. From whatever means possible he had the balls or insanity to go to the extremes that sometimes it takes. whether he found it or not who can say but bless him he gave it a go in a time when people were even more closed up than they are now. To me it meant do whatever it takes in your own way, under your own Will.

Recording it was great. It was the first proper studio and we were such a mass of freaks. The two producers in there didn’t even want to share the same room with us so luckily for us we got Ralph Jezzard to do his producing debut and he got out of making coffee and tea all day. He was only 16 but had his own ideas about music and was really patient when one of the band would nip off to score or find a chemist or pub.
We were all well pleased and was the first time any of us had heard ourselves before.”

The four-song EP (the title track, “Spit Upon Your Grave” and two versions of “Necromantra”) is a most auspicious debut record. Driven by the great title track, something of a darker version of “Breathless” with a Dolls-like drive, the record is most unique for it’s imagery and cryptic lyrics and liner notes.
Bob, “‘Do what thou Wilt Shall be the Whole of the Law, Love is the Law, Love Under Will’ is a quote from The Book of the Law. The mythology is that Crowley “received” the Book of the Law as a holy text from his guardian angel but I prefer to think of this as allegorical. This is the kind of thing one says when one thinks about creating a religion and I am not interested in religion. That doesn’t mean I am not interested by the philosophies represented by these religions.

The song ‘Love Under Will’ however, has its origin in Crowley’s novel ‘Diary of a Drug Fiend.’ In the book, an addict is cured by finding a purpose in his life through following Crowley’s doctrine. Now, I haven’t been a saint in the drugs department but there was one thing I had noticed. The more stuff I was doing with the band, the less interest I had in getting off my face. I started working pretty hard with Blood and Roses and was pretty much straight during the time I played with them. If we’re talking about the period before or immediately after, that’s a whole different ball game.
Give away lines like “Chinese water bites at me” may hint at both the famous torture and certain extracts of the fruit of the poppy.

The sleeve notes are influenced diatribe but influenced as much by anarchist philosophies as by Crowley. Certain magickal musicians have described these notes as hippy drivel but these are the kind of guys who are a little too overly enthusiastic about Norse mythology for their own good – if you catch my drift. Once again, there was an influence drawn from the linear notes of ‘The Psychedelic Sounds of the Thirteenth Floor Elevators’ at work but, looking back , the words are quite touchingly naive and passionate. I think the music says it better but I’m certainly not ashamed by what’s written there.”

For such serious content, the music seems almost contradictory being as upbeat and structurally rock-n-roll.
Bob, “Firstly, much of the early Blood and Roses material was in this style musically. “Curse On You”, “Paradise” an d “Jesus” all fitted into this style as did the cover versions we played like “Strychnine” and “Louie Louie”.  The rolling drums of later material came further down the track. I think it is safe to say that this was one of the few examples of this form we got around to recording.

Musically. I hear the Thirteenth Floor Elevator’s “Roller Coaster” played over a first album Stooges bass line and sped up to Ramone’s speed. Throw in a Johnny Thunder’s guitar solo for icing and I think you’ve pretty much got it. I’ve always wanted to do a version of it more at a dirge speed.”
The track “Spit Upon Your Grave” is credited as a collaboration between the entire band while the title (as well as Blood And Roses’ predilection towards horror and b-movies) suggests the name of the cult, rape/revenge film “I Spit On Your Grave” AKA “Day of The Woman”.
Bob, “In actual fact, I think a long like “Some Like it Hot” is more an example of a song writing collaboration than “Spit  on your Grave” because the song writing credit emerges out of the fact that the music was initially built up out of a jam.

The lyrics were written in advance. There was a fair bit of debate and hysteria in the air about so called “Video Nasties”. A lot of the pressure was emerging from right wing Christian groups and Mary Whitehouse would have been their poster child if only she was a hundred years younger and they had found a much larger sheet of paper to hold her bulk.

The lyrics were constructed using a variation on Burrough’s cut up technique. I took a newspaper article on one of Whitehouse’s attacks on films like “Driller Killer” and “I spit on your grave.” I found a paragraph on medieval witch hunts and wrote a page of utterly pornographic filth. I cut them up and played with the words.It wasn’t entirely random. I was looking to make connections with phrases. I was hoping to make the song a kind of Sister Ray and so I convinced everyone to jam a melody. The final form of the song isn’t too different to the first jam session though I did add those guitar riffs later to give it more form.

For the record, I don’t believe in the censorship of art. I don’t believe in classifications. Despite their vile reputations, I believe there is great artistic merit in films like “Driller Killer”, “Cannibal Holocaust”, “Salo”, “Caligula (Uncut)” and “Baise Moi”. All these films have been or remained banned in various parts of the world. Unfortunately, I think ‘I Spit On Your Grave’ is vile exploitation fodder of the lowest kind. Over the years it seems to have gained some kind of feminist credibility. However, I suspect the feminists in question are really seedy old men whose only interest is masturbation and then justifying themselves on the internet. Whilst I have no problem with masturbation in itself, I do have problems with anyone who would masturbate whilst this was on their television. Do I want the film banned? Of course not. If I don’t like a film, I don’t have to watch it. Besides, I might watch it again one day and see something in it I didn’t see before. Perhaps I will see a different sub text rather than the all too obvious cross referencing of sex, violence and death. I doubt it.”

She grips to silent paranoia
A victim of the changing times
She killed the girl her so called lover
And drowned in seas of rhythm rhyme
And as she lies in her death mask
I spit upon her grave

Finally, the cover art reconfirmed the lyrical sentiments.

Bob, “That was drawn by  Dave and Fod but I’d sort of told them what was supposed to be in the picture. They kind of ran with the theme. The central colour concept came as a tribute to the first “Thirteenth Floor Elevator” album.  In many ways, I held that up as the central totem even though I don’t think anyone even had a copy at that point of time. I wanted a semi mystical sleave notes and a psychedelic cover but the printers shied away from the exactly specified colour shades because they thought the original red and green clashed too much and we must have made a mistake.

The dancing skeletons stabbing each other in the back were symbolic of how the world seemed to be. It related to the song Necromantra. You could take it as superpowers, businessmen or lovers.  The deceit of their actions had led them to mutual destruction. The exploding clock suggested time was running out.

The front cover also contained the planetary symbols for Jupiter, Mercury and Venus. (Jupiter because this was a commercial endeavor and the success of the message was reliant on successful entry in the market place. Mercury as the messenger and the creator of musical instruments and Venus, of course, for love.)
The rear cover depicts a Golden Horus framed by the signs of the zodiac and contained within a Yin and Yang symbol. Fairly straight forward imagery, really, centered around a central theme of balance. A problem on the front cover and a solution on the rear.”

In many ways, the themes of this record further reflected some of the other interests unique to the Kill Your Pet Puppy group.

Bob, “I know a lot of people have trouble with this Magick and mysticism stuff but it is probably best addressed in terms of a separate language. Through the use of the short cuts of symbolism, I can communicate a series of ideas far easier than I can through conventional  words. If I use terms like Bat Cave, Goth and Anarcho Punk, I equally create a kind of short hand.  If I’m writing to you, you immediately recognise those terms and we can convey broad concepts easily. With other people, If I told them that The Specimen were a kind of Bat Cave band they’d think of Adam West and Burt Ward.

For me, a great part of the appeal of Crowley’s philosophy came out of what was lacking in Anarchist philosophies. Whilst Anarchists spent much time identifying power structures and talked about the corrupt nature of the system, there was very little thought about how individuals could find a way to define themselves in terms outside of the system. I think Crass’ overall popularity would have dipped substantially if their set list had contained such titles as “Let’s plant the crops”, “Together we can make a windmill” and “I’m happy cleaning the latrine.” Ultimately, these are the your major concerns when the revolution comes and they don’t fit into the romantic fantasy.

Crowley talked about looking into yourself and finding your strengths and developing them. If this sounds like the modern “literature” that clogs up the self help section of your book shop, that’s not surprising. These are ideas that have now permeated the main stream but in a form that is driven towards financial rather than personal reward.
Do I believe in spells and magic charms? Most definitely. But not in the way you might understand the concept. To write replies to your questions, I had to go through the ritual of setting up my computer and gathering my reference material so I could make sure I didn’t misspell anyone’s name. It is a spell to achieve a recognized goal. Likewise, charms remind me of purpose and my decision to take a certain path. They are tools to help me achieve what it is I want to achieve.”

The following year, the group released the aforementioned “Life After Death” cassette on 96 Tapes, a cassette only label that released music from Subhumans, Faction, The Mob and others.
Bob, “Either Andy Martin or Rob had already put out a cassette with a live performance at the Clarendon. The Mob were on one side and we were on the other. It wasn’t like a contract thing. It was all pretty underground. I remember being asked and I just said okay. It was no big deal and there was no money involved. I just wanted people to hear us.

“’Life after Death’ emerged because I was being literally inundated with blank cassettes asking for copies of demos. When it got to the point that I seemed to be doing ten hour days answering mail and dubbing cassettes, I think it would be fair to say I’d had enough.

Rob had been in a band called Faction with Fod (Love Under Will artwork) and Martin who both lived upstairs from me. I can’t remember if Faction ever got around to playing but I do remember sitting under their rehearsals. Rob was already doing 96 Tapes and he offered to take over responsibility. It wasn’t a money thing but a lot of tapes went out and no-one was more surprised than me when the thing got a five star review in Sounds.”
The tenth release for this extremely successful tape label that would be related to All The Madmen, the group had stumbled into the peak of cassette culture.

Bob, “I think we stumbled in by accident and found ourselves right at the cutting edge. Cassettes were like how the internet is now. It was a way to distribute music without the constraints of capital or industry. Of course, the internet is becoming more difficult now as it becomes more of a business thing.”
With the success of their first 12” and a distribution deal with Communique, the group released their 1985 follow-up single on their own Audiodrome Records.

Bob, “Essentially, we were Audiodrome records. The name came as a variation on the title of David Cronenberg’s film Videodrome. In the run-out of the original album, the words “Long Live the New Flesh” are carved in tribute. The theory was we were creating music that would bury its way into people’s head and change them inexplicably just as the hidden signal on the television had fucked with James Wood in the film. Whilst this is utterly preposterous in reality, this is essentially the true nature and purpose of all art; to make a connection between artist and audience that is some way affecting  I guess you could call Audiodrome Records an allegorical record company. Because it targets itself directly to emotions, I believe that music has the potential  to invoke a revolutionary change of mind and spirit. If Blood and Roses and Audiodrome had a mission statement, it involved the breakdown of the corporate control mechanism; the “signal” within the music triggered a response that led to liberation, of course, there was no real signal. This was a metaphor for what we perceived as the spirit or emotional core of the music.

Audiodrome came about because Communiqué in Norwich was willing to distribute. We simply did not have the resources to fund a record label. Communiqué provided an advance to record and, based off of that, they distributed a certain number of records. There was supposed to then be further negotiations if they wanted to distribute more. Despite watching twenty copies of it vanish from the Virgin Megastore in Oxford Street in a day and it selling out everywhere, it was never repressed even after it got a five star review in Sounds.”
The first release for this new label was the “(Some) Like It Hot” 7” and 12” single.

Lisa, “Love, Sex, Drugs ,Pleasure, Pain. Whatever makes you feel. I suppose to me, some like it hot means the extremes; obsession, possession. To drink from whichever vessel you’re drinking from until it’s empty and then move on.
Very vampiric in a lot of ways. Like a lot of things sometimes if you lay things out too clearly about what you might be doing they wont draw their own picture.”
Bob, “Lyrically, I wrote one verse and the Chorus so I’ll only talk about the bits I wrote. You can ask Lisa about the verse she wrote.

I was fairly obviously writing about Sex; total mind fucking sex. The kind of sex that makes you utterly oblivious to the universe. The kind of sex where hours vanish and the desire to surrender to that oblivion and the feeling of soul deep completion that creates. It also touches on the darker side of those moments; obsession and addiction.

Hardly world shaking stuff (unless you are in an environment where everybody else is writing sexless songs about the state of the world). The song is just called “Some Like it Hot” without stupid brackets. In the mastering studio, there was some concern this might be confused with the Duran Duran spinoff band (Power Station?) single of the same name that they’d mastered the week before. Cue stupid brackets.
The run out on the seven inch vinyl bears the legend ‘No thanks to DD.’”

Summer screams of Soft Caress
The mounting of desire
The whispered breath of scented sweat
The fuel onto the fire

Musically, it’s one of their greatest results with Lisa’s perfect vocal delivery exactly suited to the bouncing, demented rockabilly meets Birthday Party riff.

Bob, “Musically, the song began with what became the bass line of the chorus. Ralph gave it to me and asked me if I could turn it into anything. He thought it sounded like a verse riff. I was really going for a kind of Glam/Rockabilly feel as I started to piece the rest of it together. Initially, it was just going to be a big T-rex meets the Stray Cats kind of thing relying on a verse riff with chords in the chorus. That, however, did sound a little too like the Birthday Party for its own good. That isn’t entirely surprising given the fact that  we grew up in a very similar scene to similar TV and radio.

I wasn’t completely happy until I tried the abrupt minor 7th Chord chops. I’d been listening to a lot of Chic and how they used rhythm guitar to drive the song – not that you’d notice by the brutal kind of chopping I employed.
I think the music really suited Lisa’s style of vocal delivery perfectly and it shows in the phrasing of the words.”

Lisa, “Once again it was brilliant getting into the studio Every time we went in we learnt something new and something new got added to the sound. It’s like being given a big canvas to draw on with a totally different set of colors.

I loved working out new harmonies and backing tracks. Had total trust in Ralph and he was just part of the band. Bob could put extra guitars over, exactly the way he wanted. Messing about with samples. Drums cutting in so you can feel them all running like an engine with the bass. Can’t speak for the others but I loved going in the studio.”
The 12” version of the single included a cover version of sorts with the band marching through the theme music from the film “Escape From New York”. In their live set, the group had been known to do other soundtrack material.
Bob, “We’d already been playing the theme from “Assault on Precinct 13” for a long time. It had started as just a jam and somehow become an intricate part of the set. We often opened with it and recorded it for the John Peel show. We then included it on the album. Quite simply, we did that because we liked the song and you couldn’t get it on a record. The Pet Shop Boy’s Neil Tennant (In his pre stardom capacity as scathing rock scribe) described it as a toneless drone before ripping the tune off for a Pet Shop Boys songs with no credit to the writer, John Carpenter.

We were kind of experimenting with synthesizers, a device we had no access to outside of the studio. I had the rough idea of what I wanted the music to “Enough is Never Enough” to sound like but I wanted to try to recreate something first so I’d at least have half a clue to what I was doing. It was done very quickly by Ralph and I. He did the arpeggios and I did the rest. It only took an hour or two and we thought it would be good as a B-side.  I still get a kick out of listening to it.

How did I get interested in soundtrack music? Shit. Isn’t that the first kind of music any kid loves? They all run round the playground singing the songs from movies and TV (and now Playstation too). Soundtrack music is very evocative and that direct emotional connection it draws from an audience is something a musician will always be keen to plug into.”

While actually covering soundtrack material only made a few appearances in the group’s set, soundtrack music loomed large in the groups approach.
Bob, “On a personal level, I was very influenced by the music of Goblin (who scored the films of Dario Argento). The music for “Enough is Never Enough” came to me under the spell of there theme for ‘Suspiria’. Okay, it sounds nothing like it but I was trying to write something that would have that same kind of inevitable gravity. I’m talking about the recreation of an emotional response so it is very difficult to qualify this in words. I do know that, if you play “Enough is Never Enough” through some kick arse speakers, everyone in the room turns and pays attention  when those first notes hit.

You wouldn’t have to look far to find touches of John Barry and Ennio Morricone in the guitar parts. I’d never stoop so low as to go for a direct steal but you can hear a certain essence in the solo of “Tomorrow” and the unreleased “Sins of the Chimera” had more than a touch of spaghetti western about it.

Of course, you don’t have to go very far into popular music to find these influences but many of them are received third and fourth hand. Whilst, the Ant’s Marco Pirroni obviously worshipped at the shrine of Link Wray and Morricone, how many of his imitators (and there were many in what became known as Goth music) were as knowledgeable of their roots?  Anyone hearing the theme to, say, “The Ipcress File” would probably feel a twinge of familiarity, few would name it and fewer still identify John Barry as the composer even though  it is absolutely typical of his style.

The opening section of the LP version of “Breakdown” is pure soundtrack but not openly derivative of any obvious source.  It is music to create a landscape in the mind of the listener. However, in another sense, I consider all of Blood and Roses’ music to be soundtrack. They create a landscape for the lyrics to inhabit.
Since Blood and Roses I have composed and performed musical scores for theatre and independent video productions. I am particularly proud of a soundtrack I wrote for a film called ‘Makers of the Dead’.

As for soundtracks I currently admire, well Angelo Badalamenti’s work with David Lynch is always tremendous and Howard Shore, whilst somewhat tainted by his work on the Lord of the Rings, is great with David Cronenberg. I love his score to ‘Crash’. I am a great fan of Italian horror soundtracks but these often are counter pointed by cheesy travelogue music that works to the detriment of the whole.”

The cover art was once again striking and original this time coming from Lisa.
Bob, “Lisa did the cover art to the “Enough is Never Enough” LP and the “Some Like it Hot” singles. Other than saying how much I like them, I don’t feel I’m the one qualified to talk about meaning.”
Lisa, “The cover was a drawing from one of my note books. We had to edit out the lines when we took it in for print and then had it enlarged. I tend to draw from my subconscious; I rarely have a particular idea in mind. Sometimes it’ll be a pattern I see in the actual paper and then go from there. That’s how that particular one started, then kept seeing other things sprouting out of an eye or a limb, then turned it upside down and saw a completely different character... It was suggestive enough to use for the cover.”

The quasi-surreal, psycho-sexual imagery worked perfectly with the themes of the song though the artwork was entirely inspired out of Lisa’s subconscious.

Lisa, “Had been drawing, sketching, doodling as far back as I can remember. I probably used a pencil before I could speak, was three when I first started to talk and then they’d give me a pencil and paper to keep me quiet.

My granddad was a Methodist minister. My Nan would give me something to draw on through his sermons just in case I piped up in my broken German accent. Being bald and bandy also I wouldn’t of collected the cute vote either, so was strapped into my pram with special straps that they, de got the blacksmith to design as I had a bad habit of escaping most forms of bondage and charging off (apparently sideways like a crab.) when things got a bit quiet. Unless given something to draw with.”

That same year, the group released what would be their final record, the “Enough Is Never Enough” LP.
Bob, “I think all you have to do is listen to that LP and you’ll hear how much we all enjoyed studio work.  All modesty not withstanding, I think ‘Enough is Never Enough’ is a tremendous record. It far exceeds what I hoped it would be like and comes damn close to what I dreamed it could sound like. I was working at a level that was literally above myself. When I wrote the counter piano line for ‘Your Sin is your salvation’ I was staggered by how well it fitted together.

Today I listen to it and all I want to add is a 12 string acoustic on Roles. And I would have liked to hit ‘Tomorrow’ at about 10bpm slower. Considering how much goes into an album, that’s a fairly small list of complaints.
Clearly, there was a lot of experimentation going on. It was really interesting and I wish I was doing it all the time. If there was any kind of market for what I do, I’d probably want to pump an album out once a month until I carc it.”

Lisa, “That is really hard to say. If I had it in front of me now to listen to I mean I might be able to tell you. I remember that was one of my favorite tracks and the lyrics which had been written separately working really well with the music.”

Whatever here it seems a little dreary
However you feel you seem a little weary
Gotta get, got to feel
Got to scream, got to steal
Got to know a little bit more
It’s not enough
No enough is never enough

Lisa, “Once again really did enjoy it. Used more sounds and samples which added more atmosphere, more keyboards really made you feel as if you’d only just got started on what you could eventually achieve. Once we left the studio we were all pretty happy with it and if no one else liked it I don’t think it would have mattered. So happy but knackered we piled into our taxi and then back to lay down our weary heads.

The taxi driver then after about 10 minutes cursed under his breath and the local friendly police car stopped him to check his license. Fortunately for Mr. Cabby he had four sleepy(but yet still happy) freaks in the back of his vehicle who looked far more a threat to society than even our shabby cabby.

After much tucking and dropping and swallowing we were asked to leave the comfort and warmth of the car to be searched and questioned by the roadside and then had to wait for the van to arrive to take us to the local nick, myself in handcuffs that were put on me after a brief argument as to our destination. Then another disagreement over what they now call a cavity search, I was given the choice of a women police officer or two men if I kept complaining. I went for the first choice as you can imagine. After several hours the not so happy went home and to bed.”

Bob, “I laid down all the synth tracks for the song ‘Enough is Never Enough’ in about an hour an half. I was so excited about it. I thought it was just an instrumental. I thought it was perfect and that it couldn’t get any better. The best bit was coming back a couple of days later and hearing the vocals Lisa had written and put over the track. Sometimes it is great to be proved wrong.

Hearing the playback of the “Some Like it Hot” guitar solo was pretty good too. I just thought ‘I nailed that fucker good!’
But seriously, I just love that record from go to whoa. I’d have bought it even if I hadn’t played on it.

The ‘Love Under Will’ 12” had been a big disappointment to me because it lost so much at the mastering stage. Listening to the cassette that came off of the desk in comparison to the vinyl was quite shocking. The drums sounded great but the mids had been stripped and with them went the guitars. Saul Galpern bought it down to a club we were playing and I was so enraged I grabbed the fucker and put him over a table. I am not a particularly violent person so I must have been quite pissed off.

The other problem with ‘Love Under Will’ was it was the wrong single at the wrong time. It was an underground record that would have sounded amazing without the hype but it wasn’t the kind of release that warranted the front page of the NME and articles in the Face. I had asked Kamera Records to hold back on Love Under will and let us record something additional like Tomorrow as a fully fledged A-side with broader appeal. A song like that would have rode the hype better and gotten wider airplay. Kamera had the tapes they had and just wanted to cash in on the unexpected bounty of media interest.

I’m not saying that ‘Love Under Will’ was inherently a bad record. Mastering aside, it succeeded in being what we intended for it to be. It was not, however, a record that demanded overnight success. We received our overnight success in between the time it took to record the record and press it and the vinyl didn’t back us up. They were too busy thinking about shifting 4,000 copies in a week when they should have been thinking about shifting 400,000 over a five year period. They could have had that with another 600 pounds worth of studio time that would have come out of our end anyway. Probably the worst things about capitalists are they are so short sighted and generally stupid. Even the smart guys are stupid.

If, however, you listen to the John Peel session that was recorded a couple of weeks later, you hear a band that could shake the world. The Peel session provided me with enough courage in my convictions to not run and hide. I think a lot of people crave fame for its own sake but when you achieve some fame and you don’t seem to have anything to back it up with, well… let’s just say it didn’t sit very well with me. The Peel sessions were at least some proof we had something to offer.

Finally, ‘Enough is Never Enough’ felt like vindication to me. I can point at that and say, ‘See, we were that damn good. It wasn’t all total bullshit’.

If it hadn’t been for the LP, I probably would never mention Blood and Roses to anyone. And the ‘(Some) like it Hot’ single was fantastic. That thing really deserved some kind of success but I don’t think it received one play on the radio ever. There have been a couple of times that I’ve been DJing and, to satisfy my curiosity, I’ve slipped it into a set between (say) T-Rex and The Cramps and there was no sign of it clearing the dance floor. I don’t tell anyone what it is or my connection to it. Whilst I do have a monstrous ego, it isn’t that monstrous.
Watching people dance to it just makes me happy.”

Once again, the unnerving cover art was supplied from Lisa’s work.
Lisa, “The cover was the fallen angel. Contentment seems impossible sometimes. If you’ve got it all what do you strive for? Why can’t I eat that apple? What does it taste like? What’s going to happen if I eat it? Paradise, Heaven if you believe those fairytales it isn’t enough anyway.”

One of the biggest failures of the group was the lack of touring. But it wasn’t out of lack of desire.
Lisa, “Ha! I wish we had toured more. Remember waiting for the van (no tour bus.) to arrive on one little outing and then rather dramatically smashing into the lamppost, looked into the window to see the driver and navigator goofing out with something that ran on foil. We piled into the back wall to wall people, mattresses and band equipment. The driver chasing the dragon while the navigator navigated the lighter under the foil. A kind of kaleidoscope of memories, Northern graveyards, irate vicars, drugs in toilets, students not paying so taking their equipment instead. I don’t know it just didn’t really happen for us.”

In fact, the drug issue was more and more a factor in the band leading to the sacking of tragic figure Jes.
Bob, “It was always difficult for us to get gigs. When we did get gigs, I tended just to get in the back of the van. The doors would fly open and there you’d be at the back entrance of some pub somewhere getting ready to play to two men and a dog and, quite often, the dog had been left on his own.

There were also some problems with touring that not every band has. Jes had developed quite a fierce habit and there were quite a few occasions where we’d ended up sitting in a van waiting for him to show up before we left. This placed us in a fairly limiting position when it came to touring.

It gave me the opportunity to talk to journalists about touring being an unnecessary ancient concept based on redundant Viking ideals of rape and pillage. I talked about how the music video was making such methods of promotion obsolete. It made me sound wildly prophetic.
Finally, we were supposed to be playing Brighton and we couldn’t find him anywhere. We had to cut our losses and it worked quite well. Ralph Jezzard had been the engineer on the “Love Under Will” sessions and we knew he played bass. He also lived half way down to Brighton.

Well, it turned out Ralph played really well and fitted in. He could play hard and he could also give a song space.
I think getting the boot was a bit of a wakeup call for Jes and he ended up going into rehab and sorting himself out. Unfortunately, it didn’t turn out to be the fairy tale ending it should have been because he died in a traffic accident almost immediately after his release. He had gone to the Hope and Anchor, gotten drunk and walked into traffic.

Jes’ piano playing on the extended mix of ‘Necromantra’ was absolutely beautiful. He should have bounced back and become the musician he wanted to be. He was very serious about what he did and what happened to him was dreadful and unfair.

Over the years, I’ve heard lot of idiots talk about curses and try to link it in with ‘black’ magick. The reality is that drink and drugs can fuck with you big time. Most of us involved with this band managed to escape the worst consequences of our actions. (The truth is, most drug users do.) Last time I talked to Lisa, both of us seemed amazed we were both alive, sane and generally healthy for a pair of old buggers.

Some might say that Blood and Roses’ failed because of their involvement with drugs but that isn’t really true either. As I have said, I have only ever really got myself in trouble with drugs and drink when I haven’t had anything to really focus on. The truth of the matter is, I am ultimately quite work obsessed. When I set about achieving an artistic goal, I will pretty much dedicate myself to the task at hand.

Likewise, I believe the worst excesses of my comrades occurred in the fallow periods. I’m not saying any of us were saints but it wasn’t an impairment.”
A later line-up got as far as the tracking stage with new material. But the band eventually split before they could be completed.

Bob, “There were some recordings made towards that end but they remained incomplete. However, as Cherry Red are talking about doing an anthology, some of these tracks might finally emerge. I haven’t heard the tapes so I’m not sure what is there and what is not. I’d certainly hope some of these songs are at least at rough mix level that would enable them to be unleashed on an unsuspecting public. If they’re not of a suitable quality for a CD release, I’ll see if I can get them up on the internet for the curious.”

With the middle part of the ‘80s being a jumble of different line-ups, it’s hard to say when the band split if they in fact did split at all!

Bob, “Hmmm. I’m not one hundred per cent sure we have. Okay, back in ’83 we called it quits because we had had all that hype and then we couldn’t get ourselves arrested. In 1985 we got back together without Richard to do the album. Parrot stepped in and demonstrated to me that a band is no better than the engine you build it up off of. Parrot ran a pretty tight engine. We toured for a bit but then Lisa was pregnant and we had to pull back a little.

We started work on the second album and it was sounding really good. Lisa and Ralph were writing songs and they were really good. Ralph kept showing me guitar lines and he was saying to play them this way or that way and it seemed a little ridiculous so, quite often, I just told him to play the lines the way he wanted to. It wasn’t a really big ego thing on my part to be the guitarist. I played on the songs I wrote but I moved into a different role.

Parrot was gone and Kate stepped in in her place. Whilst she wasn’t as good a drummer as Parrot, she was such a fantastic human being that I couldn’t say a wrong word about her.

There was some talk about going to New York and I couldn’t see how we would be able to pull that off.  We didn’t have any money.  We weren’t rehearsed enough. I took a sideways step and thought they’d go on without me but it didn’t happen.

Ralph and Lisa continued to record stuff including the amazing song ‘Heaven’. A few years later I was playing with Lisa again. I can’t remember if we even thought about what name we played under and we certainly played a lot of Blood and Roses material. We did a fantastic gig to an empty room in Herne Hill. I don’t remember anyone saying that was it. We just haven’t played a gig since is all.”

Lisa, “Things just happened really and we found it harder and harder to get together. Jez our bass player had died. Ralph was now playing bass and that was fine. We had got together anyway and then I got pregnant. For me it became pretty impossible after I’d had our son J.J and so eventually Bob got on with new things and the band stopped playing. We stayed in touch until Bob moved to Australia. Ralph and I stayed together for 12 years and then Ralph got married and moved to America.”

Bob, “Well, a lot of us kept on going to do a variety of things. Ralph went off and produced EMF’s “Unbelievable” single. As you can imagine, his services are now somewhat in demand. Rob from 96 tapes moved from running off endless copies of ‘Life After Death’ into a nice little music business career.

I continue to scavenge on the edge of the industry. I’ve played in bands like Seksmisja, Junkyard Blues and Psychobeat. None of them ever achieved any real measure of success but we played some great gigs.

These days, I score videos and theatrical productions. I continue to play in a number of bands but my favored musical project is Full On!. We kick butt pretty big time and, last time we played, we finished with ‘Spit on Your Grave’ and ‘Louie Louie’ which might be an interesting notion for people who used to go to see Blood and Roses. Our original material is fucking stunning too and I refuse to feign modesty. Unfortunately, we play on the edge of what used to be known as empire so it might be difficult for anyone to come and see us. You should, however, consider yourself more than welcome.”

Lisa, “After Blood and Roses I wrote and sang with Slabmatic. We were together for a year or so and came out with some good stuff as far as I was concerned but finally gave it up.”

Twenty years later, there’s probably still a lot more to be said about Blood and Roses.

Bob, “These days I generally reflect on the band through fifteen thousand word responses to email interviews. Last year, I also wrote a book entitled “Trash Can” and that gave me the opportunity to reflect on a whole lot of stuff.”
Lisa, “I look back on that time with a lot of affection, it wasn’t just a music scene it was a way of life. We were surrounded by creative unique and very talented people in all different kinds of ways. People all experimenting in different ways. Art, music, politics, drugs, magick, sexuality. You name it there was someone onto it. We created our own little community’s through squatting, gigs, attitudes and basically just surviving it all. And of course there was those who didn’t survive. But would not have missed it for the world, it will always be a very big part of who I am now…”

Bob, “No, I think I’m done. Except I think it would also be good to raise a glass to SOOoo who did backing vocals on ‘Necromantra’ and is also no longer with us. I hope everyone else is alive and well.”

Lance Hahn-Bullshit Detector

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Lance Hahn 1967-2007


Before his death in 2007, Lance Hahn sent me two chapters from his (still unpublished) book 'Let the Tribe Increase'). This would have been Chapter 6 'Bullshit Detector' and features Amebix, Andy T, Disrupters, Sinyx, Snipers, Icon AD, Metro Youth / Sanction and Kronstadt Uprising. As well as Lance's interviews with group members, it includes several extracts from fanzine interviews.

Significantly, there is a strong emphasis on the political views of the groups which makes this a fascinating piece of social history.


1. NO GODS. NO MASTERS.
The Amebix Story

2. LIVING IN FEAR OF TOMORROW
The Story Of Andy T

3. ANARCHY, SELF RULE, CAN’T YOU SEE?
The Story of the Disrupters

4. DO WE OWE ANYTHING TO JESUS? NOT A LOT!
The Story Of The Sinyx

5. UNCOMFORTABLE REALITIES ARE ALWAYS BETTER FACED AND NOT FORGOT
The Story of the Snipers

6. FIGHT FOR PEACE
The Icon AD Story

7.THERE’S TOO MUCH ON MY MIND
The Story of Metro Youth / Sanction

8. BLACK IS THE SHADE OF NEGATION
The Story Of Kronstadt Uprising

BULLSHIT DETECTOR BY LANCE HAHN
Who would suspect that macho, maverick, American expatriate writer Ernest Hemmingway would have such an impact on punk rock? Perhaps showing that at least initially a more literate and sophisticated genre, it was he that first made reference to the imaginary device in his quote, “The most essential gift for a good writer is a built-in, shock-proof, bullshit detector.” That sentiment was picked up on by Joe Strummer in the Clash via “Garageland”, “back in the garage with my bullshit detector.” Inspired by that song, Crass began a series of compilations of likeminded groups of all genres. Calling these compilations “Bullshit Detector”, there were three in total with the first coming out in 1980. While many of the artists involved would never be heard from again. Several others would become critical to the scene often winding up recording for bigger indie labels like Spider-Leg, Bluurg or Crass Records.

Not wanting to exert any sort of quality control over the product, the songs appearing on these compilations ranged from proper studio recordings to simple homemade cassette tapes. With all the contact info listed with each band, these compilations helped not only with the communication in the DIY, anarcho scene, but also with the rise of cassette culture that was so important.

1. NO GODS. NO MASTERS.
The Amebix Story

In Sergio Leone’s remake of “Yojimbo”, “A Fistful Of Dollars”, Clint Eastwood is introduced as the Man With No Name. This smart and ruthless loner threads warring factions without backing down or getting killed, manipulating them in the process. This character, which was actually named Joe, would continue his merciless trek through “For A Few Dollars More” and ultimately in “The Good, The Band And The Ugly”. Such a character was one of the earliest influences on the group that would become Amebix naming themselves originally The Band With No Name.

Rob (Aphid), bassist and vocalist, “We originally formed at school. Billy and Clive were in the Band With No Name, the first band. We went through several changes in line up before going to Bristol and meeting Disorder.”
Known to many for their dark, gothic imagery and their metal influenced sound, the group’s origins were still centered in punk rock.
Rob, “Through Stig, my older brother and friends at school, we listened to everything we could get hold of and John Peel on the radio to find out what was happening…

“Stig suggested it when he returned from Jersey. We liked the ideas of Sniffing Glue fanzine who said that anyone could have a go. So we took them literally without any musical knowledge or even the ability to tune our guitars.”
Forming in 1978, The Band With No Name would go on to play 15 shows before having a rethink and reemerging as Amebix. But before that would happen, they recorded a demo tape. While maybe not successful getting the demo out to the public, one copy did get into the right hands finding them a spot on the first Bullshit Detector compilation.

Rob, “Stig and I recorded a terrible demo in my bedroom in a couple of hours. We sold six copies, and one of them I gave to Crass when I was working as a music reporter for a local paper. That gave us our first track on ‘Bullshit Detector’.”
Recorded in the transition to Amebix, this raw and noisy demo has almost more in common with what would have been considered industrial at the time. The echoic, muddy noise surged forward through songs like “Amebix”, “’77 Faded Heaven”, “Rabies”, “Disco Slags” and “University Challenged” which is the track that would appear on the aforementioned Crass compilation.

That first Bullshit Detector was an indicator of things to come, as it was the debut for many groups that would play a prominent role in the anarcho scene like the Alternative, Andy T, The Sinyx, The Snipers, and The Disrupters. Like most things Crass were involved with, the record found a wide audience selling thousands of copies and putting the newly christened Amebix in front of an automatic audience.

Rob, “It was very encouraging for us. It helped us to decide to pursue the music further.”
Rob and his brother had become aware of Crass and the growing anarcho scene from a friend at the special school.
Rob, “A lad called Ali at the special school mentioned there were a lot of punk kids from London who had been sent to that school for behavioral problems. We hung out with them when they came into town, and they introduced us to some new music.”

The name Amebix, which was also the name of the first song on the demo, was meant as a musical descriptive term rather than anything philosophical.
Rob, “Amebix was from Ameoba. We decided on the name after a gig in a special school in Devon. We were emphasizing how primitive we were; a basic musical form.”
Adopting the pseudonym of The Baron, Rob and brother Stig brought in a drummer named Martin, who let them live in his family’s abandon mansion in Dartmoor. This life would play heavily with the band’s ideas and lyrical imagery.

Rob, “When Martin joined us we lived in his parents’ manor house on the edge of Dartmoor. Very ancient Scooby-doo type of place. We got into drugs there and playing at night, sleeping during the day, reading a lot of Occult stuff. We were drawn to a heavier type of imagery than anything that had previously been associated with punk rock.”
What few gigs they did at the time were largely exercises in futility.
Rob, “We played around youth clubs and village halls for the time we were in Devon, often being canned off stage or attacked. Some trendy new wave types of bands were also on the scene. They could play.”

Shortly after adding a synth player named Norman, Martin’s family returned to find what was probably their worst nightmare. The band packed up and headed for Bristol while Martin’s parents got him medicated.
In Bristol, the band soon became friends with hardcore punk Disorder. Two bands trying to survive together seemed like better odds.
Rob, “We squatted together, shared everything, gigged together and shared the drummer until Virus left Disorder for Amebix full time, but only for a while before he left.”
At this point, the squatter scene was still considered synonymous with the anarcho scene and out of financial realities, Amebix were in the middle of it.

Rob, “Hardly at all in Devon. But once we moved to Bristol we were living the life all the time through necessity. Squatting and eating from the bins.”
In other ways, the band was to be loosely related to the anarcho scene as well.
Rob, “Yes and no. I always thought we had another take on music and attitude, not so much political, although we tried to be at first.”

More than a year after that first demo had been released, the “Bullshit Detector” album finally came out. Through Crass, they were introduced to the guys from Flux of Pink Indians. It proved to be good timing as Amebix had just been able to scrape together the money for their first recording session as a serious band.
Rob, “We were mainly trying to survive when we hit Bristol. It was a very desperate time. I still don’t know quite how we managed to record at all. But we all put in our dole cheques and went for a day’s session for “Who’s the Enemy”.”

Released on Flux’s label, Spiderleg, the four track EP was unlike anything at the time. Tribal with metallic guitars and short, sharp lyrical phrasing with only the second track, “Curfew” acknowledging the hyperactive hardcore that was happening around them. The thunderous tom tom drumming from Neil AKA Virus, resembled Theatre of Hate or even Joy Division. Raw and simply recorded (at SAM studio for 85 pounds total!), the songs “Carnage” and “Belief” represented the band’s unique style that would guide them for the rest of their existence while the final song, “No Gods No Masters” would be their battle cry.
Rob, “It is still a relevant slogan; self empowerment.”

No Gods No Masters
Your God is your chain
Reject your God
Reject your system
Do you really want your freedom?

With the artwork came label art depicting what could either be seen as a demonic face exploding or something more abstract.
Rob from Rejected Fanzine #3, “It is a painting of a guy called Austin Sparewho dealt primarily with atavistic art, symbolism if you like. The face is a very immediate painting to me, you know what was in the artists mind when he painted it. Atavismis the drawing up of images from the past through art including music.”

Released in 1982, the band now found themselves with a little more freedom following the success of previous Spiderleg releases by the System and especially the Subhumans. It was followed up early the next year with a two song 7” called “Winter”.
Rob, “It was very much an expression of everything around us. It was a grim time in the early days in Bristol, the drugs and the hardships.”

Wrap up warm
You’ll catch your death
Don’t let your death catch you
The winter tears the Earth apart
Lets hope we see it through

While maybe addressing more worldly things, the b-sides “Beginning of the End” is no more joyful.

The time is near at hand
A fact you must accept
Time stands still for no man
Not even for the rich
So sorry we’re so humourless
It’s just the way we are
You laugh but I don’t get the joke
We walk but don’t get far

The grim, deathlike sketches that also featured on the first EP were this time further emphasized with a foldout poster sleeve. Released on the heels of the Subhumans debut LP, this was another success for the band and Spiderleg.
With these EPs under the belt, it was a lot easier for the band to hit the road and play around the country.

Rob, “A fair amount. Disorder and Amebix would do a lot of gigs together all over the country, including free festivals etc.”
It was during this time that they played for a while as a trio having lost Norman on keyboards. But with news from back in Devon, they hoped to bring back Martin though this time as synth player.

Rob in Children of the Revolution fanzine #3, “We released a second single, ‘Winter’ also on Spiderleg and were happier with the results, as we had the use of a better studio. We will soon be recording a new 6 track 12” EP and hope we can get Martin back to play synth for us as he has just been released from a psychiatric hospital.”
That 12” was “No Sanctuary” and was miles better than the previous recordings.

Rob, “We recorded in London, stayed with Flux and worked hard at it. Jello visited the studios and told us that he liked what we were doing and wanted to offer us a deal if we needed one later on.”
Though not very common in recent times, 12” EPs were pretty common even for punk bands in the ‘80s. But for Amebix at this time it was a necessity.
Rob, “We didn’t think there was enough material for an LP. Also a lot of people were doing 12"s at that time, seemed right.”

They lyrics, though no less grim, were a lot more thematically recognizable with songs attacking technology (“Progress?”), accidental nuclear war (“Sanctuary”), religion (“The Church Is For Sinners”) and general civil liberties (“Control”). But standouts on the record would have to be “Battery Humans” and “Sunshine Ward”. On the former, a story about factory farming is told as if humans were being vivisected.

Back in Cell Block 427 the rest don’t care if he’s missing
Two beasts fuck frantically, fearful of their slaughter
One bloated specimen rolls off its mate and proceeds with pissing
The shit drips between his legs as he pisses on his rotting daughter

With “Sunshine Ward” the band are as critical of themselves as with their fellow drugged out squatters.

Life in this building is freezing and wet
If I once had a brain then I seem to forget
Cos just when I caught it, it slipped through the net
Now we sedate ourselves slowly
No time for regret

From the first note of feedback in “Battery Humans” to the ending trancelike instrumental of “Moscow Madness”, this is certainly the band’s most unique musical document. With simple yet great sounding production, the band for one record abandons most of the heavy metal trappings that appear on all of their other records. Driven more by songs than by riffs, this record also best showcases the original drumming style that was crucial to their early sound keeping them from becoming just a straight metal band. Along with a big bass sound that wasn’t present on the 7”s, there are moments even reminiscent of “Death Church” by Rudimentary Peni.

As a trio the group went on to tour Italy. Before the end of ’84, they had added George from the group Smart Pils on synth and toured Holland. At the end of that tour, Virus left the band to be replaced by Spider.
Rob, “Spider was in a band called Scum before he joined Amebix in around 84.”

As mentioned before, Jello Biafra had been around during the recording of “No Sanctuary”. Liking what he heard, he offered to release the band’s debut LP on Alternative Tentacles and the band agreed. 1985 would begin with a lot of serious work with songwriting.
Rob, “We began to get more serious by the time we were writing material for “Arise”. We took Jello up on his offer, although they were a little disturbed by the Metal sound when we presented the finished recording.”

Stig in Paid In Full fanzine #3, “The deal with Alternative Tentacles came about because when the Dead Kennedys and MDC did their last tour here, we got in on their guest list because our old squatting chums Disorder were playing support for both bands. After the gig all of us went back to the posh hotel the DKs were staying in. There were about 50 of us if I remember correctly and the hotel bar was open late. So naturally we caused some minor havoc. So the bar refused to serve anymore drink until we had left the hotel. So not wanting to deprive the DKs of alcohol we departed taking MDC with us as they seemed adventurous types and took them back to Bristol with us and they stayed the night in one of our numerous squats.

Which was a different experience for them coming to terms with the squalor we lived in. When they looked at us in the morning one of them said, “Christ you guys look real unhealthy.” A fairly accurate statement at the time. So they bouth us breakfast healthy things like orange juice and stuff and from there on we got on really well with them and Jello Biafra. When we played the George Robey in London they came to see us and liked our stuff. Then we took them back to Southern Studios and made them listen (full blast) to the master tape of our second single “Winter” which Jello raved about. After leaving Spider Leg Records we contacted Jello and he immediately said yes. We convinced him that we could make a classic album if we were left to our own resources and with out any interference from the record company as we had with the anarchist Spider Leg Label. ‘Arise!’ is the result.”

The nine songs that make up “Arise!” are thought by most to be the most important Amebix document. With its high production standards, most complex arrangements, and metallic guitars, it’s like if a much, much more sophisticated version of Venom swapped Satan for anarchy. While metal may have been a disturbing trend with crossover in hardcore punk, this record, with all of it’s heavy metal influences, was still far removed from that sad scene. The alien metal guitar sounds with the soaring synth noise was a mix of New Model Army and Berlin era Bowie. In fact, the whole record has futuristic feel to it. Not the space rock of Hawkwind, but something new and unsettling.

Rob, “It is still strong. Simple and strong. I am very proud of that record as a real milestone. “Monolith” was very badly produced. For me “Arise” was our “Black Sabbath”, and “Monolith” was “Never Say Die”.”
Stig in Paid In Full #3, “Are people raving about it? I didn’t realize. That’s nice to hear. Though I do believe it’s the only true Amebix record so far because we produced it all ourselves and we weren’t pressured at all. I don’t tend to take a lot of notice of what’s going on in the music industry or what bands are cool, etc. I just sit out in my country retreat, read books, play a bit of chess, improve my mind, go for walks and things like that.”

For the most part, this record is a departure from the thinly veiled political statements of the previous 12”. This time around, fantasy imagery is used to convey the alien landscape they viewed the world as. The threats of nuclear war, pollution and religion had now become mythological battles. Outsiders to the teeth, this record was not science fiction but the world as seen from the bottom.

There’s some hard times coming down
There’s the smell of revolution on the wind
Well, we’re grinding our axes
Telling tales ‘round the bonfire at night
We will set out with a fire in our hearts
When this darkness gives way to the dawn
In the light we’re united as one
For the kingdom of heaven must be taken by storm!

A rare exception, and standout track on the record, is “Largactyl”.

Rob, “It was about the drugs that Martin was put onto after we left Devon and his parents returned to find their son a junkie.”
Stig in Paid In Full, “I suppose we should have put something on the sleeve for people that haven’t had anything to do with mental hospitals and psychiatrists. I wrote the lyrics to ‘Largactyl’ and it’s a very serious son. It was written for an old friend and ex drummer of ours. It’s a sad story but I’d better tell you what happened to him.

“Years ago we had a gig set up at some party somewhere and we were waiting for Martin to turn up (our drummer). We had been crashing ‘round at his place, an old vicarage which was on the edge of Dartmoor in Devon. He had been acting a bit strange about a week before the gig (ha hadn’t said a word for four days). I think he was worried about his parents coming back. But his eccentricity didn’t really worry us because we were dosing in his house (manor) which was old and definitely full of lost souls (ghosts) and evil presences which we got used to after a while. But if we brought any one else back there they would usually shit themselves and run away literally.

Martin didn’t turn up to the gig as his parents found out we had been living there. I think they found some used syringes, which belonged to me and a girlfriend of mine at the time. He was so frightened of his parents at the time it was ridiculous. He was 23 years old, 7 feet tall (yes, really) but his parents had some horrible power over him. That was the last we heard of Martin for three years.

“Then one day a friend of mine met him in London and gave him our address. We received a letter from him saying he had been incarcerated in the psychiatric wing of the Royal Free Hospital under police observation for strange behaviour (running down Glouscester Road jumping on car bonnets). He was pumped full of Largactyle, which is a drug which they prescribe for almost any mental illness

They are not quite sure what it does but it keeps the patients sedated, which is all they care about in mental hospitals. Well, Martin was one of us. Not the type to let them shut him up so naturally they increased his dose of Largactyl. The letters we received from then ondwards were utter gibberish crap! This wasn’t the old rebel Martin. This was the scribblings of a fuckin’ cabbage. We rang the hospital and found that he was living in a boarding house and had been released. But when we met him he had been converted into a complete and utter straight. It was disgusting to see. We askedif he wanted to play synth for us but he was too scared to step out of line. When we left the hospital they gave him enough of that Largactyle shit to kill himself three times. It actually eats away at your brain.

“Martin was to all of us a sane, powerful, intelligent, rebellious person. Now all his spirit is drained and he just wants to shuffle about in his house in Devon. I still see him about once a year, but in secret in case his mother’s spies are watching him. I took Largactyl four tablets without knowing what they were. I was paralyzed in bed with voices talking inside my head loudly and clear as a bell. Whole conversations like there were people in the room. This lasted for a day. It was horrible and uncontrollable. Imagine being injected or force fed that every day. This happens to thousands of mental patients every day. Who’s next? Me? ‘Nuff said.”

You’re standing on a hill
Looking down at the city
Thinking about your life
And your bottle of pills
They released you from the hospital
You’re cured!
So this is how freedom feels?

The record insert ends with a dedication to the people who fought the police at Stonehenge that year.

Stig in Paid In Full, “No. None of the band were there because it was happening while we were recording ‘Arise!’. It was very frustrating because I have a lot of brothers and sisters in the convoy and I couldn’t get up and leave the recording studio because I considered it as important as the battle of Stonehenge. At the time I was staying in the Hangar in Bristol, which was a starting base for some of the convoy. But I couldn’t go to Stonehenge so I waved them goodbye and wished them all luck in the morning and then went down to the studio. When I got back the place looked like a refugee camp. People were crying. Loads of them were locked up in Salisbury nick.

A few days later this 14 year old boy I knew came back with a hole straight through the front of his skull that was so wide it couldn’t be stitched up. They had to fill the hole with bandages. It was a well planned fuckin’ massacre! After we had finished recording, I went out to the emergency convoy site at Westbury to see some friends. Every single coach had it’s windscreens smashed in and there were a lot of battered people. But they are still strong and hopeful which is good because they are good people. They’ve fed me and clothed me over the years of visits I’ve made and I do my best for them when they are in my area. I could tell of many atrocities that happened at Stonehenge this year. But there isn’t enough time or paper to do so. i thin I an say that we as a band and organization fully support them and sometimes we play for them to buck their spirits up. Me? I love them.”

With the release of that record, the band were back on the road playing all around the UK as well as the continent. Despite the record getting around the US, the band never made it over. With Alternative Tentacles not especially happy to have a metal record in their catalog (though this could have easily have been paranoia on the band’s side as AT were happy to reissue ‘Arise’ on CD a decade after it’s original release), the band and label parted ways.

Rob, “I don’t know. I think that we felt that they were uncomfortable with our direction and were not really doing any kind of promotion. That’s what we felt at the time. “Arise” could have been a huge hit if people had really believed in us. I still appreciate their help though.”

At this point, George left the band to focus on Smart Pils.
Stig in Paid In Full, “An old Amebix saying ‘you can’t afford to carry dead weight’. Callous but true. Virus got lazy. Jenghiz is doing four years for smack. George wants to play bass in his own band.”
The backlash in the hardcore scene against metal had a profound affect on perception and therefore the future of Amebix. It’s important to remember that at the time, heavy metal had previously been the enemy of punk as much any other form of mainstream, corporate music. In the States, crossover bands were seen as bringing commercial and non-artistic elements into the punk scene. It was seen as co-opting by the metal bands gone hardcore and careerism by the hardcore bands gone metal. As time would tell, both sides were half right. But many people see the introduction of heavy metal as the beginning of the end to the first generation of hardcore.

Of course, Amebix were hardly what you would think of as a crossover band. Metal was just one of many influences.
Rob, “We were all into a lot of different music, from T Rex, Killing Joke, Sabbath, Bowie, Eno, everything. A lot of really good metal was emerging with the likes of Accept and Mercyful Fate. I got right into that.”
But at the same time, they were as weary of a lot of the new crossover as anyone else.

Amebix in Rejected fanzine #3, “Personally I don't like Anthrax or Venom. I like a few bands in that wave but most of it is rubbish. If punk bands want to sing about anti metal that's up to them, we can sing about what we want can't we???
“…I am very selective about the sounds that grace my turntable as that scene is turning as equally sub-moronic as the last days of punk rock (a snivelling head pops up and says what about me?). So there needs to be an integration of ideas and positive energy from both movements, others even if we want to be mega radical and form a new music. Our stuff is too simple but it would be nice to see the more aware sections of youth come together for a change, don't you think.”
In fact, lyrically the band was as strident as ever dismissing the idea that they would ever write typical lyrics of any sort, certainly not typical heavy metal.

Amebix in Rejected, “We'd never start writing Satanic songs, there's a backwards bit on Arise that takes the piss out of all that, and we've never tried to have a heavy metal image or view. We're just Amebix; No Gods No Masters...”

To further complicate matters, the band would sign to the newly formed Heavy Metal Records.
Rob, “FM Revolver records had a sub label called Heavy Metal. Stone Roses were on the label just prior to us appearing there. We wanted to get our music across in to the Metal scene as the Punk thing was dissipating into lethargy and rot.”
Before the record had even been heard, accusations were flying at the band.

Spider in Rejected, “Fuck you!! To the people who think we've adopted a new image and started to play heavy metal, this year the Amebix have been together 10 years (not as the present line-up) I was in a punk band for a few years called Scum, before Amebix. You can't keep churning out the same old stuff all the time or else you'll stagnate. Yes, we've played punk/metal but we've played it differently. You ought to hear what we're doing now.”

So approximately two years after the release of “Arise!” came the bands final studio album, “Monolith”. Recorded on the cheap, the band went back to SAM studios where they had recorded their first EP. While musically fascinating and complex, the results were a bit of a letdown after the breakthrough of “Arise!”
Rob, “It is a very, very intense record, but terrible production. Some of the songs on that were extraordinarily heavy played live. We were overwhelmed by the amount of sheer power we could get out of so little musical ability.”

The record still managed to sell several thousand copies, but not enough to keep the band from spinning in their wheels. With inertia running low, the band split before the end of 1987.


Rob, “We came to a point where we were no longer inspired. We ran out of juice. It was as if we had been given a certain amount of energy in order to make those two LPs and then we were empty. The choice was either to continue and become a parody of ourselves or to be true to the whole ethos of Punk Rock, die young, burn out at your height. I am still proud that we were the only one of our contemporaries who actually took that path and stuck to it. It is embarrassing to hear decades old renditions of re-hashed punk bands who didn’t know when to stop, or those who have reformed for the money. Amebix was the art of punk in a complete sense. It will never be reproduced and stands as a righteous testament to our life and times. The Power Remains.”

But public fascination with the band continues to this day. The result has been a series of semi-legit and bootleg releases including the “V Zivo” cassette on FV/Skuc Ropot, “The Power Remains” LP on Skuld/MCR, “The Beginning Of The End” bootleg CD, and “Make Some Fucking Noise” LP on The Only Good Dealer Is A Dead One Records which is a vinyl pressing of the “V Zivo” cassette.

Rob, “The “Make Some Fucking Noise” remix is good, very happy to hear that. A lot of other people have ripped us off all the way along. We haven’t received any courtesy from any bootleggers with one exception. We never did it for the money but many people have made money off our backs and that saddens me. They forgot what it was about.”

Following the breakup of the band, Stig and Spider got back together with George to form Zygote. While their one record doesn’t come near capturing their powerful live show, which was a cross between Amebix and Motorhead, it is still a find document of the short-lived band. For a while, Spider played in the band Muckspreader. But health has essentially put the former bandmates on the ouside of music.

Rob, “Stig has had drug problems since those days. He is very ill. Spider has tinitus and I hear from him from time to time. Stig is my brother. It has been hard to watch him destroy himself since those days in Devon. Choice is a terrible thing at times.”
Despite the tragedies and hard times of the period, Rob remains true to his most distilled ideals.
Rob, “No Gods, No Masters.”

2. LIVING IN FEAR OF TOMORROW
The Story Of Andy T

Spoken word and protest music seem to go hand in hand. It was certainly true in the punk scene and that’s not limited to the anarcho world. In the earliest days you had Patti Smith and Jim Carroll in New York. You had John Cooper Clarke in England and later Atilla the Stockbroker. You could even find some inadvertently hilarious poetry on many of the early Oi! Compilations.

Andy T came from the world of Crass and within a short period of time inspired many people to go out get on the mic. Part of the intellectual tradition that many of the anarchos get coy about, Andy T came from the ideological angle before discovering the artistic side.
Andy T, “I was interested in Anarchism before the Punk thing. I was a member of a political group called Direct Action Movement. We met in a pub every week and talked endlessly, that was about as direct and active as it got.”

But before his renowned as a spoken word artist, he came to punk rock as excited and inspired as anyone else in.
Andy T, “I have been into music ever since I could crawl, having two older sisters who brought music into the house. Listened to anything and everything, The Who, Beatles, Stones, Small Faces, Elvis, Little Richard, Chuck Berry etc. soaked it up like the proverbial sponge. Had a big pile of singles and albums with an old dansette to play them on. I began buying stuff myself in the early 70s. Spent Saturday afternoons rooting round in dusty shops in Manchester and Rochdale. T Rex, Bowie, Velvets, Stooges, Mott, Zappa and loads of other obscure stuff. I used to go to a club in Manchester called ‘Pips’ which had Bowie and Roxy rooms, a lot of the people who later formed punk bands went there.

“I had a girlfriend who worked in a record shop and was able to borrow LPs to tape. It was a chart return shop and they got all the latest releases. I picked up the Ramones first album due to liking the cover, as I had done with the New York Dolls a few years before. Like so many others who heard that album, something primal clicked inside.

“When Punk came along it seemed like a natural progression. Bands suddenly seemed younger and more like the audience. It was a very exciting time, new bands springing up every week - some better than others but all worthwhile in their own way. There was suddenly lots more gigs to go to every week, Manchester had such a vibrant scene. I went to gigs in London as well but they didn’t seem as exciting as ‘up north’ I suppose because they were saturated with music more than us.”

In those early days, he was able to pull a band together. In 1977 Reputations In Jeopardy were born.
Andy T, “We formed Reputations in Jeopardy in Rochdale where we lived in late 1977. I had been writing lyrics/poetry for about 4 or 5 years. My boyfriend Chris had a bass guitar and two female friends (whom I’d met through my girlfriend) played drums and guitar, Jane on drums, Siobhan on guitar. We practiced every week at the local youth club in the basement. We knocked a short set together very quickly. None of us was very proficient but we did a few gigs and enjoyed the spirit of the times. We advertised for a second guitarist to fill out the sound. Chris the Joiner was more proficient than any of us but wasn’t into the Punk scene as such.

“We played quite a few gigs in and around the Manchester area. The first time we used a PA was a bit of a shock as I was used to shouting to be heard above the others. A singer from one of the other bands on the bill advised me not to shout so much. I hadn’t realized I was doing and after that everything sounded so much better.”
While well documented at the time, nothing more than gigs ever developed and the many recordings have since been lost.

Andy T, “I used to record most things we did and send them to people with a view to getting gigs. Everything was recorded on a little portable cassette player. I don’t have any of these anymore, which is a shame. We never went into a proper recording studio; I don’t think it ever occurred to us to try.”
More of a hobby, the band wound up having an expiration date.

Andy T, “The girls’ left the band to finish their A levels and we got a new drummer, Pete, the result of another advert. He used to complain his drum kit was rubbish all the time so I invited a friend of mine from Manchester to come down and listen to us rehearse. He was John Maher, the drummer from the Buzzcocks. He liked us and had a go on Pete’s kit with us. Of course, it sounded really good and wish I had a tape of it. Pete never mentioned his rubbish kit again after that night!

“The band didn’t have the same dynamic after the girls left but this was the line-up that was picked for the Bullshit Detector album.”
With Andy’s continued involvement with the local punk scene, he started to become aware of the growing anarcho world floating up from London.

Andy T, “We used to put gigs on our area with a group of close friends. We would hire a local hall or pub, hire the PA and print tickets and posters etc. and book the bands. Most of the anarcho-punk bands from that time played at one of our gigs. We also produced fanzines and flyers giving information. We also used to put the bands up in our flat. I felt very involved in that scene and met a lot of lovely people through it.”

Eventually relocating to London, Andy soon got to know other likeminded thinkers.
Andy T, “I cannot remember where I first met Crass exactly. I think it was thorough my friendship with the Poison Girls who lived just down the road from Crass. I found we had very similar ideas and Penny, Gee and Steve have been lifelong friends and are very dear to me.

“Sometimes people said they felt intimidated in their presence although I never felt this. We always had lots of fun. They pioneered the playing in very out of the way places, not on the usual rock n roll circuit. We went places bands didn’t normally play and always met enthusiastic audiences.”
Pretty soon, Andy got very involved in the first Bullshit Detector compilation showing up on several tracks.

Andy T, “Since about 1974 I had been writing to people I read about or met at gigs and sent tapes of my stuff. Used to correspond with a lot of interesting people. Crass chose five tracks from a pile of tapes I sent them for Bullshit Detector. They asked for art work of a certain size so I crammed the info for all five tracks into that sized space but when the sleeve was printed they had blown the writing up large. I didn’t realize that I had five such spaces to fill up, a bit of a missed opportunity.”

This compilation would start (and almost end) with the first documents of his spoken word.
Andy T, “I had been doing it for years and it seemed quite a natural thing to do. Also you didn’t have to worry about loads of equipment. It was a lot easier to do gigs. Just to get up on stage between bands armed with a backing tape, and shout at people. I used to get friends from other bands to back me sometimes, just improvising in the background. Mostly we used a backing tape but not every PA had a tape deck we could use. I had a poem in the middle of the set, which needed drums and it served to break the set up. I’d often get a drummer from one of the other bands to play. Martin from Flux, Spider from The System, Penny from Crass and Sid from Rubella Ballet all had a bash at some point and very good they all were too.”

Along with those tracks, he was also credited to having been in the group, Fuck The CIA.
Andy T, “I used to record loads of poems/songs in my bedroom. The ‘Fuck the CIA’ track was me and my younger brother Jerry. When Crass chose the track for the album I had to think of a name and chose it from an old 1960’s poster. It was never really a band to speak of but he’s still my brother.”

Many of the groups from the first two “Bullshit Detector” did subsequent recordings for Crass Records (Alternative, The Snipers, Omega Tribe, Anthrax). Andy T was no different.
Andy T, “They asked me to make the record. Penny wanted to record me for posterity.”
“Weary Of The Flesh” is equal parts spoken word and sound collage. It’s eeriness both precedes the second Rudimentary Peni LP as well as more avant-garde groups like Nurse With Wound.

Your lifestyle is built upon pain and suffering
Money is the poison in your mind
Your face is a mask of violence
Fear is your power and force is your tool
Blind acceptance is the food of your paranoia

The recording was unlike any other Crass Records release. Much of the initial material was put together at Dial House.
Andy T, “Just another nice weekend up at Dial House. Then mixing at Southern Studios in Wood Green. I thought it came out well. We aimed to cram as much as possible into those grooves and I think we filled about 15 minutes, quite good for a 7 inch single.

“The inside cover photo was from another fun session involving Phil, Annie and Steve and a lot of printing ink – not blood!
“I was quite proud of the finished article and wanted to give John Peel a copy to play on his show. Rather than post it I chose to wait for hours outside the BBC to give it him in person. I’d been listening to his radio programs since the early 70’s and he’d introduced me to a lot of good music. I told him a little bit about it and he seemed interested. Unfortunately he never played it on his show. A friend of mine asked him about it at one of his University gigs in Suffolk a few years later; John said he thought it was a bit too extreme for his show. That made me very proud indeed, to be thought too extreme for John Peel’s listeners.”

Along with the usual suspects, a mysterious “E” is credited as additional vocalist.
Andy T, “Ian Edwards was a friend from Lowestoft in Suffolk who I had met at gigs. He could make some very strange noises with his mouth…excellent stuff.”
Much like the bands on the label, he did a lot of touring once the record came out.
Andy T, “We toured loads, all over the UK. Did lots of gigs with the likes of Crass, Flux of Pink Indians, Dirt, Poison Girls, The System, the Alternative, Chumbawamba, Anti-Sect and Kukl etc. Must have done hundreds of gigs in the early 80’s.”

Rather than be a lone voice on stage, Andy used prerecorded tapes at some gigs. Most often he would have live players improvising behind him.

Andy T, “That’s funny; I don’t think I was ever very subtle – especially ‘live’. The message was fairly clear and direct and not buried within the music. People tended to stop pogoing and listen and they responded in a positive way. Sometimes they would throw bottles but I saw this as a sign of affection.”

His different approaches had a drastic effect on the performances. At a show in Brixton at the Old Queens Head in August 1983 Andy with a single drummer sound minimal and particularly brutal. A show four months earlier at the 62 Club in Aberdeen he uses prerecorded tapes to a much eerier affect. It’s the second gig that gets the crowd chanting the words along. But the effect is most striking on newer poems like “Phallic Metallic” and “Sexuality”.

In his hands he holds his power
His prick, his doomsday machine
To rape the flesh of womankind
To burn the flesh of mankind
The tool of mans sexual violence
The tool of mans ultimate violence

Fortunately, Andy kept good track recording many of these dynamic performances, all of which in their tone have a very different feel from the record.

Andy T, “I used to record most things and very often, taped backing tracks for use in live performance. I did a tour with a guitarist friend improvising, which went down very well indeed. I also still had a tendency to get anyone who happened to be about to improvise behind me. Often I like to get people to use instruments they weren’t familiar with. I always liked to experiment with ideas and subvert expectations.”

There was talk of possibly doing a record for Corpus Christi. In fact, it was more than in the talking stage.
Andy T, “We did intend to record an album for the Corpus Christi label. I had quite a few things written and several ideas for backing, from various musicians etc. Also I had some things I had written for Nico, from the Velvet Underground, to sing. She was a friend and liked my stuff. It would have been interesting to have taken that further. We recorded some live shows for possible inclusion on an album too.”

But with the dissolution of Crass in 1984, so did much of their work with the label and the Andy T album was one of many projects never finished. It was just as well as Andy had been himself losing interest in the scene as well.

Andy T, “Towards the end of 1983 I was becoming increasingly jaded by masses of Punks who seemed more interested in getting stoned and pissed than doing anything constructive. A lot of audiences seemed stuck in a time warp and not actually moving at all. Prior to this time I experienced the scene to be more productive, people got together and achieved things, often small but sometimes bigger.

“It seemed that people were learning that they didn’t have to wait for things to happen but could actually do things for themselves.”
Even though he’s long since retired from spoken word, he still maintains the convictions that got him onstage in the first place.

Andy T, “The politics almost seem more relevant now than they did then with political lies, warfare, ID cards, corporate greed and corruption, and environmental destruction. Nothings really changed much on a worldwide scale. At the time we had Thatcher and Reagan in power and each other pockets. Now we have Bush and Blair still treating us all like fools and getting away with it.”

3. ANARCHY, SELF RULE, CAN’T YOU SEE?
The Story of the Disrupters

In many ways, “Punk And Disorderly” was the most important punk rock compilation ever. It wasn’t a benefit for anything. It didn’t showcase one city (or country even) or one particular scene. It wasn’t Oi! or peace punk or anything. But it managed to get everywhere and exposed thousands of people around to world to the band’s that would be their personal soundtrack to UK punk in the ‘80s. Real or not, this compilation captured that feeling more than any other and there wasn’t a single unreleased track on it. That should be a lesson for all contemporary and future punk compilers.

One of the most inaccessible yet memorable moments of that compilation was the near-tribal march of “Young Offender” by the Disrupters. It’s a genuine one of a kind. I’ve never heard something quite so primitive. When hip journalists would talk about the primitivism of the Fugs or Holy Modal Rounders, this is what I expected but never got. Taken from the group’s first self-released EP, the song only cares about the small number of people that can totally relate to it’s subject matter making it all the more attractive to outsiders.

The Disrupters were founded by a group of teen punks obsessed with the first wave.
Steve, “Someone played me some Ramones and Sex Pistols, this was back in late '77, I was 14. It totally blew me away; I was instantly hooked and threw myself into the scene…

“It was a realization that anybody could have a shot at what those early bands were achieving, and it looked such great fun.”
While it was certainly fashionable to get into punk in England in the late ‘70s, for young Steve it was also the outsider factor that got him so heavily committed and keeps him interested to this day.
Steve, “ABSOLUTELY!!!!!! But then I’ve always been a bit of a black sheep or misfit if you like, I find the straight world very hard to live in. So I’ve given up trying, do as thou wilt and all that.”

Initially working with a couple of school friends, the band officially formed when Steve was still just 17.
Steve, “We were all mates anyway living in Norwich, initially it was Gibbon and Dave Howard’s band and they got me in, we had trouble finding a drummer so we poached Kevin Wymer from The Aborts, it was always obvious they were going nowhere so he joined us. This around late 1980.”

In a flip decision, they chose the band name that would wind up gracing many record covers.
Steve, “There were a few names kicking around but we went for The Disrupters the others were really shit...”
Apart from the drummer, none had ever played in a band before and could barely play their own instruments. But taking a very, very literal position on the punk philosophy of DIY, they began playing gigs well before they were ready.

Steve, “The early gigs were really bad in hindsight, we really couldn’t play at all, but I knew if I stuck at it then things would improve, early gigs were mainly with local with bands like The Pits, Intensive Breeders, The Torpedoes.”
With a few practices, it was easy for a young punk band to put together a set just long enough to play a pub.

Steve, “The set was short in those days, about 20 mins long the songs were mostly a collaboration between me and Gibbon (he came up with a riff and I would put lyrics to it) then Kev would sort out the drums.”
The band recorded their seven-song set at practice. That would become their long lost first demo tape. The only song to survive from that recording was the track “Napalm” as it appeared on the first “Bullshit Detector” compilation.

Steve, “Yes our track, ‘Napalm’, on Bullshit Detector was our 1st release, we did a demo recorded on a cheap cassette recorder one afternoon, about 7 songs, I have no idea what happened to that demo I don’t own a copy.”
The song is rough and tumble but surveys a basic idea that would be a staple for many anarcho bands to follow.

There’s women and kids out there
But we don’t fucking care
You haven’t got too long
We’ve got some napalm
Hand grenades, incendiary bombs
A, B, C and D bombs
We’ll bomb your villages
Bomb your sons
Bomb your villages
Steal your guns

Despite the deafening seriousness of these comps, the Disrupters managed to have a punk laugh with the liner notes. “Alleged guitar inspired by a lack of muscle and an abundance of alcohol.”
Steve, “We heard that Crass were looking for bands for a compilation so we sent them a copy of our demo. I liked those albums at the time, haven’t thought of playing them in many years though but I suspect they haven’t aged well, but I guess it showed what was happening on the scene at that time. Maybe I should dig them out they’re still hidden in my vinyl collection somewhere.”

So within a few months in 1980, the Disrupters went from first practice to appearing on one of the biggest punk compilations of all time.
As teens in Norwich, the band were fans of Crass, but were still pretty removed from the growing anarcho scene.

Steve, “Not at all really I was still kind of wrapped up in the Sex Pistols dress to shock thing, Crass gave the scene a more intelligent and constructive slant. A realization that punk could mean more than just shocking your granny but could be used as a force for real change.”
But with the success and notoriety of the “Bullshit Detector” comp, the band started 1981 by going into the studio to record their first record. Heading into local Whitehouse Studios, the band recorded “Young Offender”, “UK Soldier” and “No Place For You”. With the aforementioned title track, the backing tracks also indicated the groups interest in political music.

They say the army is for protection
But their guns are trained on you
UK soldier or Russian threat
Put them together, they both spell death

Steve, “I am not a great fan of ‘Young Offender’ (or its B-side) but it did very well for us, and we did keep it in the set until our demise purely because fans liked it. Not one of my faves though.”

Rather than wait and shop the tapes around, the group formed Radical Change Records around this debut EP.
Steve, “We wanted complete control over our stuff, bands like Six Minute War were doing it D.I.Y. so we saved up enough to record a few tracks and get 1000 copies of a 7" pressed.”

In a situation of right place and right time, the group was then offered on their first release, to be featured on the “Punk And Disorderly” compilation LP alongside Blitz, the Partisans, Vice Squad, GBH, the Adicts, and the Dead Kennedys.

Steve, “Theo Chalmers was compiling it for Abstract and he asked permission to use it, that was cool it’s a good LP to be on and it sold shitloads. In terms of exposure and royalties it was good for us.”
Unfortunately, with all the sudden interest in the band, they weren’t able to do any touring to support the records. The first of a few line-up changes was occurring.

Steve, “Not at all, we had just kicked Gibbon out of the band and replaced him with Paul Greener. Apart from ‘Napalm’ and ‘Young Offender’ we had scrapped the entire set and were writing new material. Paul was a better guitarist and (at the risk of appearing bitchy) was a much nicer guy to be around. There’s no way we had any future with Gibbon in the band.”

With the first pressing of the record quickly gone, the band needed to find a way to keep it in print. Their distributor agreed to start manufacturing the label giving the band a lot more freedom with their releases.
Steve, “Apart from the 1st 1000 copies of ‘Young Offender’, Backs Records funded Radical Change. We couldn’t afford a repress so Backs (run by Johnny Appel) offered a partnership, they were getting a distribution cut already.”

With that support, the band were able to spend a little more on the recording of their follow-up EP, “Shelters For The Rich”.
Steve, “All 3 tracks on there were the 1st songs we did with Paul, we used Spaceward Studio, which had a good history (SLF did "Inflammable Material" there and The Subs recorded the single version of CID there too). I like it better than the 1st single but there was still room for improvement.”

With the music taking shape (it had been nearly a year since the first EP), the lyrics were also becoming more sophisticated. The political ranting now expanded to animal liberation on “Animal Farm” as well as more particular ideological questions on “Self Rule” as well as the title track.

A million rapes and beatings which way can I turn?
A thousand executions while the bodies burn
Forget about salvation
Forget about your kids
Remember your priority
Build shelters for the rich

With the freedom Backs had given them, they were also able to use Radical Change as a means for helping out likeminded bands that they respected.
Steve, “Mostly me and Kev were doing the groundwork, then we'd run an idea to Backs and they would decide if it was worth putting money into, mostly we had a good working relationship with them.”

The first band they worked with, they knew from being on the “Bullshit Detector” LP. Icon AD would release their first 7” on Radical Change. There had also been talk about releasing the Anti-System LP, but they decided to work with another label.
Steve, “Anti System ended up with Pax in the end, but we worked with Revulsion and Self Abuse and put out a comp LP called "Words Worth Shouting" featuring demos we had been sent.”

1983 started with the band going into the studio to record their first full length LP. “Unrehearsed Wrongs” was a collection of twelve raw punk songs including a revamped version of “Napalm” from that first demo tape.
Steve, “It was cool, we were at Flying Pig Studio working with a guy called JB also it was Steve Hough's recording debut with us, he was a cool guy and fit in better than our previous bassist. It was recorded and mixed in 2 days I have fond memories of it, not least because we now had a stable line up in place.”

Starting with the unusual “Norvic The Clown”, a spoken word rant by band collaborator Prem Nick, the band kick in with “Gas The Punx” and don’t slow down. Another early song reworked is a cracking version of “Animal Farm”.

Steve, “The title is something of a private joke. We were having trouble recording one of the songs on it and I said ‘how about we call this album UNREHEARSED SONGS?’ Then Paul changed the word "song" for "wrong" and it stuck. Sounded better than anything else we were coming up with at the time. I like that album best, ‘Gas the Punx’ is probably the best track on it and it was always a crowd pleaser, also proud of ‘Pigs In Blue’ and the rerecorded ‘Napalm’.”

Despite only a couple of singles in the previous two years, the record was a major success for an indie label.
Steve, “It did well and charted in the indies, I felt we stumbled a bit on the 1st two singles but the album kind of captured our live sound better, its certainly better than the 2nd LP we did. It was a good period in our history.”

Before the year was over, the Disrupters put together their third single. “Bomb Heaven” along with b-sides “Die With Mother” and “Make A Baby” was one of the group’s darkest moments.

The Bishop’s face turned a shocking pink
What about my shares in Rio Tinto Zinc?
The only way to save my bank account
Is to burn heaven down to the ground

This EP was a prelude to 1984’s “Playing With Fire” LP. A criminally underrated record, a tamer production style only partially hinders the 14 tracks.

The joke has worn thin, it’s not funny anymore
There’s too much blood staining the floor
Thatcher’s boot boys running amok
Pouncing on the sitting duck

Again, the band were able to take what was becoming typical subject matter for many punk bands and writing about them in a new and unique way. But with the band not even happy with the record, it was somewhat doomed.
In 1985, the band decided to take it easy just recording the six-song 12”, “Alive In The Electric Chair”.

Steve, “Personally I like the 1st LP and "Alive In the Electric Chair" 12", I’m a bit self critical of the other records.”
While we can now look back and say how this was the band in its final stages, you wouldn’t know it by this fresh and raw record. Even the lyrics seem more angry and inspired than the previous years product.

The Brighton bomb missed, you cunt
The Brighton bomb missed
I hope you rot in hell, you cunt
I hope you rot in hell
I’ll spit on your grave when you’re dead, you cunt
I’ll spit on your grave when you’re dead
The maggots will eat your eyes, you cunt
The maggots will eat your eyes

This great record would prove to be the final record as the Disrupters. That same year, Radical Change released the compilation LP “Words Worth Shouting”. The Disrupters contributed the song “Dead In The Head” to go along with songs by then unknown acts like Revulsion, Haine Brigade and Deviated Instinct.

Steve, “It was a comp LP for a local Hunt Saboteur group. All the bands we either knew or had been sent demos by. They all gave their services for free.”
With no record to support, the band made their first trip to the continent the following year.

Steve, “We did Belgium in 1986. That was fun but apart from that we just toured England. We were supposed to do France at some point but it fell through. It was never full time. We were always signing on because there wasn’t enough money coming in. They were great days but very lean, in terms of finance.”

After two more years, a film about the band called “Anarchy Peace and Chips” was released on video. With that tape as their final statement, the group split late in 1988.
Steve, “I got a bit bored with all the in scene bitching that was going on at the time, and thought "fuck this I'll do something else." I’ve always kept my hand in a bit but I figured the band had run its course really. When I left the rest of them followed suit, nothing acrimonious just time to call it a day.”

Though Steve has all but entirely ruled out a reunion, he remains musically active with New York Scumhaters while Kev plays in Saigon Kiss. Still being connected to punk rock, he’s been able to assess the old days with more smiles than most.

Steve, “Certainly there was a lot of naivety, I have a greater understanding of human nature these days (at the wise old age of 42) but I think it was worthwhile; some great things were achieved and some not so great. I have great memories of The Stop The City demos in London. Man they were hilarious!! Mind you I got dragged through the law courts on more than one occasion but hey its all character building ain’t it? HAHA!!!!
“And lets not forget the anarcho scene produced some really cool records that are often overlooked. Because apart from the political aspect of the scene, music was what got us involved at the beginning.”

Despite his reservations about some of the recordings, he can still focus on the good parts of being in the Disrupters.
Steve, “A great experience but I still feel puzzled that I have spent many more years discussing the band doing interviews like this all these years after we split. But its very flattering. I’m glad people remember us. All I can say is we did our best and above all we were honest in what we tried to do.”


4. DO WE OWE ANYTHING TO JESUS? NOT A LOT!
The Story Of The Sinyx

It was a conscious effort to stick to the Sinyx ethos of being completely independent and doing it themselves.”
Steve Pegrum, drummer

Southend has had a history with punk bands going back to the first generation with proto-punks like Eddie And The Hotrods. Of the second generation scene, one of the most important and often forgotten bands was probably the Sinyx.

The Sinyx were formed in the Fall of 1979. Friends from school, the band was made up of Paul Barrett (also known as “Alien”), Paul Brunt, Auntie and Vints (don’t really know there real names). The name was a random selection made by Auntie. Starting with a gig at the Focus Youth Centre in 1980, the band soon developed a local following.
Steve Pegrum, “The Sinyx were the first overtly political punk band from the area. The ‘first’ pure punk band was The Machines in 1977, who put out an EP in 1978 on Wax records and were local legends.”

Despite their political angle, the band wound up with a following the included punks and skins.
Pegrum, “From the off there was something special about the band – I remember seeing their first gig, with the Icons – the place was rammed with Punks and Skins and they blew the roof off the place. They were very intense on stage, and the Sinyx had these really memorable songs like Camouflage and Therapy Through Violence. They never set out to be pigeon holed into any kind of corner, and always took their own stance on things.”

Throughout 1980 the band did gigs in the area mostly at the Focus Centre as well as a few other local punk spots.

Pegrum, “The Focus Youth Centre in Central Southend was a great place. It was quite a large purpose built building, with a Downstairs Bar and Stage, an upstairs bar (The legendary Pine Bar) and a main theatre. Both Sinyx and Kronstadt would hire out the main theatre and put on several gigs there, with various guest bands poets etc. The woman who ran the center, Pat was a great lady, really supportive, and most local Punk bands got their first gigs there. The places didn’t have a bad sound and there was always a regular punk clientele, so from 1980 to about 1986 it really was a key place to get started and play. The Pine Bar was almost exclusively Punk, and was a safe haven to hang out. In London, The Sinyx would play the Pied Bull quite a lot, and in Southend the other main venue was The Grand Hotel.”

With the growing interest in the band, they began to play out of Southend with other likeminded bands. This turned into a lasting friendship with the Erratics and Flux of Pink Indians. This connection would help get them in touch with the Crass camp.
Pegrum, “In the early days, the Sinyx would play with the Erratics and Flux of Pink Indians out of town a lot – Sid from the Flux briefly played drums in the Sinyx. They were great double –bills, as The Flux and Sinyx were coming from the same kind of place, but playing quite different stylistically, which made for great, original gigs. Around Essex the band would sometimes play with The Waxwork Dummies of The Icons.”

On March 1st, the band made the trek to Wapping near the future site of the Anarchy Centre where they recorded their first demo tape.
Pegrum, “The first demo was recorded on the 1/3/80 at the Elephant Studio, Wapping, London, with tracks including “9-5 Auschwitz”, “Bullwood Hall”, “Camouflage”, “Britain is a Mausoleum”, “Mark of the Beast”, “Automaton” and “Therapy through Violence”. It was a great first recording – Best songs on it are “Mausoleum” and “9-5 Auschwitz”. It’s got quite a unique sound. Aside from the usual Punk influences, Barrett was into the Velvet Underground, and I remember Auntie being into Chrome.”

By this point, Auntie had gotten to know some of Crass and passed a copy of the demo along to Penny Rimbaud. Eventually, the band was contacted for inclusion on the first “Bullshit Detector” compilation. The track “Mark Of The Beast” would end up being the only thing released from that demo.

The first “Bullshit Detector” compilation turned out to be a sampler of future bands to record for Crass Records. While that never materialized for the Sinyx, their track was a standout in it’s shambolic approach and fast-paced march through a blasphemous rant.

I’ve got the mark on my forehead
And the mark on my hand
Now I’ve sussed it out
Now I understand
The bible and religion
Are just a load of shit
The Archbishop’s a fool
The Pope’s a hypocrite

Their section of the cover art consisted of bible quotes out of context as sexual innuendos as well as a graphic of Christ on the cross with “Ha Ha Ha” replacing “INRI”. Playfully amateurish, the scrawl seemed all the more outrageous.
With the quick release of that record in 1980, the band found themselves playing more gigs and to bigger audiences.

Pegrum, “The 1980 era gigs were excellent, intense affairs – playing with the Flux a lot and helping generate a great scene.”
The live performances helped to tighten up the band’s set and new songs were added. Before the year was up, they had gone back into the studio to record again. On September 6th, they cut four songs with Barry Martin late of the Kursaal Flyers.

Pegrum, “There were four songs on it, Animal, Decadence, Suicide and a re-working of Britain is a Mausoleum. It was produced by Barry Martin (local guitar legend, now playing in the Hamsters). I think it was slightly overproduced, with a few unnecessary guitar effects, however, it wasn’t that bad and did show the evolution of the band and Baretts rawer singing style – Best track was Suicide.”

But despite the new recording and steady gigging, two of the Sinyx had decided to split the group before the year was over. Paul Brunt and Vints decided to leave the band with little fanfare or acrimony.
Pegrum, “I don’t really know – after the Sinyx I don’t remember Paul Brunt playing in any bands. Vints played in the Nihilist Corps and KMosaic for a while and I lost touch with him after that. He was a great drummer and on the local scene was quite a legend.”

Simultaneously, another local punk band, The Icons, were calling it a day.
Pegrum, “The Icons were a Southend Punk Band that existed between 1979 – 1980 and consisted of Copper – Vocals, Filf – Guitar, John – Bass and Peanut – Drums. They were a good live band, and recorded one demo.”

Nick Robinson (Filf) and John Edwards were soon asked to join the band on guitar and bass. Deciding to give a try at the previously rudimentary drumming, Auntie switched from bass and soon proved to be forceful behind the kit.

Pegrum, “After Paul Brunt and Vints left, the Icons had split up at the same time, and being friends and coming from the same musical background, it made sense to join forces. With Auntie moving to drums, it led to a new, harsher and more powerful sound.”

This new line-up was debut at the start of 1981. The change in style was greeted positively and a new direction was being forged away from the fast marches and more towards the heavier, more doom-laden sound of their later musical output. Some songs new to the set at that point were “Animal”, “Fight” and “Excommunication”.

Pegrum, “By 1981 when the line up changed, the gigs became, if anything more intense, and when the band would play their two key songs – “Fight” and “The Plague”, the place would erupt. Also, there were a number of great alternative venues always cropping up – disused churches etc where some great gigs were played.”

By this time, the band felt they were in a position to release their own record. Wanting to work outside of the normal system of independent punk labels in Britain, they decided on a project release with long time friend, Rob of Reality Attacks fanzine.
Pegrum, “Rob ran the fanzine and was really into the music and ideas of the idea, and subsequently when the idea of the EP came about, it made sense to put it out in conjunction with the fanzine.”

This time around, the band decided to record at home at Spectrum Studios.
Pegrum, “Spectrum studio was brilliant. It was a small studio in Westcliff, on the outskirts of Southend. It had been there for quite a while, and the engineer, Warwick Kemp was a cool guy who had got this amazing 16 track from Decca, who’d used it in the ‘60’s to record bands like the Rolling Stones. It got a great sound (The Kronstadt also recorded their last demo their in 1986). Sadly, under strange circumstances in the early ‘90’s there was a fire at the studio that completely destroyed it and everything was lost, which was really tragic.”

The four tracks recorded were “The Plague”, “Decadence”, “Zulu” and “Animal”. The record was titled “Black Death” which seemed to come from the lead track.
Pegrum, “Mainly it was Aunties and Paul’s idea, so you’ll have to ask them, but the key song on the EP was “The Plague”, which had the lyric ‘anarchy is here – the plague of peace’ and so the “Black Death” fitted the title excellently.”

The record would turn out to be a one off project for Reality Attacks and would be the label’s only release. Despite it being on such a fly by night label, the record did still fit into the anarcho approach and more specifically with Crass.
Pegrum, “Obviously, there was a Crass connection, and they were very helpful in advising the Sinyx on the best way to put our their own independent EP etc and were very encouraging, but essentially the Sinyx were quite unique.”

The record was released to critical and popular success even making a decent showing in the UK indie charts. But as was becoming their curse, the release of the record saw the second line-ups disintegration. With Filf deciding to leave the band, Auntie and John decided to both move to guitar for a bigger wall of sound and a new rhythm section was brought in comprising the band’s final line-up.
Pegrum, “When Filf left the band, they had a rethink about the sound, and wanted to pursue the really intense wall of intense sound they’d been developing, so Andy Whiting (ex-Kippars and future Sonic Violence bass player) was brought in on bass, John Edwards switched to second guitar, Auntie switched to first guitar, Barrett carried on singing and I stepped in on drums. (I was really into that heavy, tribal style of playing at the time that suited their songs and sound quite well).”

Steve had up until then been drumming for Kronstadt Uprising, another local band that had played many times with the Sinyx. The crosspollination would continue as at different stages Filf would play guitar for Kronstadt Uprising and Paul sang with them at a different time.
Despite the third line-up, the band still remained on course getting further and further into heavier music on the edge of what later would be the doom metal scene. Not wanting to sever all connections to the past, the band also continued with the “hits” of the earlier days.

Pegrum, “The set was quite a mixture of the old and new at this point. Whenever the band would play live, a large portion of the crowd would always want to hear some of the ‘classics’ like “Britain is a Mausoleum” and “9-5 Auschwitz”, which we enjoyed too, but the newer songs were becoming really strong and we would introduce more and more of them, creating quite a formidable canon of work. Newer songs like “David’s Star”, “Charles Manson/g”, “Kiss of Death” and “Blasphemer” were especially strong.”

With this set, the band played its first gig at the Forest Gate Centre on March 26th, 1982 supporting the Mob and Rudimentary Peni. The band found themselves in the favor of the still developing anarcho punk scene.
Pegrum, “We played with the Mob a lot, Riot/Clone, Assassins of Hope, Rudimentary Peni, Nightmare loads really.”

The band was now able to play regularly for the rest of the year highlighted by an August 1stgig with the Mob at the Centro Iberico.
Pegrum, “The gigs at this time were very special, and when the band and audience clicked in, it was a very intense and uplifting cathartic experience. We’d regularly leave the stage covered in blood from the intensity of our playing. The first gig I played with the Sinyx was in a big hall in Forest Gate, London. I think it was with the Mob and Rudimentary Peni and was a great gig. Probably the best gig was at The Centro Iberico in West London. We played with the ubiquitous Mob, amongst others, it was a great summers day. The inside area /venue area was painted in an astounding array of colors, it was rammed with a very encouraging and up for it crowd, the sound was great and people tell me it was one of the best gigs they ever saw. It certainly felt great to play – I remember it was really hot, and so intense, just before the encore I had to vomit, temporarily passed out and just made it back for the encore of ‘Fight’.”

At this point, their set included new originals “David’s Star”, “Charles Manson/g”, “Kiss Of Death” and their final composition, “Blasphemer”. Unfortunately, no proper recordings were ever made of this last line-up to document the songs.
Pegrum, “No real demos – I think we made a 4-track reel-to-reel of a couple of songs at the rehearsal studio, but I‘ve never heard them. There were a lot of live bootlegs I remember, which was really the best way of hearing the band at their best.”

Though the band was probably at it’s most cohesive, it was also on its last leg. A month after the Centro Iberico gig, the band, for all intensive purposes, was done.
Pegrum, “In late ’82 after a really powerful gig with Rudimentary Peni at the Moonlight in Hampstead, London, Paul Barrett left the band, and without his voice I didn’t feel it would be the same, so I left too. (I also wanted to concentrate on Kronstadt Uprising a lot as we were starting to take off at the time) Auntie, John and Andy Whiting carried on for a few more years, with Mark Bristow in the vocal limelight for a while, and with Donald on drums, but I think that line up eventually disbanded around ’86, where not too long after, Auntie and Andy Whiting started up Sonic Violence.”

John Edwards would eventually leave to play bass for the short-lived Allegiance To No One and Paul briefly sang with Kronstadt Uprising before quitting music all together to become a psychiatric nurse. Steve decided to focus all of his attention on Kronstadt Uprising. Auntie and Andy Whiting would carry on with Sonic Violence who would release a volley of records and have some success in the Head Of David / Godflesh vein also playing gigs with bands such as Extreme Noise Terror and Concrete Sox though never capturing the same unique quality of the Sinyx.

Pegrum, “Without Paul Barrett, it wasn’t really the Sinyx, yet at the same time, Sonic Violence took that intensity of the Sinyx and took it in a different direction. The song “Blasphemer” was the last new Sinyx song I remember playing with them and was the only Sinyx song to my knowledge that Sonic Violence did.  Auntie was the main Sinyx songwriter, so obviously there was that legacy and simultaneous continuum, but personally for me Paul Barrett was the voice of the Sinyx, and once he left, as I said earlier, that was the end of it for me to.”

5. UNCOMFORTABLE REALITIES ARE ALWAYS BETTER FACED AND NOT FORGOT
The Story of the Snipers

For anyone attempting to find some sort of musical aesthetic relationship between the bands on Crass Records, the Snipers are a perfect obstruction. Even their only record, the “Three Peace Suite” EP, is a mish mash of un-commercial styles. From hypnotic drone to fast paced punk to almost dance-like post punk, the record was an uncompromising bridge between the various colors of the new music.

For the few years the band existed, the Snipers never backed down from their iconoclastic message.
From Coming Attack fanzine #2, “Government, oppressive leadership, domination, complete control – servility is what it’s all about. ‘Tow the line’… ‘Be a good (?) boy/girl’… ‘Do what is expected of you’… ‘Do what is right’… (What is right?)”

Starting in 1979, the group hailed from the town of Bruford, about 20 miles west of Oxford. The line-up, which seems to have remained the same throughout the groups existence, featured Russ on vocals, Dave “Bungi” on guitar and vocals, Steve “Whacker” on bass and Mark on drums.

The group was quick to do a practice room recording, which became their first demo tape. To call the 10-song effort “raw” would be an understatement. But the fact that it sounds like just one mic propped up in a corner where the group probably thought would give them the highest fidelity makes it a more fascinating relic: a rare though weathered fossil.

In fact, the group is barely holding it together as they seem to be fighting with their instruments as much as the outside world. It’s an addictive cacophony of furious strumming and bashing while fighting for the self-discipline of rhythm. There’s conflict between the bass and guitar chords. It’s not that they are making mistakes. They’ve simply chosen to play related but different chords in the same structure. It works whether they like it or not.

But it’s the vocals that sort of make or break the group. The virtually deadpan, unbothered delivery can either be seen as a brilliant condition or total tedium. At the time it sort of had the appeal of some of the early Fall singles. A decade later the style was unconsciously mimicked on the first few Pavement recordings.
Lyrically, this was no stream of consciousness. The group was vehement in their message.

From Coming Attack, “Ordinary people are an inconvenient nuisance to ‘people in power’. Their lack of conformity makes them difficult to control – the difficult ones, the ones who say ‘no’ too often or too loud, are a problem. We are better off without them, at least that’s what we are lead to believe.”
It was this kind of thinking that made them natural allies with the Crass camp and in 1980, they appeared on the first “Bullshit Detector” compilation with “War Song” pulled off of the demo tape.

Men die for King and country
Men die for money and hate
No one asks the children if they want to die
War is indiscriminate
It kills everyone
Wars are the mistakes of the chosen fools
Borne by Mary

The compilation took them from their own self-organized gigs to involvement in the ill-fated 1980 festival at Stonehenge. According to a review in the NME “the evening began peaceably with music from Nick Turner's Inner City Unit, The Mob and The Snipers, but when punk band The Epileptics took the stage they were greeted with nail of flour-bombs, cans and bottles. Their lead singer was knocked to the ground by a bottle.” (Possibly the most remarkable thing about this review was the writers insistence on differentiating the Epileptics as a “punk band” as opposed to The Mob and The Snipers…)

The following year, the group released “Three Peace Suite” on Crass Records. Recorded like most of the label’s material with Penny from Crass, the extremely more polished sound gave the band a whole new dimension. Starting with the hypnotic dirge of “The Parents Of God”, there is something about the overall approach that is in equal parts reminiscent of the first few Public Image recordings and the Cravats on speed. “Nothing New”, a song retrofitted from the demo, is almost like the Pop Group with it’s disco-like drum pattern and aforementioned conflicting guitar and bass work. On “3 Piece”, the group goes for breakneck speeds sounding like a psychotic version of Wire.

Religion
Religion
Religion
Hell
Death
Wars
Gimme religion
Die like Christ
Go to church
Pray for forgiveness
Eat the bread
Drink the wine

More telling than the actual song lyrics was the hand drawn chart on the back cover that seemed to be some sort of map of religious consciousness connecting thought balloons with words like “religion is gently coaxed into the mind by media”, “the desire to be told what to do”, “consider tribalism”.

The promising record would end up being the Snipers’ only document. An LP was recorded for Crass, but never saw the light of day. The following year, drummer Mark moved away putting into motion their gradual dissolution.

From Coming Attack, “Behind most commercial media, no matter how outspoken or revolutionary they seem, are the same band of bigoted hypocrites trying hard to ‘clone’ ‘their public’ into a mass of stereotyped zombies. Their ‘freedom of speech’ is subject to well defined rules of the game. What sort of a game is it that shatters life and can cause so much suffering in the name (excuse) of ‘what is right’? People have problems, problems have solutions. But violence is no solution.”

6. FIGHT FOR PEACE
The Icon AD Story

Icon were one of the 10 or so bands off the first “Bullshit Detector” comp to survive long enough to release a couple of the their own records. With the memorably catchy “Cancer”, the band managed to make the most of a pretty poorly recorded practice tape.

Started by Craig “C#” Weir, the original inspiration was his neighborhood friend, Shonna. Having introduced Craig to the first wave of punk, Shonna himself went on to found the pivotal second wave band, Abrasive Wheels. By 1978, Craig had his first guitar and was totally absorbed into punk rock.

The first incarnation of the band was Icon. With schoolmates Mark Holmes, Phil Smith and “Dicky” Watson, the group went through several names (The Jackets, Terminal Boredom) before settling on a song title from the Siouxsie and the Banshees album “Join Hands”.
Even as young teens, the band was eventually able to get gigs outside of their town. The more gigs, the quicker their musical education and by the time they got in touch with Crass, they were a fairly tight punk band.
Drummer Mark was the one interested in politics at the time and sent off their practice tape to Crass. The result was the inclusion of “Cancer” on the 1980 “Bullshit Detector” compilation. With a song in many ways atypical for Crass, its lyrics naiveté is almost metaphorical and surreal.

I can almost taste it
It’s getting so close
There’s no need to waste it
It’s only a growth
Will paracitomal kill the parasites?
Or are they ready to kill themselves

But the following year, when school finished, the four essentially drifted apart effectively breaking up the group. But in the subsequent year, Craig had written some songs that he decided to record. Employing the aid of Mark on drums, they recorded some tracks with Mark’s wife and her sister on vocals.

Timing is everything and simultaneous to this happening, Radical Change, the label run by the Disrupters, were looking to release some other groups. With both bands being on the “Bullshit Detector” comp, things started to fall into place.
On a whim, Craig had sent over the demo and Steve of the Disrupters dug it.

Steve, “I loved their track "Cancer" on the 1st Bullshit Detector LP and I contacted them to ask if they had any more stuff out. They sent me a great demo so I offered to release it for them. They were a cool band I think, very underrated.”
With the other two original Icon members uninterested or unable to reform, the group carried on with Marks’ wife, Bev adding Roger Turnbull on bass. The band was resurrected as Icon AD just in time for the release of their debut record, “Don’t Feed Us Shit”.

Craig, “The first title was taken from the chorus line of our first proper recording, ‘Cancer’, and was a fierce two fingers up to the government/anyone who lied and rammed bullshit down our throats, and who we felt were eating our lives away and destroying our freedom. (Quite ironic that it ended up on a compilation called ‘Bullshit Detector’?)”
The four-track EP was an especially melodic affair not too unlike what groups like Shelley’s Children would be doing a few years later but with a serious inclination towards Stiff Little Fingers (especially on the second song “What’s Your Name”). The sweet vocals and chiming guitars make for a criminally underrated record.

The record was an indie success and the group were soon asked to their one and only Peel Session. They concluded that four song set with a great updated version of “Cancer”.
The only other proper recording of Icon AD was the follow-up EP, “Let The Vultures Fly” also on Radical Change. With a more rock edge and bigger production, the group still maintained their political edge along with less obvious, but equally wonderful vocal melodies.

Craig, “The meaning of ‘Let the Vulture fly, was our way of saying NO!, stand up for what you believe in, a plea for peace, an anti-war message, SAYing NO to senseless killing which we considered to be ‘legal murder’ authorized by selfish leaders of countries.”
Even the cover art had evolved. The one-legged, peace symbol guy with the rifle for an arm was replaced with a spikey top with a circle A on his face.

But despite the anarcho imagery, Radical Change’s distributor and manufacturer, Backs, was certain that Icon AD could make a go of it as a commercial pop act. The label wanted to release a new EP with a glossy cover. The band flat out refused and the third record was never released.
Soon after, the group split up again for good. Ironically, Craig’s teenage son now plays in a new punk band.

7.THERE’S TOO MUCH ON MY MIND
The Story of Metro Youth / Sanction

I never looked to them for politics; I just liked the punk rock noises that they made.”
Rich Cross, bass player for Metro Youth / Sanction

Exeter was a hub for punk rock activity in the ‘80s. The home of numerous bands and probably even more fanzines, the city developed it’s own unique scene of bands combining influences from several different generations of punk rock. It was at school there that Nigel and Rich first met and began playing music in the band XLR8.

Rich, “The four original members of Metro Youth were all at the same school, Hele’s School in Exeter, Devon. Three of us were in the same class. We’d all started there in 1977, and pretty quickly realized that we were all drawn to and excited by the music of the Pistols and the other bands that we started to hear about. We all listened to the late-night John Peel program on Radio One (the only national music show where this music found an outlet to begin with) and swapped tapes and shared records and started to read the music press. There was a punk rock ‘in-crowd’ that we were never really accepted as a part of, but we just got on with our stuff regardless, and there wasn’t much in the way of animosity, at least from other school punks.

“Nigel was the first to make the move to start a band, and once I’d found out that he got himself a drummer and guitarist (neither of whom were at Hele’s), I realized I’d need to buy a bass guitar if I was going to become a member of XLR8. So I bought one, for forty quid. That’s the only reason that I ended up playing bass — whatever it took to be in the band. We all piled into Nigel’s garage in what must have been late-1978 or early 1979 for a few rehearsals, but — literally — none of us could play a note or hold or beat. I’d bought the first Clash songbook, which we all tried to decipher, but we couldn’t work out how to make chords on the guitar, or how to match them to notes on the bass. I remember we did this very spartan and weedy version of ‘Police and Thieves’ and that we wrote a crappy ‘Borstal Breakout’ rip-off before we realized that this was going nowhere.”

XLR8 were more of a whim than a band and soon dissolved. But for Nigel and Rich, it was a way of testing the water. It gave them their first taste of musical creativity. Instinctively, the process intrigued them. With the end of XLR8, they decided to find more likeminded people to form their next band, Metro Youth.
Rich, “XLR8 packed up, and within a couple of months Metro Youth came together during a series of rehearsals in Easter 1979. We were all either 15 or 16 at the time. I was 15 myself.”

Like many bands of the time, Nigel and Rich were drawn together more by their desire to create and be part of a growing youth movement that was largely (if only in lip service at the start) based on encouraging everyone to participate. The DIY ethic started with the idea that you could just pick up your musical instruments and make an interesting noise without years of training. As a beginning block, this concept could be used to infuse DIY ethics into all aspects of the process of popular music. As a basic pretense of punk, the anarcho bands took it a step forward seeing it as a way to affect life and culture.

They rounded out the band with schoolmates, Andy and Tim. Eventually, Andy became the drummer, Tim the guitarist, Rich on bass and Nigel the singer.

Rich, “We learnt to play our instruments through trial-and-error and experimentation. It is absolutely true than, when we started, none of the original four members of the band could play anything — at all. We knew nothing about guitar tuning, yet alone song structure or key shifts. For the first few weeks, everyone in the band tried their hand at everything — drumming, guitar, bass and vocals. We all just moved around, and started making a horrible racket afresh each time. What eventually got us moving (like so many other bands since the dawn of rock’n’roll) was working out cover songs, by playing along to records that we liked.

The first recognizable songs to emerge from our cacophony were things like ‘Mongoloid’ by Devo, ‘Where Were You?’ by The Mekons and ‘Law & Order’ by Stiff Little Fingers. Looking back on it now, what began to turn things around was the emergence of Andy’s natural talent as a drummer. Once his technique started to reflect that, my dead simple bass playing helped to give us a solid rhythm section, and the confidence to start writing our own material. It’s become something of a cliché, but it’s no less true for that — one of the hugely important things about the emergence of punk was its message that you could be a part of it if you got stuck in, and its insistence that enthusiasm and commitment was what mattered. It’s very clear to me, looking back on it, that the fact that we couldn’t play really didn’t concern us at all. We just were not put off by that. We wanted to play, and knew that it would come together somehow if we picked up those instruments and got on with it. After that, our ability to play developed almost beyond recognition in the couple of years that followed.”

As teenagers, the band was a little too young for the first generation of Exeter punk bands. Metro Youth’s inception happened during a lull in the area’s underground music scene. Not having much of a connection to the rest of the Exeter punk scene, the band developed independent from any notion of what was going on around them. Un-influenced by bands and musicians in their area, they were forced to take their own path from the development of their music to the selection of a band name.

Rich, “When we started we didn’t really know a lot of other local musicians. There had been a spate of 1977 Exeter punk bands, including The Scabs and The Fans, but we only knew about them by reputation, really. There had been a couple of other short-lived bands at our school, but it was only later that we really connected with the local scene, such as it was.

We talked and talked about possible names for ages, and, for a time, different versions of ‘Victimize’ and ‘The Victims’ were in the front running. Eventually, ‘Metro Youth’ emerged as the name that everyone disliked least. I’m reminded; re-reading one of our old fanzine interviews, that drummer Andy came up with it. I suppose, not very subtlety, we were identifying ourselves as ‘urban youth’, which, considering we lived in a small town in the rural southwest, was an odd choice. I didn’t like it much then, and I can’t say I like it any better now!”

With the line-up of Metro Youth resolved in 1979, the band began an intense period of rehearsals to develop their set and their individual musical styles. This started during their schooling at Hele’s School and continued until they were all signed up at Exeter College. Practicing for several weeks in the typical “suburban garage”, the band was eventually forced by noise complaints to soundproof their living room and move their base of operation.

The band’s first live performance came in August of that year at the St. Thomas Methodist Church Hall. As might be expected, the first gig was a shamble of failing equipment and nervous technical inability. Despite that the crowd, having been through a musical drought, were eventually won over and reacted wildly. This was a great dose of encouragement to the band.

But as time went on, the band began to be kept at an arm’s length from many in the punk scene. Their growing association and influence from political bands like Crass and Crisis was the cause of some scrutiny from the more traditional punk luminaries of Exeter.

Rich, “The first time that I can remember being aware of the existence of ‘punk’ was reading the headlines about the Pistols in the tabloid newspapers on my paper round in 1976-77. But it wasn’t until I heard the music that I really started to sit up and take notice. I read the British music weekly Soundseach Thursday, and it was in there that Garry Bushell wrote the first ever national music press report about Crass, announcing the imminent release of ‘The Feeding of the 5000’. The record and Crass sounded amazing, so I sent off to Small Wonder and had a copy of the first pressing of ‘Feeding’ by the following week.

I can remember that it took me a few listens to get into the whole of it, but that I loved ‘Do They Owe Us A Living?’ from the first time I heard it. There were a handful of incredibly significant punk records that sounded like no one else had ever sounded before, and changed what you thought about punk. ‘Realities of War’, the first Discharge EP would be one, and ‘Feeding’ was definitely another. Next, I bought the ‘Reality Asylum’ single, and started to get more and more interested in the anarcho side of punk.”

The dawn of a new decade was still a difficult time for new music outside of London. Finding venues for their music, the band took it upon themselves to set up their own events rather than waiting for a promoter to call (a call many bands waited for that never came). This was combined with the grass-is-greener mentality of many music scenes towards it’s local bands.

Rich, “Gigs were always extremely hard to come by. Our first gig, in a church hall in 1979, was pretty shambolic, until the encore when we started to pull things together at last. Once we’d got a grip on our nerves and had a few shows behind us, we played some pretty good gigs, I reckon — including a No Nukes benefit at the university; a headlining slot at the Rougemont Festival in an Exeter park; and the major support slots that we got. We had a small local following, but it was hard to build anything because the scene was so weak. There was never an ‘anarcho-punk’ scene in Exeter, at that time. But remember, Metro Youth was not in the straight anarcho-mould anyway.

“What was certainly true was that Exeter punks had little enthusiasm either for local bands, or for bands that they didn’t already know. One example of that would be the reception that The Ruts got when they opened for The Damned at the Routes club in Exeter in 1979. Metro Youth people knew Ruts songs because we’d taped the sessions the band had done on the John Peel show and couldn’t wait to see them. But this was in the days before their Virgin signing and to most Exeter punks turning out to watch The Damned they were unknown. The Ruts did blistering versions of classic songs like ‘Sus’, ‘You’re Just A’ and ‘Babylon’s Burning’ and other numbers from what would become their first album, and most of the audience just stared at them in blank indifference.

Our lot clapped and cheered but The Ruts went down pretty badly overall. Of course, then a smacked-up Malcolm split his head open on a cymbal and had to be hospitalized at the close of ‘It Was Cold’, but that’s another story… The Ruts played again, at the same venue to a fuller crowd once ‘Babylon’s Burning’ had charted, and that time the place went wild — on hearing the same set. That sort of mentality made it hard for local bands, and not just Metro Youth, to win a hearing.

As for trouble at our gigs, there were only a few instances of that, and — Whitstone apart — nothing major. I later encountered much more trouble at various Crass, Poison Girls and Flux gigs. There’s nothing quite like being punched in the side of the head to the sound of ‘Fight War, Not Wars’! Exeter itself wasn’t too bad a place in terms of street hassle or violent hostility towards punks, at least by comparison with other places we got to know.”

Whitstone Community Centre was a 20p ride from downtown Exeter. Metro Youth selected it as a venue for organizing a three band punk gig at a remarkably cheap door price of 30p. Unfortunately, a group of media brainwashed punks took it upon themselves to trash the hall and physically attack band members who tried to stop the destruction. Being stuck with a very large repair bill from the hall, Metro Youth were nearly forced to sell off their musical equipment to get out of this overnight debt.

Rich, “The Whitstone gig exposed our naivety big time. It had seemed obvious that self-organization was the way to go — no-one in town would let us book a punk show, and all local punks were moaning at the lack of any action. We hired the Whitstone Community Centre, a few miles out of town, booked a bill of local punk acts and laid on transport there and back. Tickets were 50p (inclusive of the coach fare) and we pretty much filled the bus on the night.

The Centre had tried to cancel the booking at the last minute, once they’d learnt that Whitstone would be full of ‘punk rockers’, but we gave all the guarantees under the sun and they finally relented. In our naivety, we hadn’t given much thought to ‘security’, and in the end, we just couldn’t protect either ourselves or the building from the attacks of a minority of the audience, who trashed as much of it as they could, attacked us when we tried to intervene, and who had no interest in what any of the bands on stage were doing. That night ended any illusions we might have had that punks felt an innate ‘common cause’, were automatic allies or all looking for the same thing. We felt let down, betrayed and well pissed off.

The other bands on the bill were sympathetic, including The Drop (who we became good friends with, and who wrote great songs like ‘Arcadia’ which never got recorded before they split), but my recollection is that we were seen as ‘the organizers’, and pretty much left to get on with it.”

Undaunted, the band still persevered and remained committed to the DIY approach to organizing gigs and recording demos. The first ever demo, featuring soon to be discarded songs such as ‘Arson’, was recorded at Catharsis in 1979 (all known copies have since gone missing). Next up was a professional recording session at Exeter’s ESR studios.The results were largely positive with support slots for the Bodysnatchers at St. George’s Hall and two dates with Tenpole Tudor in Portsmouth and Exeter. These gigs made deep impressions with the band and people who saw the gigs.

In a 1981 interview for “Obnoxious” fanzine, the band reflected on the gig with the Bodysnatchers.
Obnoxious – Did the Bodysnatchers treat you okay when you supported them?
Andy – NO! They didn’t speak to us at all.
Rich – Start again, they arrived four hours late for a start; by the time they’d set up and sound checked it was about 5 minutes before the place was due to open and we hadn’t tuned up or anything, so we had to soundcheck as people were coming in. Then the lead vocalist of Bodysnatchers said to Nigel you can do two songs then walked off and that was it. They weren’t interested or anything, just another support band to them.
The following issue of “Obnoxious” ran this review of the band’s gig with Tenpole Tudor.

“There wasn’t a bad atmosphere this evening and it was a pretty good turnout, surprisingly the audience was mainly made up of punks and there weren’t many rock-a-billies… This was the biggest gig Metro Youth have played since supporting the Bodysnatchers in 1980 and they were on top form… (they) began the new set with “UK 79” an old Crisis song, they carried on with “Equality” a rhythmic riff with a lot of drum punch. They carried on with things like “H Bomb”, “H Eyes” a great Ruts cover, played nearly to the exact style, and then one of my favorites “Brutalised”… They were very much together tonight, so if you missed them that’s your fault.”

Rich, “We were a small, local band, struggling to find an audience and get outlets for our work, and The Bodysnatchers show was a chance to play a big local gig with a proper PA and light set-up. We were really excited about it; because it marked a step up for us — the chance to play to an audience of a several hundred, rather than a few dozen, with the possibility of a useable live recording taken from the mixing desk. I have to say that we weren’t that interested in The Bodysnatchers. I seem to remember that we thought they were OK, but I’m sure we didn’t own one of their singles between us. We were a pretty straight down the line ‘77-style band at the time, and hardly the ideal support for them.

The fact that we got offered the gig is a reflection of the poverty of Exeter’s local music scene in 1979 — an up-and-coming all-female ska combo, and Metro Youth were the nearest thing there was in the way of a possible support act. I don’t remember them saying a word to us all night. Tenpole Tudor, who we played two support slots with in 1981, were much more friendly and interested, Eddie Tenpole in particular.”
But the band still considered their best gig to be with The Gift at their rehearsal space, Catharsis.

Catharsis was an old warehouse on the south side of Exeter that the band moved into in 1980. The rehearsal space soon also became their main base of operation and ad hoc recording studio. During this time, the band added Heather (Heff) on saxophone to broaden their sound. This crucial move completed the picture that most people think of when they think of Metro Youth. Having seen the band open for the Bodysnatchers, she added a Lora Logic type element to the music and also reinforced the band’s increasingly political outlook.

Again, they talked about Heather’s joining the band in “Obnoxious” fanzine.

Obnoxious – Do you think having Heather on sax has helped musically?
Rich – Yeah (laughs). Seriously I think it has.
Nigel – I think the sound has quite a lot of depth to it.
Heather – I’ve got grade eight clarinet. You can throw that in if you want.
Rich – Now we’ve got more songs with sax in and it is very healthy.
Heather – I think it could be quite interesting because I’m not quite as punk minded as the rest of the band are. And I like all sorts of different music.

Aside from the sax, Heather added backing vocals that were especially prominent in their live set. Her vocals were especially reminiscent of Exene Cervenka’s on tracks like “Boys In Blue”.
The band could now reach out beyond the ’77 style format. Their inspirations were expanding and that exponentially affected the development of their music.

Rich, “We always listened to a massive range of stuff. The original Metro Youth foursome didn’t have that many records to start with, but we all raved over the original ‘Live at’ and ‘Farewell to’ The Roxy albums, and loads of the early Small Wonder releases, as well as ‘Bollocks’ and the first Clash LP. We all loved the UK Subs, Stiff Little Fingers and The Ruts too. As well as that, we were variously into people like X-Ray Spex and 999. We also rated more consciously political bands like Crisis, The Pop Group, The Gang of Four and The Au Pairs. Our tastes were pretty diverse.

Nigel, our vocalist, was really into reggae artists like Black Uhuru, Misty in Roots and Linton Kwesi Johnson. Tim, our guitarist, loved trashy stuff like The Anti-Nowhere League, and bubble-pop like The Rezillos. Drummer Andy liked bands liked The Damned and The Stranglers. He liked all kinds of bands (punk and not) who were really proficient at what they did, and could play their instruments. At the time, our saxophonist, Heff, really liked Lora Logic, and I know that that was a big influence on the way that she wrote for our songs. I was very much into the anarcho thing, but I never saw it — in musical terms — as an exclusive thing.

I would buy Conflict and Cockney Rejects singles at the same time. I liked Sham and The Upstarts. I never looked to them for politics; I just liked the punk rock noises that they made. I treated them very differently to the way that I approached anarcho-punk.”

It was also at this time that the band started a working relationship with Len Gammon. While the band never had an actual manager, Gammon was a big booster of Metro Youth and helped out over the next year or so with many of the details and responsibilities that go along with keeping a young band moving.

Rich, “Len Gammon helped out Metro Youth in a number of different ways, but in no way was he a manager for the band. We never had a manager. Metro Youth would have been opposed to the idea in principle, and Sanction would never have entertained the idea for a minute. Len ran the Catharsis rehearsal studio, put on a gig for us there in March 1980, and engineered our first ever four-track recording (the only one I don’t have a copy of). He also put in a lot of ‘good words’ for us around the place. We all liked Len.

Catharsis was used by pretty much every local band around 1979-1980. It was an old warehouse on the banks of the River Exe on the edge of the city center. It was pretty tatty and basic, but there were few noise restrictions, and we liked playing there. It’s where “Brutalised” was worked out! The funny thing about booking Catharsis was that you could never get Len to answer his phone. When you did manage to book a session, there was no guarantee that you’d be able to rouse Len at his flat when you went round to pick up the key. You might get a rehearsal, you might not.”

At Catharsis, the band quickly worked out a blistering set that they recorded there in the space as their second demo tape. Recorded right to four track, the demo included the classic punk songs “Red Rifles”, “No Tomorrow” and “Brutalised”. All three tracks sound unbelievably fresh even today. While each one is a sing-a-long in it’s own way, the music is sophisticated and overflowing with excitement. The punchy rhythm section and imaginative but understated arrangements keep each song moving and creates a safe backdrop for the stretched yet tuneful vocals as well as the incredible sax playing.

The Lora Logic comparison shows up the most on “Brutalised” while more avant-garde influences are more evident on the other tracks. Listening back on it, it’s a shame these three songs were never released as a single as they really compliment each other.

Rich, “As Metro Youth, we did those three studio recordings — one at ESR and two at Catharsis. On top of that we had two live tapes, taken through the mixing desk at our two largest St Georges Hall gigs. We distributed versions of all of them to fanzine editors and the like, and a couple of tracks from the live stuff were taken for various benefit compilation tapes.

The Catharsis tapes were way better than the ESR one, even though we knocked out the Catharsis ones on a stripped down four-track while the ESR session was done in a professional studio. Inevitably, the Catharsis recordings captured the immediate, raw, un-doctored noise. The ESR tape smothered and neutered all that edge. We didn’t know enough at the time, I think, to recognize how much we’d been mugged by the production on the recording.”

“Brutalised” would be the track that actually created a tangible link between Metro Youth and the anarcho scene around Crass. On hearing the track, it was chosen for inclusion on the second “Bullshit Detector” compilation.

Rich, “It should be said right up front that the scene wasn’t just found in London. That was true even of what Crass themselves were doing. By 1981-1982, Crass Records had signed artists from as far a field as Rochdale, in the north of England (Andy T) and Dunfermline in Scotland (The Alternative). Crass’s interests weren’t restricted to some narrow London ‘scene’. But, more than that, anarcho-punk, as a movement, established important bases way beyond London, and across the country.

Strong local anarcho-scenes sprang up in places as far apart as Bristol in the southwest, in Birmingham in the west midlands, in Sunderland in the northeast of England and in Dunfermline, around what The Alternative were doing. Anarcho-punk also found an important footing in Belfast, in the north of Ireland, around the Anarchy Centre (which both Crass and Poison Girls played at). Of course, loads of important stuff was centered on London, but don’t get the impression that London was where anarcho-punk stood or fell. Our knowledge of things like the Anarchy Centre, the early London anarcho-gigs, the anarcho-squat scene and all kinds of other things only came from record sleeves, anarcho-handouts and bits that we could glean from the national music press.

Our knowledge of what was going on elsewhere around the country came from fanzines, letters, visits and visitors. To us, stuck in Exeter, where things were so sluggish, what was cracking off elsewhere always sounded really impressive and exciting, but a world away from where we were.

“You have to remember that prior to the impact of punk, there was no network in place for the distribution of independent records and publications. Seminal punk records like SLF’s ‘Alternative Ulster’ and The Ruts ‘In A Rut’ took ages to circulate as far Devon. The distribution deals just weren’t in place. It was really difficult to get hold of stuff. A lot of the time you read about bands whose stuff you had no chance of getting hold of.

The first time that I went to the Rough Trade shop in London, sometime in 1981 or thereabouts, I couldn’t believe that they had — as well as this amazing collection of punk vinyl — folders stuffed full with punk fanzines, that you could browse through and pick from. That was a revelation to me. To realize how large and diverse the fanzine movement really was, and just how many titles there were. There were a smattering of gigs in Exeter and in Bristol (about seventy miles north), but we felt completely off the beaten track in many ways.”

The success Metro Youth could have received on the release of the compilation never occurred, as it wasn’t released until 1982, after the band had split. The band’s delight at making the final selection for Bullshit Twowas somewhat marred, on receiving the advance copies of the record, by two disappointments: first, that Crass had selected the weaker of two possible mixes of the song from the tape, and, second, that an unwanted fade out had been imposed on the end of the track.

Says Rich, “Don’t get me wrong — we all felt that it was a real achievement to be included, we were really happy about that and grateful to Crass for the opportunity. It’s just that, if we’d have been asked, we’d have made different decisions about both the mix and the ending.”
In 1981, the band added established local musician Brian on second guitar to fill out their live sound and to take over a lot of the lead guitar work.

Rich, “Listening now to some of the live and studio recordings, I’m struck by how much better we got, and how quickly. With Heff and later Brian joining in 1981, the situation changed. Heff was already an accomplished clarinet player and saxophonist. She’d even been a participant in the BBC ‘Young Musician of the Year’ competition one year. She picked all our stuff up by ear, and kept her sax parts pretty fluid and improvisational. She was good enough to do that and have it work. Brian was a talented guitarist, who we’d got to know from various local bands he’d played in. Tim, our existing guitarist, was an effective riff-pounder, but he was more than happy to play rhythm guitar to Brian’s lead.”

But this six-piece line-up was short lived. After a few gigs, both guitarists split the band effectively ending Metro Youth. Their final gig was on December 3rd, 1981.
Rich, “Metro Youth came apart at the end of 1981, at the moment when things were going better than they ever had for the band. We had a whole bunch of gigs set up for early 1982, but Tim, our original guitarist, was moving to Plymouth to go to art college, and our new lead guitarist, Brian, decided for personal reasons to pack in playing music completely, and we failed to persuade him to stay. There really weren’t any personal tensions in the band. If we’d have kept one guitarist, I’m sure we’d have carried straight on, but, losing both, we just stalled!”

The end of the band, however, didn’t diminish the remaining four members interest in DIY or the music scene. Through 1982 they continued to be involved with fanzines and promoting gigs while playing music was put on hiatus.
Like many individuals and bands involved in the DIY culture of the anarcho punk scene of the time, the members of Metro Youth were involved with their local fanzine scene both as supporters as well as contributors. Metro Youth’s successes were used to help support others like the printing of “Obnoxious”, “Never Surrender”, “Catalyst” and “Radical Hedgehog”.

Rich, “Phil Hedgehog was, at that time, a young anarcho-punk from the Forest of Dean (just west of Bristol) who started writing to us after buying an ‘Obnoxious’ fanzine at the massive 1981 CND rally in central London. Over the next couple of years, me and him became the best of friends, and he came to stay in Exeter a fair bit. Phil, who never became a member of Metro Youth or Sanction, was — and remains — a brilliant cartoonist and graphic artist, supplied loads of cartoons and drawing for ‘Catalyst’ fanzine, which me and Heff produced between 1982-84, and did all kinds of illustration work for Sanction.

He was very much involved with what we were doing. Phil also produced his own fanzine ‘Radical Hedgehog’, which, with its entirely hand drawn contents, was pretty much unique in fanzine circles at the time. Phil was one of the organizers of the second Exeter Crass gig in September 1984, and contributed the spoken-word track ‘Radio Times’ to ‘Bullshit Detector 3’.”
“Obnoxious” was a local fanzine that supported Metro Youth from the start. The fanzine’s editor, Clem Page, was able to print the zine’s four issues with the help of the band financially and in terms of distribution.

Rich, “‘Obnoxious’ was an Exeter based anarcho-punk fanzine, put together by the then fourteen-year-old Clem Page who we got to know when he approached us for an interview. Clem was seriously talented and articulate for such a young kid, and various members of Metro Youth got involved helping him out with his fanzine, and him with ‘Catalyst’. Me and Heff, in particular would write things, help out with interviews, print pages, but it was always Clem who edited the thing.

Despite his appalling spelling and hit-and-miss typing skills, he did pull together quite an impressive fanzine, particularly with the later issues. It sold pretty well at local gigs and demos — relatively speaking — local fanzine print runs would be in the low hundreds at that time. It’s not much of a surprise looking back on it now that Clem, who was very advanced for his years in many respects, suddenly took off in a new direction, almost overnight, abandoning his punk and anarcho interests. Nothing we said could convince him that it didn’t have to be ‘all or nothing’, and he quit our circle and scene completely. Of the fanzines of the time (1980-1982) Obnoxious certainly held its own.”

Rich and Heff eventually started their own publication with Catalyst. Leaning more towards politics, the fanzine pooled the resources of other underground publishers they met along the way.

Rich, “Me and Heff put together the first issue of ‘Catalyst’ fanzine in early 1982, with help, from the very beginning, from Phil Hedgehog. We also met with and swapped materials with Higgs who published ‘Never Surrender’ in nearby Bideford. Phil Hedgehog began to produce his own fanzine ‘Radical Hedgehog’ in Coalway in the Forest of Dean from 1983, and we had regular contacts with other south-west fanzines editors, including Tim, who we’d known from Exeter Youth CND, who went on to produce ‘Children of the Revolution’ in Bristol where he settled.

But we were also in contact with dozens and dozens of other fanzine producers across the country, and we put a lot of effort into that ‘postal network’ of producers. We’d send out ‘swap’ copies to names on a list, and then pick out a handful more from the reviews sections of those zines and do the same again. We got to know quite a few fanzine editors pretty well, and visited them or had them come to stay with us. Some of the better fanzines were really excellent. Why did fanzine culture seem so important? I suppose we felt it was equally as important as the music — another forum for the message, another conduit to people, another voice for what we saw as ‘the movement’.

It was also something that anyone could do to get involved. If you didn’t have enough friends to form a band, you could put out your own fanzine by yourself — handwritten in block-capitals if need be. If you could only afford to print 30 copies, then fine, do exactly that. Fanzines were another expression of the DIY ethic. After a time, many titles tended towards the formulaic and ritualistic, and the law of diminishing returns started to set in. But by best of the early 1980s titles — works like ‘No New Rituals’, ‘Acts of Defiance’, ‘Kind Girls’, ‘Joy of Propaganda’, ‘Cool Notes’ and loads of others — were very effective for a time.”

Over six issues, “Catalyst” covered political issues from an anarchist perspective as well as the occasional band likeminded inclinations.

Rich, “‘Catalyst’ fanzine was a political publication from front to back. We did do features on music, but it was a pretty straight down the line anarcho fanzine. Quite a lot of the early issues were all but illegible, and, reading them today, chock full of semi-literate sloganeering and ‘stream of consciousness’ stuff. They got better. We could only afford a few photocopied pages, and the rest had to be run-off on hand-cranked duplicators using wax-covered stencils punched out on a typewriter. The quality of the finished print was crude at best, and scrunched-up and ink-splattered at worst. Things did improve with later issues, and our design and writing skills picked up as well.

We would have features on companies like Rio Tinto Zinc, actions like Stop the City, law-and-order issues in Northern Ireland and — something which became the overriding priority for us — the struggles taking place against the deployment of Cruise and Pershing nuclear weapons in western Europe in the mid to late 1980s. We wrote a lot about actions we took part in, air bases we visited, peace camps that we stayed at, and the strategies and tactics of ‘non-violent direct action’, including blockades, fence-cutting, and occupations at places like USAF Greenham, Alconbury and Molesworth.

We might also include an interview with Dirt or Conflict, but we’d also have regular ‘punk really is dead’ features, slamming the state of ‘the movement’, railing against the limitations and blind spots of its politics, but also urging on that movement to realize what we saw was its very real potential. The last ‘Catalyst’ was produced in January 1984, and a few months after that I joined the collective producing the fortnightly Peace News magazine in Nottingham, and so left Exeter for good.”

Their involvement with “Bullshit Detector Volume 2” helped pave the way for them to set up gigs in Exeter for Crass. The first came shortly after the split of Metro Youth.

Rick, “We ended up organizing the first Crass gig by accident, really. Patrick, one of the local promoters from Stagger Lee, had been putting on a series of punk gigs in the city. Stagger Lee had given Metro Youth support slots in the past, but we were becoming more critical with how Patrick, as an individual, was putting gigs together. We were red-hot on the question of anti-commercialism and the DIY punk ethos, increasingly defining ourselves by anarchist politics, and were very concerned to hear that Patrick had got Crass to agree to play live in Exeter in 1982.

“To cut a long story short, we were very concerned that someone with no interest at all in the politics would be organizing and potentially profiting from the Crass gig. All our correspondence with Crass up until then had been through the PO Box in London, but Anna-Joy David, a YCND organizer, had given us Crass’s home address at a meeting held to launch a YCND group in the city. We wrote to Crass at Dial House to warn them of our concerns with Patrick, and a few days later Andy Palmer rang me up and asked if we’d be willing to put the gig on ourselves instead. We said OK, although we’d never meant to offer ourselves as alternative organizers!

“That first gig was put together mainly by me, Heff and Graham, a local CND organizer and activist, with various friends and other CND people helping out on the night. The second gig in 1984, I only agreed to organize after a visit to Dial House to talk through my concerns about Crass’s live performances in late 1983 — a front-to-back rendition of the ‘Yes Sir, I Will’ album, which me, Phil and other friends had endured at a hideous gig in Birmingham that December.

I had major criticisms of the route Crass were taking live, although I completely understood the frustration that led them in that direction. My view was that ‘Yes Sir, I Will’ was a stunning record (and that’s still my view today), but — performed in its entirety — it just did not work live. The short version of the story is that Crass decided to rework their live performance (though not because of what I said to them!) for what became the final tour, in the spring of 1984. In light of that, I agreed to put on the gig. This was then put together by me with help in the week of the gig itself with anarcho-punk mates, from Peterborough, Newcastle and Phil Hedgehog. So neither were really Metro Youth or Sanction gigs. The first was a split benefit for Exeter CND and the magazine Peace News. The second was a joint benefit for Alconbury and Molesworth peace camps.”


The first Crass gig became pivotal both for Rich and his crew as well as for Exeter. One night of support for Crass helped clear the air and unified as well as validated what many in the scene had been doing for some time.

Rich, “There’s a lot I could say about both those gigs, but I know that Crass thought of both of them as examples of successful shows, and were really pleased both we how we put them together and with how they went off on the night. Crass and the brilliant PA crew that they used both times, run by the talented engineer and mixer Paul Tandy, were incredibly efficient and well organized from the moment that they arrived, getting the gear set up and transforming the insides of the hall (decked with banners, TV and projection screens) and sound-checking in the matter of a couple of hours.

That sense of focus and concentration was completely understandable, but it meant that it wasn’t really until later in the evening that they had the time to relax and chat with us a bit more. I can remember feeling a little put-out at the time, initially, that they weren’t more friendly and interested in what we were about from the off, but I think, if anything, we were being a bit over-sensitive and not making allowances for how much work they had to get done to get the thing ready.

“In the end, Crass were pleased with how we had organized the evening, and seriously happy to be fed and watered and looked after properly. I think at a fair number of gigs they had gone hungry and neglected, and were left trying to pull things together themselves on the night. They even beat us to doing the washing up, and Andy took ‘our’ recipe for home made soya milk back to Dial House with him.

Crass did entirely ‘take over the event’, and I think that was what partly surprised us to begin with. But that was the way of working they had developed. That’s what the experience of being on the road, trying to put on the kinds of shows that they were doing, had taught them was necessary. Crass sent us handwritten ‘contracts’ for both gigs, which might surprise some people. I’m sure that came from a combination of being ripped off by promoters and let down by inexperienced and overwhelmed young punks.

Crass gigs were pretty large events, and when we were pulling together the first one me and Heff were just eighteen. Our experience of organizing up until then had been pub gigs. Both gigs I can safely say were absolutely electrifying, although I spent both evenings charging about everywhere sorting things out, so I didn’t get to see all that much in the way of interrupted performances. We had arranged security staff (paid and volunteer) for both nights, but we did it in a low-key way, as agreed with Crass — and frankly, there weren’t enough people to call on if things had turned seriously ugly. We monitored things really closely as a result. As it was, there wasn’t any trouble to speak of on either night.

“To talk about the first one, it’s still struck by how much the atmosphere changed over the course of the evening. To begin with, it was a memorable sight to see dozens of black-clad punks slouched in groups on the floor in the main hall watching the ‘Choosing Death’ film show. It didn’t feel like ‘a gig’ at all at that point. Later, as the place filled up, the mood was more tense, the room more packed, and, as Annie Anxiety performed, there was a real ‘edge’ to the atmosphere in the place.

But that, I think, was just as much a reflection of the intensity of the evening, and of the contents of the performances, as it was an indication of the intentions of the crowd. These performances demanded a reaction from the audience, and you could feel that recognition in the air. Then Crass came on, opening up with an excoriating version of ‘How Does it Feel?’, which launched them into a powerhouse set. They took total charge of everyone’s attention from the off.

“I’ll never forget the ‘turning point,’ the moment when we knew we’d made it. It came when Crass, knocking out ‘Big A, Little A’ got to the section: ‘if you don’t like religion, you can be the anti-christ.’ Steve Ignorant delivered the next line, ‘if you’re tired of politics, you can be…?’ and then turned his microphone towards the audience, inviting.

Hundreds of voices bellowed back, on cue, ‘an anarchist!’. As the drums and hacking guitar powered back in, me and Heff threw our arms around each other laughing, because we knew, at that moment, we’d pulled it off. It wasn’t that we thought that the three-quarters of the 600-plus audience who’d yelled it, meant it. But it did mean that the audience were ‘up for it’ and willing Crass on, on the night.

“Another brilliant moment came right near the end of the set. Crass were closing with the inimitable ‘Punk Is Dead’ and the whole front section of the audience had taken up the closing chant — ‘punk is dead! punk is dead!’ — and were yelling it back at Crass.

Meanwhile, up on stage Ignorant and Andy Palmer, shaking their heads, were insistently singing back at them, ‘oh no, it’s not! Oh no, it’s not!’ That was both really funny and really striking all at the same time. It made me laugh out loud, but it also made all the hairs on the back of my neck stand up. It was a brilliant way of making the point, of forcing this issue — they were saying ‘stop and think! Is there a future for punk or not? Does it mean anything any more or not?’ Quite a moment, I thought.”

It was around this time that the “Bullshit Detector Volume 2” double LP was released featuring “Brutalised”. Immediately recognized as one of the better songs on the compilation, it brought new interest in their activity from Exeter and beyond.

Rich, “By the time that Brutalised came out on ‘Bullshit Detector 2’, Metro Youth had been wound up. That was simply a product of the length of time that it took Crass to prepare the compilation for release. Choosing from amongst hundreds of cassettes, and then mixing the selected tracks and preparing the artwork from the band’s own submissions did take a while — which is hardly surprisingly when you think of how much work Crass had on at the time. It was Eve Libertine who we liased with mainly, as she had taken on responsibility for ‘Bullshit 2’. She told us, at the 1982 Exeter gig, that ours was her favorite track on the LP — and I like to think that she didn’t say that to every band she spoke to.”

“Brutalised” is a punk riff with a big walking bass part and effective emphasis brought by the amazing sax part. Like an anarchic X Ray Spex, the song is truly one the best songs on the comp and of that era of anarcho punk. Lyrically, it’s a reaction to seemingly random violence against youth everywhere by social and governmental institutions.

Another youth dies, it’s not surprising
It’s hardly worth analyzing
It’s last in the news, both sides losing
It’s hardly worth passive viewing
A terrorist gone or was it a soldier?
A land mine / bomb? Oh just turn over
A terrorist gone or was it a soldier?
A land mine
Brutalised

Rebels abroad, it’s guns they’re hoarding
It’s funny how murder can be so boring
Message of doom, war clouds looming
It’s funny how murder can be so time consuming
Police are killing or are they the dead?
It’s too far away to recall what was said

At the start of 1983, the four remaining members of Metro Youth reconvened under the name Sanction. Having taken enough time off from playing music, they had a change of heart and decided to play together again but this time with a more experimental edge to the music and a more openly anarcho political agenda. But little was known of the band’s activity, as they didn’t appear publicly. Word of the band’s existence and music was mostly dependent on interest that remained from the Metro Youth track on “Bullshit Detector”.

Rich, “There was a bit of a hiatus in 1982, following the end of Metro Youth, with fanzines, arrangements for ‘Bullshit Detector’ and organizing the Crass benefit taking priority. Following the September Crass gig, three of us left Exeter to start college courses in Bradford, Birmingham and Nottingham. Each of us who went realized, for our own individual reasons, that we’d made a really stupid decision, and agreed that we would return to Exeter and re-launch the band in 1983.

We first rehearsed again in January 1983, when Phil Hedgehog came to visit us for the first time, and Sanction got properly restarted around April 1983. Did we aim to keep a ‘low profile’, or choose to be ‘unproductive’ for some reason after that? No, absolutely not. We’d have loved to have been able to do more, get more projects organized and be part of some larger local community of people trying to do similar sorts of work. But there was precious little to ‘connect’ to, where we were, and few opportunities to promote what we were doing. We certainly didn’t seek some kind of cool obscure and underground status.”

From the start, Sanction were set on developing a set of new originals with only a couple of leftovers from Metro Youth being “Brutalised” and “Red Rifles”. In many ways, Sanction was a continuation of Metro Youth as well as an exploration of one aspect of Metro Youth. If Metro Youth had stayed together, they surely would have been forced to either choose a path or continue in a variety of directions running the risk of losing focus, certainly a common obstacle of all bands in that position.

Rich, “Sanction certainly felt like a continuation of Metro Youth to begin with. Sanction started out with four Metro Youthers in it, and we continued to play quite a few Metro Youth songs at the outset. Metro Youth’s own music style had developed quite a bit over the two years of the band’s existence, or at least it had diversified. We were still producing straight-out punk numbers, but also more complex and unorthodox stuff as well, examples of which would be songs like ‘Utopia’ and ‘Equality’.

Sanction began as a much more political project from the outset, reflecting changes in where we were at individually and collectively. In the summer of 1983, Sanction got a house together on the outskirts of Exeter, where we could rehearse without disturbing the neighbors, and all of the songs that we started to work on were political ones in one way or another… We were definitely a political punk outfit from the very start.

“The Sanction house was, in reality, a ‘holiday cottage’, sat at the far end of a large field that it shared with just one other house at the opposite end. It was set back from the road, surrounded by trees and backed onto fields of sheep. It was outside of town, but you could be in the city center in forty minutes, if you took a leisurely walk down the canal tow path, passed the ‘Double Locks’ pub that became our local. It was pretty idyllic in many respects.

We hauled our instruments and duplicators up there, set up a shared house, bathed in the summer sunshine and hung out at the pub on the canal. It was toughest for Andy, because he was holding down a job in town, and having to haul himself in to work in the mornings, while me and Nigel were unemployed, but it worked fine for several months.

When the winter came, things turned a lot grimmer. We froze. This was a summer building. The cottage walls were paper-thin, the roof wasn’t insulated, and there were icy draughts blowing everywhere. No matter how many logs we burned, it was impossible to heat the place. We had to rehearse in coats and gloves. With Sanction making no headway in Exeter, spring seemed a long way off. We gave up the cottage in the end not because the band fell out about living together, but because it wasn’t worth investing in a place that was basically uninhabitable for half of any given British year. ‘A nice place to visit, but I wouldn’t want to live there’.”

Despite their short existence and outside activities, Sanction managed to develop a following in the anarcho punk community largely due to demo recordings made at the time. Rich, “We recorded two tapes. The first was a eight song demo, recorded at a new studio on Queen’s Street in Exeter on 20 August 1983, when we were still a four-piece. The second was a recording of our only live show in Exeter in May 1984. We circulated those mainly through the fanzine network, and to the people who were continuing to write to us because of ‘Bullshit Detector 2’.


Quite a few tracks appeared and re-appeared on benefit compilation tapes in the UK and US at that time, like ‘Inner Ear Damage’ (a Californian release) and ‘Alternative South West’ (put together in Devon). In the decades before CDs, all DIY punk compilations were on tape, and the humble cassette was the always the weapon of choice of anarcho-punk. On ‘Have a Nice Day: Volume 4’, put out by ‘Caution’ fanzine in late 1983, for example, Sanction appear alongside bands like The Subhumans, Chumbawamba, Passion Killers and Faction. I’ve got four or five such Sanction-included compilations on my shelves, but I know there were a fair few others. You didn’t always get sent copies of what people had done!”

Their one studio recording yielded eight great songs including updated versions of “Red Rifles” and “Brutalised”. Other songs were “Our Lives, Our World”, “Butchery”, “Time Is Tight”, “Old MacDonald’s Song”, “Unknown Soldier” and “Plastic Bullets”. More prominent were Heather’s vocals, taking the lead role on many songs. The songwriting had also become more adventurous bringing to mind the Cravats, the Ex and at times, Eve Libertine’s songs with Crass. The variation in song structure was result of intense commitment towards learning their instruments without the benefit of professional training. As the group grew more proficient at performing, they still were able to maintain a unique style. But of course, their immediate listening choices also played some influence.

Rich, “We were listening to a whole range of stuff. I certainly was the biggest fan of straight anarcho-punk, and was listening to everything that I could track down. There were a lot of influences as well as that though — all sorts of things from reggae, PIL, Gang of Four, Au Pairs, Pop Group, Devo as well as traditional and new wave punk.”
Of course, the lyrical content was as pointed as ever.

Posing no threat
The noose is tight
Shuffled into life’s
Phony categories
Mind pollution
Destiny unknown
Hands above the water
Tides crashing in
Out of one grasp
Into tyrant’s hands
Pleas for mercy
No reply
Disfigured values
Rigid roles
Heads are empty
Time is tight

Disguise my death with deceptive names
Cram your stomach with my limbs and brain
I will die so you can be content
Bud did I ever give you my consent?
I don’t want to die for you in pain
You should lower your bloodstained face in shame
What right of death have you got over me?
What you do is butchery.

But frustration with the local music scene and the new atmosphere in the mid ‘80s kept the band from performing live. The lack of sympathetic venues and even less sympathetic ears kept the band dormant. This situation eventually led to Heather splitting the band to focus on her other project, Toxic Shock.

Rich, “Heff had intended to move into the house as well, but in between the folding of Metro Youth and the launch of Sanction, she had formed the two-piece feminist combo Toxic Shock, featuring Al on bass and vocals and Heff on sax and vocals. The two bands did do some work together, releasing a joint demo tape amongst other things, and Heff contributed to the first Sanction studio recording, but with Toxic Shock based in Birmingham, Heff eventually decided to stay put, prioritize Toxic Shock, and quit Sanction.

Toxic Shock subsequently toured with Poison Girls, gigged with Conflict and many others, and released material on the Birmingham based Vindaloo Records, before calling it a day. This meant, among other things, that Sanction were pretty quickly a three-piece.”
Over the course of the almost two year existence, the band only managed to play one gig.

Rich, “We struggled so hard to find outlets in Exeter to play, it just proved to be impossible. There was no pub circuit, certainly not for the kind of stuff that we were doing, and nothing in the way of local club venues. We got to know another local outfit called Wounded Knee, who were pacifist and vegetarian, but who were more into the ‘spiritual’ side those beliefs, than the spray-painting, fanzine-publishing, state-smashing end of stuff that we were drawn to, and we agreed to do a gig together at The Caprice in Exeter in May 1984. By this time, Sanction was a three piece, with Nigel on guitar and vocals, me on bass and lead vocals and Andy on drums. It was OK, but it didn’t really lead to anything else…

“We tried really hard to play more often! This was not an attempt on our part to be ‘obscure and mysterious’; it was a reflection of the fact that Exeter was in 1983-84 a seriously tough place for anyone to get gigs, and a near impossible place for an agit-anarcho band like Sanction. Any leads that we got just ended up going nowhere. We were stuck, living in our cottage on the outskirts of town, rehearsing and writing and existing as a ‘correspondence band’, sending tapes out, answering fanzines interview questions and getting songs included on numerous anarcho compilation tapes. We had more interest from punks in Italy than from Exeter.

“…An obvious thing to have done would have been to ask Crass to join the bill at one of their Exeter gigs. Even by 1982, the question simply did not arise. Earlier on, Crass would have, and did, include local bands wherever they played, but that inevitably meant that local bands with no interest in what anarcho-punk was about ended up performing under the Crass banner. Part of Crass’s determination to retain complete control over the performance on any night, meant that the bill was agreed in advance and included only thoroughbred anarcho-punk acts, most if not all already signed to Crass records. Metro Youth or Sanction was simply never asked, and I’m sure that would have been politely but firmly refused even if we’d have had the gall to ask!

“We could have played with Poison Girls in October 1981 in Exeter, but we didn’t find that out until the night of the gig, when they invited us to join the bill — but some of Metro Youth were out of town. We’d asked for the slot before, but talked to the wrong people in Exeter CND and not the organizers. I really regret that we weren’t able do it in retrospect, but we carried out a cracking good interview for ‘Obnoxious’ fanzine with Poisons and Tony Allen before they went on stage. Both Allen and the Poison Girls were excellent that night. There were other possibilities — we traveled to a squat gig in Swindon, but there was no generator for us to use; we had agreed to organize a joint gig with Flux of Pink Indians in Exeter, but the timing didn’t work out; illness forced us to cancel a gig in the north-east at the last minute — so we didn’t have the best of luck.”

In spite of the lack of live gigs, the anarcho community was strong enough for a band like Sanction to become known and make their music available without the benefit of a tour. At the time, there were several bands that never even attempted to perform live. The DIY community was strong enough that Sanction was soon known throughout England as well as internationally.

Rich, “The core activists and enthusiasts of British and European anarcho-punk were all, in one way or another, connected — through the vast web of bands and performers and the interconnections of the fanzine network. Hardly anyone in Exeter knew who we were, but the band was known about in the anarcho-milieu in this country and abroad. We publicized our work through fanzines, contacted people through the mail and had our songs included on DIY tape releases. Mail from ‘Bullshit Detector 2’ continued to come in for Metro Youth for a good couple of years after the release, so we’d write to people about Sanction.

This was how we ended up working, and of the three of us, I had the most interest in following up on all the stuff that was coming in. All of us in the band shared the frustration of not being able to do more, but I know that for Andy and Nigel, there was even less going on with the band because of that. The chance to correspond with fanzine editors in France and Germany about what we were and weren’t up to, felt like a poor compensation for our inability to get out there and do it on our home turf.”

One last hope keeping Sanction going was the possibility of recording for Crass. There had been ongoing discussion of a possible single which, obviously, would have helped their cause greatly. But just as things were looking more and more likely, Crass split up in 1984 ending the bulk of their operations.

Rich, “Talks about doings a single for Crass were pretty serious, as far as I remember them. We last spoke with Penny Rimbaud about it at the 1984 Exeter Crass gig, and sent in a tape of Sanction material, which both Eve and Penny sent us encouraging comments about. I’m reasonably sure that we would have been invited to record one, if Crass had not packed up within a matter of weeks of that gig, at the end of the tour. Andy T, The Alternative and The Snipers all had tracks on ‘Bullshit Detector 1’ and then did singles on the Crass label. Omega Tribe did a single and an album after having a track on ‘Bullshit Detector 2’. It wouldn’t have been an unusual development at all. I’m also sure it could have transformed the situation for Sanction had we been able to do it.”

By 1984, any interest in politically active punk was dead in Exeter. Apathy was the general sign of the times and the creative elements of the anarcho scene had given away to more straightforward hardcore. Even at Crass gigs, there was little interest in the anarchism outside of it being a trend in punk rock entertainment.

Rich, “There really was very little happening in Exeter in terms of anarcho-punk, and not that much in the way of punk more generally, at that time. One of the things that we hoped might come from the Crass gigs was that it would encourage people to get involved in things, and help kick-start a local anarcho-punk scene. At each gig, we arranged to have stalls — things like the local CND group, Exeter Hunt Sabs, Housman’s Bookstall (a political bookshop from London), anti-police powers campaigners, and others, in the hope of getting punks interested and involved in things.

At the 1984 gig, with Crass’ agreement, me and Phil produced a booklet which we gave out to everyone coming into the gig — basically a call to get stuck in to the anti-nuclear struggle raging at the time; to become involved in organizing events like the gig; and to contribute to getting things off the ground in Exeter. We had 600 people at the gig. We didn’t get a single letter or contact in response to the booklet from anyone in Exeter or anywhere else, though there were a lot scrunched up and on the floor by the end of the evening!

That didn’t necessarily mean that people didn’t sign up for CND or Hunt Sabs that night, or contact Crass, but it didn’t do much to improve our sense of isolation and frustration with Exeter. That said, we never considered moving to London. It’s just not something that ever came up. As I said before, anarcho-punk was never just a London phenomenon, and none of us were at all attracted to the idea of living there. I feel the same way about it today. It’s an OK place to stay, but I consider it a foul place to try to live.

The nearest strong punk ‘scene’ that there was by the mid-1980s was in Bristol, but it was based around bands like Disorder and we were never taken with the whole ‘cider punx’ or, later, the ‘Riot City’ culture either!”

The lack of places to play and the lack of recording prospects finally took its toll and Sanction called it quits in August of 1984. Of course, the political and social climate was extremely different in the mid ‘80s and the conservatism of the times certainly had much blame for the situation. The conservative attitudes trickled down and would eventually send the counter-culture into a remission.

Rich, “Devon, where we were, felt beautiful but backward. If you had transport, it was a pretty amazing place to live — with stunning coastline, woods and moorlands all within spitting distance of our house. We lived just ten miles from great beaches and forty minutes from the edge of Dartmoor, and we grew to love that. But the place was an insular and conservative backwater at the same time, totally separated off from where I consider ‘the action’ to be — musically, politically, culturally.

Sanction just wasn’t working, despite all the efforts that we put in to turn that around. We had to give up the house that we had been sharing, and that made it even harder to keep us all involved. By that point in 1984, our frustrations with anarcho-punk had reached a kind of breaking point. In all senses, it felt like time to move on. For myself, I wanted to be more engaged politically, and I wanted to write about politics outside the confines of the fanzine format.

“I applied to join the collective producing Peace News magazine, which was then a fortnightly journal, reporting on and analyzing nonviolent actions of all kinds against the ‘war machine’. Mike Holderness, who was on the staff there, had been in contact with Crass as early as 1979, organizing a gig for them in London and writing the brilliant sleeve essay for ‘Nagasaki Nightmare’, but there wasn’t anybody on the collective who’d come to their politics through anarcho-punk. That was one of the reasons I got the job, I think. Peace Newswanted a staff member who knew about and could reflect the voice of that section of their readership that was from that world.

I moved to Nottingham in August 1984, and Nigel returned to college in that September, also in Nottingham. Andy stayed put in Exeter. That marked the end of Sanction. We did talk about organizing a ‘farewell’ Sanction gig in Exeter in July 1984, but, given the reception we were getting from the place, it seemed kind of pointless to us really. Instead, we called it a day with a final mail-out to the people who’d written to us or written about us.”

Despite the frustration, Rich is still politically active and responds positively when thinking back on those times.

Rich, “No, I don’t think it was all ridiculous, but, yes, much of it was ridiculously naïve. It’s important not to overstate how wonderful it all was — some fanzines were shite, many anarcho-bands were worse, many anarcho-punks turned up from the gigs, but would never turn out for the actions, and a lot of the political ideas informing those actions were delusional in the first place.

But I’d want to defend a lot of what went on and what we were involved in too. I’d want to criticize the individualism and the blind pacifism of the movement, its lack of political strategy and its confused priorities. I’d want to point to the chasm, which separated the claims of the movement from the reality of the movement’s work, and much more besides. And yet, at the same time, many of the visions, aspirations and hopes articulated by that movement still seem to me the right ones.

Anarcho-punk wanted to disarm and break the nuclear state, end the alienation of family life and the misery of wage slavery, free the earth of the exploitative parasites who plunder and threaten it, and create a new global human community, able to exist in peace, freedom and equality. You can attack anarcho-punk’s efforts to execute the plan all you want, but I’m reluctant to criticize the sense of ambition! Personally, in the years since Sanction wound up, I’ve kept hold of the anarchism and vegetarianism, and let go of the pacifism.

“As for as Metro Youth and, more so, Sanction go, I think we invested far too many expectations in it, and were constantly disappointed as a result. We could also be over-earnest, self-righteous and indignant about many of the things we did and said — me especially — but that kind of came with the territory, I suppose. But listening again to some of the old recordings, particularly the later Metro Youth ones, and some of the Sanction material we only taped at rehearsals, I am quite impressed by the kinds of things that we were doing and the material we were trying out. Three to four years before that, we really couldn’t carry a note between us.”

8. BLACK IS THE SHADE OF NEGATION
The Story Of Kronstadt Uprising

1982 it felt like we could take on the world – I remember when we used to play gigs in this period I’d get very fired up and want to kick over the statues and start the Revolution NOW!”
Steve Pegrum, Kronstadt Uprising

In the spring of 1921, four years after the October Revolution, an insurrection took place near Petrograd at the frozen Gulf of Finland. The lack of food and fuel created unrest in the workers and sailors at Kronstadt, a naval base 50 miles from Petrograd. Strikes throughout Petrograd were met with state violence culminating with gunfire at a meeting of 10,000 workers.

The sailors at Kronstadt, who Trotsky had previously referred to as the “pride and glory of the Russian Revolution”, had formed their own free commune outside the control of the totalitarian state. On March first of that year, they made demands including the end to privilege for certain political parties and the end of Red Army presence at factories and work places.

They demanded an end to monopoly of power maintained by the Bolsheviks and their bureaucracy returning power to the Soviets. The Bolshevik leaders responded by labeling them “counter-revolutionaries” and “mutineers”. Ironically, it was Trotsky who was in charge of repressing the rebellion. He oversaw the formation of a special attack force made necessary by the fact that many of the Red Army refused to fire on their comrades. On March 18th, Trotsky ordered an attack that ended with the slaughter of the “pride and glory of the Russian Revolution”.

That often over-looked moment in the history of the Soviet Union was the inspiration behind the name of the band, Kronstadt Uprising. Formed at the end of 1981, the band became known for their track on the second “Bullshit Detector” compilation on Crass Records. But the band’s roots go back a few years further.

In 1979, Steve Pegrum bought his first drum kit. Inspired by the DIY spirit of punk rock, he did it already with the intention of starting a band. A dedicated fan of pop music and its history, he had grown up around music and was immediately taken by punk rock upon his first introduction to it. Living in Southend-on-Sea would be no obstacle for him.

Steve, “I grew up in a very musical household – my Mother played the piano, my Uncle was a professional Jazz drummer, and there were always parties with various people bringing instruments round and jamming. I remember at 7 or 8 years old thinking it was really cool. Then with the Glam stuff in the early ‘70s – especially David Bowie and T-Rex –I started buying the records with my pocket money and formulating the idea of one day playing on a record myself – it took until 1982, with the release of “Receiver Deceiver” on Bullshit Detector 2- and once I saw the Sex Pistols on “So it Goes” and “Top of the Pops”, within a few days I went straight to Seditionaries, and started ripping things up and my life was beginning. 

In Southend in the ‘70s there was quite a thriving music scene – Dr Feelgood, Eddie and the Hot Rods etc, but by the time the Kronstadt Uprising came to start gigging the scene was a bit stale and needed shaking up a bit. All the old Punk bands like the Machines, etc had folded and a new breath of air was needed.”
His first direct connection to the punk scene was through underground publications of the time. Fanzines in punk culture ranged from gossip and ranting to high journalism. This casual approach to DIY struck a chord with Steve.

Steve, “I’d been reading fanzines since 1977 – my favorite to this day is still Tony D’s excellent Ripped and Torn – primarily because they represented the views of people like myself who felt largely dispossessed by the representation of our music by the national weeklies like Sounds, NME etc. They also would often focus on key geographical areas that I found fascinating and would give an insight into the local scene. For example, in my original home town of Southend-on-Sea there were several titles: The aforementioned Necrology etc, Strange Stories, and Graham Burnett’s legendary New Crimes. The ’zines really did represent true freedom and the spirit of autonomy and were the true embodiment of the Punk D-I-Y ethic.”

Soon, he was getting involved himself, publishing his own homemade fanzine.
Steve, “My first Fanzine was Protégé in 1978, which I then re-launched in 1979 – 1980, running parallel with my other fanzine ‘Slaughter’ which ran from 1979 –80 also. They were mainly pictorially orientated with features on the bigger punk bands of the day. The main fanzine I put together which did quite well – Rough Trade really helped with the distribution etc – was ‘Necrology’ which ran from 1981 – 1982.

It was great fun to do, and concentrated on the newer scene – i.e. Crass, Poisons, etc, but in 1982 I was playing drums in the Kronstadt, playing drums in the Sinyx and doing the fanzine and couldn’t do all three so I stopped the fanzine to concentrate on the bands, and ultimately the Kronstadt Uprising.”

Inspired by his Uncle, Steve had been interested in drums. As a jazz fan, it also showed him that a bandleader didn’t have to be the lead instrumentalist as was the case in most rock bands of the time. But it was seeing Paul Cook on television with the Sex Pistols that convinced him to take the plunge and get a kit and teach himself to play. Soon, he was taking notice of other drummers in the punk scene.

Steve, “I’d seen my uncle playing the drums as a child and was very impressed with the sound and feel he generated. He has been a professional Jazz drummer all his life and is still playing now at 70! Also, all of my family was into music – my dad was into the Big Bands, especially Gene Krupa, and his vibrancy and raw energy really struck a chord with me (I was fortunate to see Buddy Rich a couple of times in the ‘80s). Between the ages of 7 – 12, I’d regularly watch Top of the Pops (in the ‘70s in the UK, the real must see program for teenagers) and I was fortunate to be watching it when it had Alice Cooper, T-Rex, Slade and The Sweet on there regularly. The Sweet and Alice Cooper I especially loved, in Alice Coopers case primarily for his drummer Neil Smith whom I thought was excellent.

The thing that sealed it though was watching The Sex Pistols on “Top of the Pops” performing “Pretty Vacant” in 1977. This changed my life forever – and seeing Paul Cook pound out the rhythm, I knew that was what I wanted to do. Him, Rat Scabies and Topper Headon really set me on my path.”

By the spring of that year, under the pseudonym Cut Throat, he formed Cut Throat and the Razors. Formed with school friends, Chris Davies and Graham Godfrey, on vocals and guitar respectively, they spent the next few months learning their craft. With a haphazard set made up mostly of punk rock cover versions, the band fell apart before the end of the year. But by playing with other people right away, Steve was able to move quickly in terms of skill and understanding of band dynamics.

At the beginning of 1980, Steve and Graham formed a new band with vocalist Nicholas Stocks. Appropriately punk, they decided on the name Bleeding Pyles. Focusing on a set of originals, the band were faced with the daunting task of making a name for themselves amongst the myriad of garage bands popping up around England at the time. Within a few months, this band, too, split leaving Steve to start again.

It was around this time that Steve met Spencer Blake during one of the Easter Bank Holiday Weekend riots between punks and teddy boys. Spencer was a fellow Southend punk fanatic and the two began forming a band using the name Bleeding Pyles.

Settling on Lee Lobb on vocals and Mike Heddon who was known as Spiderman on bass, the band began putting together a set of originals at Dave’s Rehearsal Studio in Southend and rehearsing quite regularly. But after having played only two gigs at the Focus Youth Centre between the summer of ’80 and the spring of ‘81, this line-up also split with Lee and Spiderman losing commitment.

Determined to make the band work, Spencer switched to vocals and Bleeding Pyles recruited Paul Lawson to play guitar and Mick Grant for the bass duties. Rudimentary versions of later Kronstadt Uprising songs, as well as a few tracks lost in time, were developed. Song titles included “Receiver Deceiver”, “Blind People”, “Dealer of Death”, “Necrology”, “Nihilistic Vices”, “Invasion”, “Dreamers of Peace”, “Violent Fear” and “Anthem for Doomed Youth”. But by this point, the original members of the band were losing interest in the band’s initial vision and their musical interests were progressing with the times, although on August 19th, 1981, this line-up made its debut at the Thorpedene Community Centre as the (final version of) Bleeding Pyles.

Steve, “My first band of any note was Cut Throat and the Razors. We really couldn’t play and just generated this noise that we enjoyed, with song titles like “G.B.H.” and “Boot Boys”. The Bleeding Pyles was an ongoing ‘pure punk’ project of mine, with various musicians going through it’s ranks constantly, until the final line up which became Kronstadt Uprising on 1981.”

In 1981, Steve, Spencer and Paul saw the punk scene as being divided into two factions. On the one side was the Oi! movement, which they found to be “repugnant” and wanted little to do with. The other scene was the anarcho scene started with Crass and Flux Of Pink Indians but brought to Southend by local band, The Sinyx.

Steve, “In 1979 I was buying records like the “Feeding of the 5,000” 12” by Crass, The Fatal Microbes, etc and it’s intense minimalism appealed to me. By now I’d been into punk for a couple of years, and a lot of the original bands were starting to fragment, as was the scene itself, and I began to be aware in the fanzines, Sounds, etc of the rise of Crass and began to pay attention. In 1980/1981 I remember myself, along with many other disillusioned punks of the original school found a real home in the Crass, Poison Girls, Flux, Sinyx, Mob scene. They seemed to encapsulate the original spirit we’d seen in The Sex Pistols and The Clash, and given it a new, articulate update and twist…

“It’s hard to describe now, how revolutionary Crass and the Poisons sounded back in ‘79/’80. It was like nothing we’d heard before. I remember a few of us used to have these “Sunday Morning Sessions” at Spencer Blake’s house, where we would blast out all the singles we’d brought the previous afternoon, on his folks’ stereo. I vividly remember how awesome the “Bloody Revolutions” EP was. Truly astonishing. Ditto the first time you heard “Tube Disasters” by Flux. Live the song had been great, but on record it really seemed to explode. There was definitely a sense that something was changing. The paradigm shift in consciousness was occurring.”

Inspired by this new scene (new to them at least), the three re-grouped at Dave’s. Mick Grant had converted to Christianity and that certainly didn’t jive with the band’s new interest in anarchist politics. They recruited would-be Goth, Andy Fisher on bass. More interested in the Sisters Of Mercy and Bauhaus, he helped expand the bands sound from the standard three chord fair. October 2nd, 1981, this line-up made its debut at the Maritime Rooms as The Bleeding Pyles for the last time. Ironically, owing to ‘girlfriend’ problems, Spencer Blake couldn’t make the gig, and Steve’s friend Gary Smith (and future Kronstadt singer) sat in with the band just for the night. Quite a portent of things to come.

Steve, “When Spencer, Myself, Paul and Mick put the final line up of the ‘Pyles together in 1981, it seemed like the band had come full circle, as by now we could vaguely play and were slowly starting to move away from the old ‘pure punk’ style, and wanted a name that reflected our new approach. Also, when Mick left and Andy Fisher came in on Bass, that’s when we really started to discuss a name change, and after much deliberation and with a suggestion by Graham Burnett, decided to call ourselves Kronstadt Uprising. It perfectly encompassed what we were about.”

Drawn to the political element of the anarcho scene as a conduit for the DIY elements of punk that first piqued their interest, the new direction was more than musical. It was through this new interest in anarchist politics that Steve learned about the Kronstadt rebellion.

Steve, “Personally, between ’81 – ’83 I was quite entrenched in the politics of the time, and still retain some of those ideals to this day – much like the original wave punk ideals – pro-creation, anti-ignorance – I think these ideas are still valid. I remember reading a small amount about the Kronstadt Uprising in Russia at school, and then buying a book about it at an anarchist bookshop in Brixton, London. It really inspired me and I certainly felt kinship with their struggle. Around this time, Graham Burnett of New Crimes said it would be a good name for a band, and so after some discussion with the other members, the name was chosen.”

The newly christened Kronstadt Uprising worked feverishly at writing a new set of material driven by their excitement of their new musical / ideological direction. Their new set included the songs “Act of Destruction”, “Charrons Hordes”, “Crucifying Anarchists”, “Divide and Rule”, “Dehumanization”, “End of Part One”, “False Leaders”, “Xenophobia” and a cover version of “Holocaust” originally by Crisis.

Steve, “Crisis had always been one of my favorite punk bands at the time, and Spencer and Paul also really liked them. One day for fun we started messing around with “Holocaust” and it sounded quite good, ‘til ultimately we started playing it live. People used to love the song, and I’d like to think we helped turn a lot of people on to Crisis. I didn’t know them personally, and as for Death in June, I was so into Crisis, I didn’t want to know what they sounded like really in case it was a let down. Various Goth friends over the years always seem to highly praise Death In June. But I have to plead ignorance.”

By November of that year, the band decided to record the songs they had and went up to Elephant Studios at Wapping, London and recorded nine tracks. At the time, overwhelmed by their first recording experience, the band later felt disappointed with the recording feeling that it didn’t at all capture the band’s live energy. Putting it behind them, the band played their first gig as Kronstadt Uprising on December 7that the Focus Youth Centre.

1982 turned out to be one of the band’s most active years starting off with a slew of gigs earning them a large following in their area. At the insistence of their friends, The Sinyx, the band sent the Elephant Studios recording to Crass. The Sinyx had been featured on the original “Bullshit Detector” compilation and Kronstadt Uprising were picked to be on the second one, released in September of that year.

Steve, “I’d been in touch with Crass through the fanzine/gig scene, and my friends from The Sinyx had been on Volume 1 and suggested I send Crass a copy of the demo that the Kronstadt Uprising had just done. I wasn’t that happy with the recording but gave it to them anyway, and the rest, as they say, is history. “Receiver Deceiver” started life as a Bleeding Pyles song in early 1981, written by Paul Lawson and myself. Although the first time we ever went to a recording studio was just after we’d changed our name to Kronstadt, so it is an official Kronstadt Uprising track.”

The constant gigging helped them build a following. Southend had developed it’s own anarcho community thanks to Kronstadt Uprising and The Sinyx.

Steve, “There was quite a good anarcho scene in Southend at the time – I personally prefer the term ‘punk’ scene if one has to call it something, but anyway. Between ’77 – ’87 there were some great bands – The Vicars (featuring a young Allison Moyet who believe it or not was a belting punk singer), Machines, Eddie and the Hot Rods and the Psychopaths, who collectively were the best of the ’77 – ’79 class, and then from ’79 – 82 you had The Kronstadt Uprising, The Sinyx, The Icons, Autumn Poison, Allegiance to No One, and then ’82 – 87 you had The Prey, Burning Idols, Anorexic Dread and the Armless Teddies. I absolutely loved The Sinyx and Icons (I joined The Sinyx for a while in 1982, and Filf the guitarist with The Icons/Sinyx played in the Kronstadt Uprising in 1983). Also the Burning Idols and The Prey, whom the KU played with a lot, as well as Allegiance and Autumn Poison.”

But despite the momentum, or perhaps because of it, singer Spencer Blake found himself unable to commit to the band. As the band got busier, he decided he needed to leave. Rather than finding a replacement, they decided to carry on as a three piece with Paul doubling as guitarist and singer. Their debut as a three piece was at Heroes in Chelmsford, Essex on June 26th. Though the band lost a few fans over the new vocal style, inertia was on their side. The band had been asked to record a record for Spiderleg Records (owned by Flux Of Pink Indians).

Steve, “If I remember correctly Penny from Crass put us on to Spiderleg because he knew Derek Birkett (MD of Spiderleg) was looking to get some new bands on the label – again we kind of knew them through the scene anyway, and thus in 82 with the help of Colin and Derek (Flux) and John Loder at Southern Studios, where all the Crass stuff was done, we recorded our first EP.”

The resulting record was “Unknown Revolution”. In tune with the music of their inspirations in Crass and Flux Of Pink Indians, the EP is a varied collection of punk songs. The music is raw despite (or maybe because of) big production at Southern Studios. The upbeat songs had hidden elements of melody reminiscent of songs like “I Ain’t Thick Its Just A Trick” or even very early Stiff Little Fingers. Lyrically, the record was also in tune with the times reflecting the nuclear paranoia at the time of Greenham Common and Cruise missiles

Nuclear deterrent ha what a joke
It makes me sick and I wanna choke
Take it away I don’t believe my ears
The only thing that has kept peace for 40 years
Fight for power fight for yourself
Don’t let them put you on the shelf
Ban the bomb they all cry out
So that millions won’t have to die
Do they really understand what they’ve said?
Are there any real thoughts inside their heads?

Other tracks dealt with the topics of corporate greed and cultural alienation.

All the filling is pure offal too
Your rotten flesh not eaten by you
We taste your lies from day to day
Why not go back to the USA?

Auschwitz / Belsen / Dachau / Death
Screaming anarchy on my final breath
Mai Lai / Dresden / Witch Hunts / Death
Screaming rejection on my final breath

The lyrics at this point were as important as the music. Punk rock, for them, had become a way of expressing very simple, but very direct ideas.

Steve, “I’d say between ’81 – 84 they were very important and came as one with the music. I don’t like extremely didactic lyrics or at the other end of the spectrum banal ones, there’s a fine line to get it just right. Some of our best lyrics are on “Xenophobia” and the song “Twilight of Your Idols” (not released). In the ’84 – ’87 era, it was a completely different entity, going back to our punk roots – i.e. the Iggy/Thunders etc influence - and the lyrics were still important, but in a different way. I was very nihilistic at the time and loved the dumb minimalism of The Stooges and in the reverberation of songs like “Dirt” felt that it captured the beat of the Universe.”

The liner notes also included some of the band’s political “agenda” and identity.

In search of the black rose…
The black rose was used as the symbol for freedom during the many peasant uprisings in the middle ages. The black rose does not exist in nature, and the anti-authoritarian peasant rebels symbolized their pursuit of it in much the same way the Christian pursued the Holy Grail. Mankind has yet to find freedom, and when we do we have found the beautiful black rose.”

Though no recording credits are listed on the record, it was recorded under the supervision of John Loder at the 24 track studio Southern.

Steve, “I remember being very nervous as it was an awesome studio, and my drumming at this stage was somewhat ‘rudimentary’ to say the least, but I think the finished result came out ok. For just a 3 piece it sounds quite powerful (Filf hadn’t played on the record, and although he joined just after, he left before it was released, although Andy thought we should put his name on the sleeve anyway) “Blind People” was one of the very first songs we ever played together and we often used to open up a gig with that number, so we put that on first. “Dreamers of Peace” was again an early song we liked, although with Derek and John Loder’s help we did re-arrange it a bit in the studio. “Xenophobia” and “End of Part One” were more recent and again firm live favorites, and they all seemed to gel well as an EP.”

The EP also showcased the great detail and interest the band had in their artwork. Not wanting it to be any sort of a throwaway or an afterthought, they got artists outside of the band involved in creating the cover art.

Steve, “The packaging was very important, as I always believed in presenting a total full-on Kronstadt Uprising – one which you’d always be aware of, through subliminal design/overt design, logos, our banner on stage, badges, flyers etc. My girlfriend of ’83 –’88 (Veda Pond) did a lot of the later Kronstadt Uprising artwork which was brilliant, Ian Hayes-Fry did quite a lot over both eras and did the banner for us, and Celia Biscoe, Kev Hunter from the Flux’s partner, did the actual designs for the EP. Andy Fisher loved the Black Rose so much Celia had drawn, he had a brilliant tattoo made up of it.”

The record was practically a love letter to the anarcho punk scene. It was a great time capsule of what was happening in young, radical England in the early ‘80s.

Steve, “I’d say ’81 – ’84 we definitely were part of the scene, consciously so between, in my opinion, the scenes peak of ’81 – ’83. We would regularly correspond with, play gigs with and generally believe in the whole essence of this period. 1982 it felt like we could take on the world – I remember when we used to play gigs in this period I’d get very fired up and want to kick over the statues and start the Revolution NOW! A highpoint for us was recording the “Unknown Revolution” EP.”

Unfortunately, it would be a year before that record would see the light of day. It was in the middle of all this that “Bullshit Detector 2” was released. In many ways the most well received of the three “Bullshit Detector” comps, it prominently featured Kronstadt Uprising’s “Receiver Deceiver” on the first side.

While a throwback to the band’s first line-up, the track was an upbeat punk number with a memorable chorus. Despite the band’s objection to the production value of the track, it became their most well known and a live favorite. The song itself was a simple condemnation of police violence and it’s cover up in the media.

Guilty copper on the TV screen
He tells lies because the truth is so obscene
Can’t put his dominant reputation at stake
That’s why this program is a fake
Brixton riots, Southall too
It’s their fault but they’ll blame you
They all get together for a mass debate
On how to protect their precious state

A double record set costing roughly $5, the compilation sold in the tens of thousands. The success of the record allowed the band to expand its base of activity and focus on gigs outside of their area, in particularly setting their sites on London. They were soon getting requests for tapes and fanzine interviews from people around the world.

Steve, “The response to our being on “Bullshit Detector 2” was staggering – we were getting mail form all over the world, fanzines were tripping over themselves to speak to us, hear other tracks etc – it really had a far reaching affect. It’s ironic really because it was our first ever recording, Paul the guitarist’s distortion pedal wasn’t working, Andy had been in the band about 3 days, so technically it’s far from us at our best, but I guess it does represent something and people seemed to like it.”

The release of this compilation further reinforced the connection between scenes. The Southend anarcho scene now felt validated and it created a new momentum in the scene.

At the beginning of 1983, the band filled out their line-up adding Filf (Nick Robinson late of the Icons and the Sinyx) on second guitar. Steve had also been busy moonlighting with the Sinyx on drums.

Steve, “A load of us from Southend, in 1981 – 1984, would regularly go to all the Crass, Poison, Flux, Subhumans and Mob gigs in London. London was only 30 miles away from Southend so it was easy to get there. I remember the Zigzag club squatted gig of 1983 being a high point of the scene – in one day seeing The Mob, Amebix, Flux, Poisons and Crass.

Also the Centro Iberico was really cool and it felt like we’d all achieved something. The Kronstadt Uprising did play London a fair amount, especially at one point with Hagar the Womb, and by and large they’d be great gigs, but even in the ‘Anarcho‘ scene that were was a lot of back biting and pettiness which used to annoy me somewhat, which is why we would often organize our own gigs in London, supply other bands to play with us sometimes bring alternative Poet friends of ours etc and at one point we had quite a Kronstadt Uprising collective going on.”

But the strain of constant gigging was starting to take its toll on the band. They were becoming increasingly disillusioned with the anarcho scene and tired of being pigeonholed. After headlining a gig marred by technical problems and skinhead hassles, the band decided to take a needed vacation to reassess their situation.

Steve, “In terms of being labeled an ’anarcho’ punk band, I was quite unhappy because it seemed to the easy option for people in the mass media to compartmentalize us and simultaneously try to limit the movement by defining it, which I was against. To me the core nexus was always punk, pure and simple. Initially we always wore all black, in order to reflect our nihilism and to present a strong unified visual force. Latterly, with Goth-Glam influences, this obviously had an effect too, and led to a strong but different image also.”

During this time period Filf split the band, as did Paul for a short time. But eventually he rejoined returning the band to their three-piece line-up. By the end of the year, they were playing together again, though this time determined to play the type of punk rock they had loved from the start. Rediscovering their love for The Heartbreakers, The Lords of the New Church and Hanoi Rocks, the band created a raunchy punk rock-n-roll style despite the September release of “Unknown Revolution”.

Steve, “The first single, although recorded in 1982, owing to various label problems, wasn’t issued until 1983, by which time we’d moved on and didn’t really take advantage of the publicity. We were more concerned with writing new songs and recording them – songs from this period (late ’83 – early 84) would be “The Knife”, “The Day After”, “New Age”, and “Battlecry”, etc. Some out of town gigs were great for us – especially in the New Towns like Harlow and Basildon, London was always good – although some places we were met with complete incomprehension and indifference.”

Other songs from that line-up included “Insurrection”, “Soldiers of Fortune”, “Complacency Kills (Parts one and Two)”, “Final Solution”, “Decadence”, “Animal Liberation”, “Strings of Falsehood”, “What Price”, “Twilight of the Idols”, “Live for Today”, “I Don't Wanna Live Your Way Today”, and “The White Room”.

This new direction for the band caught more than a few folks offguard. Expecting the standard peace punk fair of “Receiver Deceiver”, some audiences were left bewildered at their live gigs.

Steve, “Around late ’83 when we began to move away a bit from the “Unknown Revolution” EP sound, I think some people weren’t sure about the newer material and would still expect us to play “Receiver Deceiver” all the time. So yes, it was a bit hard at first, but then people began to slowly accept it, and by the time of the second single with the new line up, it was almost an entirely different audience. The second single had appalling distribution, and thus didn’t get very far, so fifteen years later it’s good to get it out on CD with better distribution at last. (Note: one of my personal Kronstadt Uprising favorite songs – “Live for Today” – was recorded at that session for the single but was never issued until the aforementioned CD).”

By 1984, the band had a new sound and a new set of songs. They decided to get back in the studio early that year. They recorded a full set of material at their rehearsal space and made two trips to Pet Sounds studio in London. By the time they had finished recording, the band felt that they had reached their creative limitations in that format. Besides, Steve was getting ready for his “A” Levels, Paul was about to marry and Andy wanted to do some traveling without the benefit of a band in tow. On the 5thof March in 1984, they played their last gig together with the Lost Cherees at the Old Queens Head in Stockwell, London.

For the next year, Steve focused on finishing his “A” Levels, starting up a dance club called The Taste Experience, and playing in a psychedelic band called The Children Of The Revolution. But soon he regained his desire to play in a punk rock band. By the summer of 1984, he had pulled together a new version of the Kronstadt Uprising featuring original vocalist, Spencer Blake back on vocals along with Spencer’s brother, Murray, on guitar and Steve’s college friend, Stuart Emmerton, on bass.

Soon, however, Spencer’s lack of commitment again led him to be quickly replaced by Gary Smith (ex-The Get) and the band proceeded to build a new set mixing songs from the previous line-up like “Live For Today” and “The Knife” along with new material that they were fiercely working at writing.

In April of 1985, the band went into the recording studio to document some of what they had been writing. Away from London, the band recorded at Diploma Studios in Wickford, Essex. The resulting three songs were enough to impress Ian Cox of Dog Rock Records. Mutually financed, the result was the band’s second single, “Part Of The Game”.

The record, while maintaining the rawness of their previous single, was really a completely different entity. The band’s new punk rock persona definitely had more structural similarities to blues based rock n roll. In it’s own right, it’s an exciting punk record that needed to be respected: to record a totally raw guitar based punk record in 1985 certainly showed the band had no interest in the commercial trappings of the musical mainstream of the time.

Steve, “The love of my life musically was always that real blistering punk / R'n'R, as epitomized by The Stooges, Social Distortion, Pistols, Dead Boys, Heartbreakers, Ramones, etc and original Kronstadt Uprising members Spencer and Paul felt the same. However, at the beginning of the Kronstadt Uprising, we could barely play our instruments, and for myself I’d say it wasn’t ‘til 1985 that I began to get any vague idea of what to do, so it wasn’t ‘til then that musically I could translate my ideas into songs, which came out with that raw sound. Also I’d say that after various let downs, hassles and general disillusionment with some of the more didactic elements of the anarcho scene, it encouraged us in late ‘83 and early ‘84 to see the reemergence of Johnny Thunders, Ramones etc and this did bring us back to our roots and simultaneously take us off in a new direction. I understand that for people who only like the ’81-’82 Kronstadt Uprising era of “Blind People”, “End of Part One”, that the latter stuff may not be quite up their street, which is fair enough, but I do feel it stands up in it’s own right.”

Despite these concerns and abysmal distribution, the record was well received for the most part. The fact that the record wasn’t completely embraced by the anarcho scene that embraced “Unknown Revolution” probably has to do with the fact that by the mid-‘80s, the anarcho scene was very different. While some areas continued to develop, other areas had collapsed and the initial excitement of the scene had certainly been tempered.

Although the band had taken on a new musical direction associated with rock n roll excess, Kronstadt Uprising was still true to their name and operated under the same value system as they had since the start.

Steve, “In terms of our original Punk inspired DIY ideals, absolutely. The second single was independent financed, most of our gigs were self organized; we’d go out of our way to help other bands, so yes we certainly lived that ethos. Lyrically it did evolve/change as I mentioned earlier – and some members of the later line up were not so politically motivated, so obviously this had an effect, but overall, I’d pretty much say that in terms of core ideals we stuck to our beliefs, although again I’d understand that anyone seeing pictures of us now might find it incongruous seeing this glam-punk image with biting lyrics – but hey that’s what we were about!”

The release of the single garnered the band more positive press and opened even more doors for them.

Steve, “In Southend we would get excellent press, even nationally sometimes in Sounds and NME, although the best press would be in the fanzines of the time, like “Final Curtain” and “Obituary”. Once “Bullshit Detector” came out, we started to get featured in magazines all over the world, do radio features in Europe etc. The “Unknown Revolution” EP consolidated this. I moved to London in 1985, and Stuart the bass player did likewise in 1986, and consequently we featured in a lot more publications at the time.

In Southend people seemed to regard us as some kind of seminal punk band, and right up until the split audiences there would always encourage us. The area had always had an active music scene, and if its known for nothing else it should be respected for giving Dr Feelgood a forum and helping them establish a fertile land that sowed the seed for the Pistols et al.”
The band celebrated the release of this record by playing their first gig on May 3rdat the Basildon Roundacre. By now, the supporters of the band had time to let the new style sink in and were more in tune with what the band were doing. This new sound also led to a new audience of like-minded music fans attracted to the style of the Heartbreakers and the Dead Boys.

Shortly after the gig, the band recruited guitarist, Kevin De Groot into their ranks from an ad in a local music store. Influenced by both Hendrix and a lot of goth, he added a new dimension with his more technical solo work. Again, the band rushed out to document this new direction for the band and recorded a new demo, this time at Real Time in London. The new five-piece line-up made its debut at the Monico in Canvey Island, Essex on September 10th. The band spent the rest of the year in a more rigorous schedule of live dates.

Steve, “The first era of the band (’81 – ’84) only really played gigs we either organized ourselves or were with sympathetic punk bands, like Fallout (ex-Six Minute War), Hagar the Womb, Lost Cherees, Nightmare, etc The second era would play with different bands such as The Bollock Brothers or Malice, but again we’d often try and play with various friends bands and present a unified front, like when we’d play with the Burning Idols.”

Some of the songs they were playing at that point included “Suicide”, “What Are You Gonna Do”, “Looking For You”, “Hold Me Back”, “Stay Free”, “Watch Me”, “Something Going On”, “Running”, “Chasing My Angel” and “Vietnam Blues”.

The band now had a steady flow of gigs and was working hard to expand its musical palette. But with Steve now living in London, it was getting harder and harder to practice. With no prospect of a label to release any more recordings, the band began to disintegrate. The first to split the band was rhythm guitarist Murray Blake in the summer of ’86. He was soon followed by their vocalist, Gary Smith, that fall. After spending a year auditioning new singers and occasionally rhythm guitar player, Kevin left the band effectively ending Kronstadt Uprising for good.

Steve, “I was the only original member throughout the second line up –I so believed in the songs and the things we were writing especially in ’84, that when Paul and Andy wanted to split the band in ‘84, I was determined to carry it on and put a new line up together, which I did. The second line up was pretty constant, from ‘84 – ‘86, until Murray then Gary Left, and then in 87 I’d had enough of trying to constantly hold the band together, so when Kev said he’d had enough after us not finding a new singer, I agreed and we called it a day. I think, after Gary Smith left in late ’86 and through the bands dissolution in late ’87, if we’d found a new singer we would have changed the name, as it would have been a completely different band.”

By this point, Kronstadt Uprising had been through five line-ups in five years. Though many ex-members went on to other musical projects, the list still looks like a body count. Steve, oddly enough, seems to be the only one to come through mostly un-scathed.

Steve, “Andy and Paul spilt the first line-up of the band – there was some slight animosity but that was cleared up fairly soon afterwards. The second line up split was a slow disintegration – Murray left in 1986 due to a bad drugs problem, Gary in late 1986 for reasons only he knows, and finally Kev left in 1987 after a fruitless year of looking for singers, at which point Stuart and I said enough is enough and stopped too.

A year later we returned with neo-glam/punk band The Ghosts of Lovers. Kev went solo under the name The Misanthrope for a couple of years. Murray went on to play bass in Sonic Violence in the early ‘90s and did quite well with them. Gary didn’t do anything. From the first era, Spencer played briefly in a couple of rehearsal only bands and helped form Sonic Violence, Paul Lawson didn’t really do anything, Mick Grant became a Christian, and Filf hung up his guitar. Andy Fisher played guitar in Anorexic Dread for a bit before roady-ing for the Cure, and moving to the States, where he now lives in Cincinnati.

I’m still as obsessed as ever with raw, burning rock and roll/punk, still love Social Distortion/Johnny thunders and Stiv Bators, and so after the KU I played in The Ghosts of Lovers, Nicotine and Razorblades and The Hearts of darkness. After a three year lay off due to the death of my father and my close friend Guy Bourseau and a protracted period of traveling in Central America, I am now writing songs again, and in Feb 2001, for the first time in 12 years, I began recording a few demos, with the help of Kevin de Groot, the KU-second era guitarist. Once I get a line up together for my new band, we’ll start playing immediately.”
Years later, Steve still happily reflects back on the band. The few regrets or missed opportunities are minor in the long run.

Steve, “Overall I’m fairly pleased with what we achieved. I do wish we’d been able to play outside of the UK, and maybe released an album at the time of Unknown Revolution ep quality of some of our ‘lost’ songs such as Insurrection, Act of Destruction etc, but hey, with the release on Overground last year of the KU retrospective ‘Insurrection’, at least a few things are out there. It’s mainly demos on the CD, but at least there is a record of some of our experiments. So highs would be: The first gig, playing on a stage, people listening to us and giving us respect, Bullshit Detector (my copy arrived on my 17th birthday), the Unknown Revolution ep, the London gigs in 1982, and the final farewell Southend gig in 1986.

Most of all I’m pleased with any sense of inspiration that we left, and the sense that anyone could do it, just get up there and kick out the Jams!

“I think that Crass, etc certainly contributed to the reemergence of serious protest in the ‘80s i.e. CND/Animal Aid etc, as well as encouraging the traveling lifestyle and the sense of self-empowerment. I think most of the best bands of this period provided a much needed forum for debate, and acted as a cipher for the anger felt against an anachronistic old world order, as personified in the Thatcher-Reagan years. Finally, yes, I would be the first to admit that some of the music was a bit naïve in places, however, it shouldn’t be forgotten how GREAT the following records, and many others of the period, actually were:

Crass - Feeding of the 5,000
Poison Girls - Where’s the Pleasure
Flux/Epileptics - Everything ‘till 1983
Mob - Let the tribe Increase
Sinyx - Everything ‘till 1983


“Because in 1000 years times, as artifacts of an era, I think these will stand up far more so than whatever the mainstream had to offer. All power to the imagination!”

Vague- the revolution of everyday life

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Here is an opening extract from Tom Vague's reminiscences - for more look here

As far back as I can remember I always wanted to be a vagrant – unemployed, on the road, unattached, unaligned, undomesticated, etc. I left school aged 16 in July 1976 during the heatwave, on the 200th anniversary of American independence, at the time of the Israeli special forces raid on the hijacked plane at Entebbe to free the hostages, the Montreal Olympics, and punk rock. ‘Bliss it was in that dawn to be alive but to be young was very heaven’; albeit nearly a hundred miles away from the action. I was there in 1976, as much as I was in 1966 when I broke my arms swinging from a tree after England won the World Cup.
And here is some more- about Vague Number One

In 1978 I went back to Salisbury Tech College to do a building studies course and duly started Vague fanzine; for something to do, other than attempting to play guitar or sing, rather than with any literary aspirations. The original Vague editorial team consisted of the cartoonist Perry Harris, the Dutch poser Iggy Zevenbergen, Sharon Clarkson and Chris Johnson from the art college, and Jane Austin and Christine Nugent from Mere. The first Vague office was Iggy and Sharon’s place on Nelson Road. Other notable figures on the early Salisbury punk rock scene were Terry Watley, Spanish Alf, Bournemouth Christine, the catering punks Martin Butler and Tim Aylet, the black post-punk artist Dave Somerville, Mike Muscampf (who went on to the goth group Dormannu), the punk jeweller Simon Loveridge, and our hippy correspondent Frank Stocker. Our local pub was the Star and later the Cathedral; the record shops were Derek’s in the George Mall and Wilmer’s.
Inspired by Tim Aylet’s Channel 4 fanzine, post-punk and reggae – Ants, Banshees, Joy Division, Pop Group, PIL, Slits – in 1979 we launched Vague on the world. The first few issues were co-edited by Perry, Iggy and me; I assumed more or less total editorial control by the 3rd or 4th issue with Jane and Chris Johnson as assistant editors. On the back cover of Vague 1, Iggy, Alf and Dave Somerville are pictured outside the common room between the tech and art colleges on Southampton Road. The first issue was designed and printed by Mark Cross from the art college, who went on to design album sleeves. The second issue was photocopied down Fisherton Street. Perry’s ‘Lovable Spiky Tops’ cartoons best documented the evolution of Vague and the Salisbury scene; attempting to put on gigs, avoiding bikers, Teds, rockabillies, squaddies, smoothies, young farmers, etc.

Alternative Sex and Greenham 1983

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Alternative Sex was an anarcho and feminist zine published in October 1983 from 103 Grosvenor Avenue London N5. The magazine was collectively written by Val, Nicky, Illyane,Angie, Beck, Steph, Jenny, Griet, Debbie, Mouse, Lorraine and Lou. It was put together at 96 Brougham Road which was one of a row of squatted houses in Hackney.

103 Grosvenor Avenue was one of 4 houses in the Islington based Black Sheep Housing Co-operative.103 was also home to two members of the Mob and All the Madmen Records as well as two other fanzines-  Kill Your Pet Puppy and the Encyclopaedia of Ecstasy. Andy Palmer of Crass lived in one of the Black Sheep Houses as did Bob Short of Blood and Roses.[I think!]. I have also added two pages from Vague 15 written by Anna and Maria about Greenham. Anna and Maria also lived in one of the Black Sheep Co-op houses at the time. Click on the pages to enlarge them

























The next two pages are  by Anna and Maria from Vague 15 about the Greenham Common Women's Peace Camp. The contact adress given is 109 Corbyn Street which was another of the Black Sheep Housing Co-op houses. The last image is of Pinki (on the left) at Greenham in 1983. 






Do I need to add any thing to this blog post? Does it need to be interpreted? To be contextualised? I am wondering because I know that punk/ anarcho-punk is now the focus of several academic/ historical studies and part of at least one university course. 

But it isn't just history. Hagar the Womb who were a musical manifestation of Alternative Sex have reformed so to end with here is a clip of Hagar playing live in March 2014.







  



the end of alienation and the revolution of everyday life

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 the end of alienation and the revolution of everyday life

Recently I was interviewed for 90 minutes for a research project on punk. The focus was on what influence my engagement with punk /anarcho-punk has had over the past 30 + years. As I was answering the questions I realised that punk/anarcho-punk had not directly influenced my political views. By 1976 I was already a self-confessed anarchist. Although I then, through 1977/8, became fascinated by punk, that interest would probably have faded if I had not met up with the Kill Your Pet Puppy collective at an anarchist [Persons Unknown] meeting in late 1979.

But, as even a brief flick through the pages of Kill Your Pet Puppy shows, KYPP stands apart from both Crass inspired fanzines and straight anarchism. The inspiration for KYPP was derived from the revolutionary aspirations of the surrealists and situationists, mixed with hints of gothic occultism. Looking back, KYPP was /is a potent record our lives and histories against ‘the false spectacular memory of the unmemorable’.

Another side of the deficiency of general historical life is that individual life as yet has no history. The pseudo-events which rush by in spectacular dramatizations have not been lived by those informed of them; moreover they are lost in the inflation of their hurried replacement at every throb of the spectacular machinery. Furthermore, what is really lived has no relation to the official irreversible time of society and is in direct opposition to the pseudo-cyclical rhythm of the consumable by-product of this time. This individual experience of separate daily life remains without language, without concept, without critical access to its own past which has been recorded nowhere. It is not communicated. It is not understood and is forgotten to the profit of the false spectacular memory of the unmemorable. [Society of the Spectacle, Guy Debord, 1967, #157]

What we were resisting was our alienation. What we were celebrating were our utopian desires which we took for reality because we believed in the reality of those desires.



Fast forwarding to the present, I was reminded of the situationists when I found this passage in David Harvey’s new book  ‘Seventeen Contradictions and the End of Capitalism’.

The traditional Marxist approach to the revolutionary transfor mation to socialism/communism has been to focus on the contra diction between productive forces (technology) and social (class) relations. In the lore of traditional communist parties, the transi tion was seen as a scientific and technical rather than a subjective, psychological and political question. Alienation was excluded from consideration since it was a non-scientific concept that smacked of the humanism and utopian desire articulated in the young Marx of The Economic and Philosophic Manuscripts of 1844 rather than through the objective science of Capital.
This scientistic stance failed to capture the political imagination of viable alternatives in spite of the passionate beliefs of adherents to the communist cause. Nor did it provide any spiritually compelling and subjective (rather than scien tifically necessary and objective) reason to mobilise arms in a sea of anti-capitalist struggle. It could not even confront the madness of the prevailing economic and political reason (in part because scien tific communism embraced much of this economic reason and its fetish attachment to production for production’s sake). It failed in fact to fully unmask the fetishisms and fictions peddled in the name of the ruling classes to protect themselves from harm. The tradi tional communist movement was, therefore, in perpetual danger of unwittingly replicating these fictions and fetishisms. [Harvey, 2014, p. 269]

The situationists’ ‘spectacle’ is our alienation from society, from ourselves. Instead of actively participating in the construction of our own lives, in the making of history, we have become observers and spectators, watching our unlived lives pass before us. Punk- or at least the version I found via Kill Your Pet Puppy- was the negation of alienation. In this version of punk the DIY ethic was applied not just to the making of music or fanzines, but to the lives of the participants. To become a punk was to reinvent yourself as an actor rather than a spectator.

What the Harvey quote implies is that this process was and is ‘revolutionary’ even if traditional Marxists -and anarchists- do not recognise it as such.

Coming back to the present, the political struggle I am engaged with now is one which, unlike punk, is unambiguously  a history making struggle. On 18 September 2014, voters in Scotland have the chance to create a new nation-state. What is interesting about the Scottish independence referendum is the contrast between the Yes and No campaigns.

The No campaign is a top-down campaign. To get its negative message across it relies on newspapers and broadcast media. In contrast, the Yes campaign is relying on thousands of local activists who are organising meetings, canvassing and leafleting in their communities to get its positive message across- supported by hundreds of internet sites. If the Yes campaign wins in September, it will have done so by overcoming voters’ alienation from the political process. If a new Scotland is born on 18 September, it will be a DIY Scotland, a Scotland created by its citizens.

In their attempt to overcome alienation, radical punks turned first to squatting and then to travelling. These moves extended the brief experience of liberation achieved through collective participation at punk gigs.  Through squatting punk became a continuously lived experience, something closer to a counterculture than a music based subculture. Within the ‘underground’ network of squats which extended across London and other cities, participants were able to reinvent themselves as full time rather than part time punks. This movement echoed  that of the pre-punk  radical counterculture.



 In the early seventies, the pre-punk radical counterculture gave rise to the first free festivals. As the number of free festivals increased, by 1976 it became possible to spend the whole summer travelling from festival to festival. By the early eighties, many punks began to adopt travelling as an alternative to squatting. Kill Your Pet Puppy 6, published in June 1983 documented the transition as it described a journey from a punk squat in London to Stonehenge free festival. KYPP was successor to punk fanzine Ripped and Torn which was first published in October 1976.

However, the mass arrest of 500 travellers en route to Stonehenge on 1 June 1985 , along with other events from that year- the eviction of Molesworth peace camp in February and the crushing of the Miners’ Strike- revealed the limits of  the alternatives to alienation. As Margaret Thatcher had proclaimed ‘There is no alternative’. For what David Harvey now call the neoliberal counter-revolution  demanded the forcible re-imposition of alienation.

This is an important point. While the Miners’ Strike fits within a class struggle narrative and the eviction of Molesworth peace camp was part of the Cold War struggle against the Soviet Union, the attack on the free festivals and the travellers suggests that the neoliberal counter-revolution was also a cultural counter-revolution, one which was continued through into the nineties when the focus was on acid house raves and road-protestors. So while traditional Marxists may have neglected the importance of alienation [see Harvey quote above], the neoliberals did not. They understood that the hegemony of capitalism depended on eliminating the (by now) punk infused counterculture and its Situationist inspired efforts to negate alienation.

The pre-punk counterculture relied on a combination of  alternative media, including music and its own underground newspapers and magazines, to reproduce itself- with  some help from LSD/acid. The punk and post-punk counterculture likewise was able to reproduce itself  by similar means. Within these countercultures, the alternative media were more trusted than the hegemonic media which demonised the countercultures via a repetitive stream of ‘folk devil / moral panic’ news stories.

It is interesting/ significant that a similar situation has emerged in the context of the Scottish independence referendum. As James Foley and Pete Ramand spell out in their book ‘Yes- The Case for Radical Scottish Independence’ [Pluto, 2014],the driving force behind the campaign for Scottish independence is not nationalism but opposition to the neoliberal counter-revolution. At the same time, while support for independence is strongest among poorer Scots/ people living in Scotland, it is more than a straightforward class struggle campaign. Many non-working class people living in Scotland are also alienated from a UK political structure which is moving further and further to the right. If this group could vote for a UK level form of north European/ Scandinavia social democracy, they would do so. But since the Labour party have become a neoliberal party, this option is not available. Therefore the option of voting Yes to the Scottish National Party’s version of social democracy within an independent Scotland is appealing.

At the same time such potential (former Labour) Yes voters are being turned off by the unremitting negativity of the No campaign. Fortunately the Yes campaign is able to reproduce itself via social media, the internet and thousands of small scale / community level public meetings. The No campaign are unable to match this grassroots ‘countercultural’ movement. What the No campaign can and are doing, through their complete control of the media, is radicalise  the Yes campaign. As the No campaign reveals itself to be a front for the neoliberal State, the Yes campaign is having to confront the everyday reality of alienation.



As the countercultures discovered, the act of self-creation is the negation of alienation. The difference is that what is being created in Scotland is not a large group of empowered individuals, but a new nation. In a talk I gave to Radical Independence Dumfries and Galloway, I argued that the Yes campaign represented Scotland’s civil society which was in the process of creating a rational state as ‘the actuality of the ethical idea’. The phrase is Georg Hegel’s, taken from his ’Philosophy of Right’ (1821). Hegel had borrowed the idea of civil society from the Scottish Enlightenment. Civil society was held to exist between the private realm of individuals and families and the political realm of government and the state. Civil society was also the realm of economic activity.



The idea of civil society emerged out of the alienation of Scottish thinkers from the shift in political power which followed the Union of 1707. Without a Scottish state centred on a parliament in Edinburgh, most of Scotland’s former elite- including its intellectuals- were physically separated from  the new centre of power in London. Without the French Revolution, the Scottish Enlightenment may have eventually nudged the UK state towards a rational form. Unfortunately, reactions to the French Revolution and the later struggle against Napoleonic France saw the rationality of the Scottish Enlightenment as dangerously subversive. Then came the Industrial Revolution which established capitalism as the dominant power, rooted in economic alienation.

In Scotland the impact of industrialisation was immense. For over 100 years, iron and coal were mined to feed the furnaces which produced the iron and steel which  were made into ships and locomotives. These industries are virtually all gone now but,  until very recently, their legacy survived in support for the Labour party. What Scottish voters expected from the Labour party was progress towards a rational state exercising democratic control over the economy. By aligning itself with the neoliberal UK state  as part of the No campaign, a crisis of legitimacy has overwhelmed the Labour party in Scotland. The Labour party in Scotland have been revealed as a conservative organisation, holding back and suppressing aspirations for the democratic control of the economy. Without the deadweight of the Labour party, via the grassroots yes campaign, civil society in Scotland is rediscovering its radical, even revolutionary, traditions.

But is a rational state anything more than an ideal? The way I look at this question is shaped by the problem of climate change. Our knowledge of climate change is scientific knowledge, which is a form of rational knowledge. It should be promoting rational debate about how best to make the transition from economies based on  energy from fossil fuels to economies based on energy from renewable sources. This debate had the potential to begin in the 1970s when advocates of ‘radical’ or ‘alternative’ technology proposed a shift towards renewable energy sources. These proposals were understood to be part of the radical restructuring of society imagined by the counterculture.



The problem then and now is that such a restructuring of society would require an economic system focused on minimal or zero growth- which would make existing models of capitalism, which depend on ‘infinite economic’ growth, impossible. In the 1970s, climate change was an obscure theoretical possibility and was brushed aside during the neoliberal counter-revolution. Now climate change is a reality which challenges neoliberalism. The reaction to this challenge has been an attack on science and rationality. What the attack on the science of climate change shows is that the neoliberal project is an irrational project and that neoliberal dominated states like the UK and the USA are irrational states. Such states, in order to continue ‘business-as -usual’ are prepared to sacrifice the interests, the future, of their citizens for the short term profitability of the corporate elites which have captured these states.

What has obscured the irrationality of the neoliberal/ capitalist world order in the past has been the lack of any absolute choices between the world as it is and the world as it must become. Climate change is an absolute. Global temperatures are rising, the oceans are warming and the polar ice caps are melting. Working back from this absolute, we can re-understand  the radical counterculture (including punk) as a rational response to the absence of a future. However, following Hegel, we can also now see the consequences of the counterculture’s failure to recognise the necessity of rationalising the state. The persistence of irrational states which fail to impose democratic control over capital now threatens not only the heat death of modern civilisation but also the liquidation of capitalism in a drowned world.

On the other hand in all my years as a keen countercultural I never came across the idea of the/ a rational state. Or mentions of Hegel. My discovery of Hegel came via stray mention that he had  read and been influenced by Scottish Enlightenment political economists and social theorists. I have been reading up on Hegel’s political theories about a rational state because part of the discussions about Scottish independence involve a plan to create a written Constitution for the new state. Which conflicts with the more anarchist aspects of the counterculture and also with the ‘independence as a class struggle‘ aspects of the radical independence campaign.



Is it possible to embed social and economic justice with a written constitution so strongly that the new Scotland becomes a rational state rather than an ‘external state’ (Hegel’s term) or neoliberal state?  That a written Scottish Constitution would be full of fine words but the reality of economic power in the new nation would prevail (realpolitik). There are proposals to crowd-source  the Constitution, to involve civil society via a continuation of the Yes campaign in its formation, but unless such participation can be maintained over time, the interpretation and actualisation of the Constitution will revert to ‘experts’, to lawyers and other members of the professional class. Thus the people or citizens of the new state will once more become alienated from  their/our nation. The Scottish state would still be an external state rather than a rational state.

To end, for now, on a positive note, it does seem that the unremitting negativity of the No campaign and its full spectrum projection is pushing the Yes campaign to towards Hegelian ‘[collective] self-consciousness’. This is potentially a revolutionary development which picks-up from the frozen moment of modernity when conservative reaction to the French Revolution stopped the Scottish Enlightenment in its tracks.

I guess that is my next job. I need to write up my research on the Scottish Enlightenment and show the links to Hegel and then on to the present/ near future. I have already covered some of the ground in my talks at Radical Independence Dumfries and Galloway meetings. Quite a challenge to make it relevant though.



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Practical Idealism: the Common Weal and Civil Society

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Common Weal- Practical Idealism for Scotland.

On 30 July 1971 Jimmy Reid, chair of the shop stewards committee at Upper Clyde Shipbuilders held a press conference where he announced

This is the first campaign of its kind in Trade unionism. We are not going on strike. We are not even having a sit-in strike. We are taking over the yards because we refuse to accept that faceless men  can make these
decisions. We are not strikers. We are responsible people and we will conduct ourselves with dignity and discipline. We want to work.

Over the next decade, the UCS occupation was followed by more than 260 worker occupations across the UK. [Alan Tuckman ‘Workers’ Control and the Politics of Factory Occupation’, Haymarket Books, 2011] As well as these occupations, in 1974 the Lucas Aerospace Shop Stewards Combine Committee began working on an alternative Corporate Plan designed to save 3600 jobs threatened by re-organisation. The alternative plan was for Lucas to move out of the military market and begin producing social useful products including kidney dialysis machines, electric cars and wind turbines.

The potential for a radical shift in manufacturing industry from a focus on the pursuit of profit to  production for a sustainable future  was set out by Victor Papanek in his 1971 book ‘ Design for the Real World-Human Ecology and Social Change’,  by David Dickson in 1974 with ‘Alternative Technology and the Politics of Technical Change’ and by Godfrey Boyle and Peter Harper in 1976 with ‘Radical Technology’. As ‘Practical Idealism’ puts it [p.119]

Design and innovation are at the forefront of our hopes for the future. A new generation of designers of all sorts is challenging the old order. Do products have to be mass-manufactured in sweat shops? Do the goods in our houses have to harm the environment in which we live? Must things be designed to wear out? Can’t our communities be planned with good spaces to play in?

These are good questions and taken altogether ‘Practical Idealism’ sets out a range of proposals which challenge and offer practical alternatives to the ‘Me-First’ economy and society we live with today.

Reading through ‘Practical Idealism’, the proposals set out seem eminently sensible and reasonable. The contrast is between an economy based on ‘social provisioning’  and an economy based on ‘social extraction’. Social provisioning is described as ‘the process for taking resources (raw materials and skills) and turning them into things that people need and distributing them to people that need them. Social extraction is ‘the process of taking out of society as much wealth as possible in the shortest time possible with the least investment possible.’ [p.38]

Back in the early 1970s it seemed that social provisioning was the future and social extraction was the past. But then, with election of Margaret Thatcher in the UK and Ronald Reagan in the USA, social extraction gained the upper hand in what David Harvey has called the neoliberal counter-revolution. This counter-revolution saw the end of the post-world war two social democratic consensus, when the gap between rich and poor had begun to narrow. Since 1980, the gap has once more widened, returning us to the extremes of wealth and poverty which marked the early stages of the industrial revolution.

In the heyday of the UK as a world power, the process of social extraction was matched by the physical extraction of coal, the fossil fuel which powered the industrial revolution. The fear that Britain’s coal reserves might run out was tackled Stanley Jevons in 1865in ‘The Coal Question’. In his conclusion, Jevons argued against attempts to conserve Britain’s coal reserves for the future.

The alternatives before us are simple. Our empire and race already comprise one-fifth of the world‘s population; and by our plantation of new States, by our guardianship of the seas, by our penetrating commerce, by our just laws and firm constitution, and above all by the dissemination of our new arts, we stimulate the progress of mankind in a degree not to be measured. If we lavishly and boldly push forward in the creation of our riches, both material and intellectual, it is hard to over-estimate the pitch of beneficial influence to which we may attain in the present. But the maintenance of such a position is physically impossible. We have to make the momentous choice between brief but true greatness and longer continued mediocrity.

UK coal production peaked at 292 million tons in 1913, the same year that shipbuilding on the Clyde peaked when 756 973 tons of ships were launched. The eclipse of Britain as a great power since 1913 should have led to the reform and re-invention of the UK as a medium if not mediocre nation. The immense wealth which began flowing from the North Sea oil reserves in the 1970s could have been re-invested in the UK’s infrastructure and in the renewal of our manufacturing industries.

Instead the wealth was wasted in a futile attempt to restore Britain’s greatness by reversing progress towards social provisioning through a return to an economy based social extraction. The answer to the ‘oil question‘ was the same as Stanley Jevons answer to the coal question- maximise extraction now.



The Prologue to ‘Practical Idealism’ states that ‘This is not meant to be a case for or a case against independence but only a case for a better Scotland’ [Prologue p.4] but it is very difficult to see how a better Scotland can emerge as part of a united kingdom which is still haunted by the spectre of Stanley Jevons’ vision of ‘true greatness’. For a better Scotland to emerge, civil society must become self-aware, become conscious of itself- of ourselves. ‘Practical Idealism for Scotland’ is a significant step-forward in this process.

Why is it significant? To understand why we need  to go back to an unintended consequence of the Union of 1707- the Scottish Enlightenment. The Union of 1707 created an anomaly which separated political power, now concentrated in London, from Scotland’s intellectual resources - its universities, its Church and its legal establishment. In a development of world historical importance, the Scottish Enlightenment emerged out of this new situation, contributing major advances to philosophy, to political, economic and social theory, to aesthetics and to scientific and technological knowledge.



While Scottish Enlightenment thinkers were keen to distance themselves from the religious ‘enthusiasm’ of the seventeenth century and from Scotland’s medieval past, the  idea of civil society developed by Adam Ferguson and Adam Smith contained elements drawn from pre-Union Scotland. Civil society was held to exist between the private realm of individuals and families and the political realm of the government and the state. Civil society was also the realm of economic activity. From this developed the later liberal and current neoliberal belief that government and the state should not interfere in economic activity.

Translated into French and German, the ideas of the Scots thinkers became part of a European wide enlightenment and also influenced  political thought in what was to become the United States of America. However, the French Revolution led to a reaction against the more radical aspects of the Scottish Enlightenment. So when Robert Burns composed ‘Scots Wha Hae’ in August 1793 during the trial in Edinburgh of Thomas Muir and William Palmer for sedition as supporters of the French Revolution, Burns had to hide ‘the glowing ideas of some other struggles of the same nature, not quite so ancient’ within a song about the Battle of Bannockburn. Muir was sentenced to transportation for 14 years and Palmer for seven.



While Burns was a radical poet, Professor Dugald Stewart was a leading light of the Scottish Enlightenment. But  in 1794, William Craig, a senior judge and Lord of Session, wrote to Stewart asking him to retract a section of ‘Elements of the Philosophy of the Human Mind’ which Craig believed might ‘unhinge established institutions’. Stewart refused to do so and denied that he was encouraging revolution.

Although the more radical ideas of the Scottish Enlightenment were muted in the nineteenth century, the combination of James Watt’s steam engine and Adam Smith’s doctrine of free trade transformed Britain into the world’s first industrial nation.

In 1818, after the end of the Napoleonic Wars but before the industrial revolution had taken root in Germany, Georg Hegel was appointed Professor of Philosophy at Berlin University in Prussia. Hegel was deeply influenced by Scottish Enlightenment thought, including James Steuart and Adam Smith’s theories of political economy as well as the idea of civil society. However, in Hegel’s version, civil society emerged out the disintegration of the family as the focus of ethical life and in turn a rational state would  emerge out of civil society as the ‘actuality of the ethical idea’. The ethical aspect of the rational state would limit the destructive extremes of wealth and poverty found in a civil society based on economic self-interest.

In an essay on the English (British) Reform Bill of 1831, Hegel argued that the minimal reforms contained in the bill would still leave most of the archaic elements of Britain’s constitution in place. Landowning aristocrats would still dominate a minimal (‘external’) state. This in turn might lead opponents of the status quo to inaugurate not reform but revolution. Hegel died in November 1831. Had he lived he might have developed his political theories to include an active role for the organised industrial working class in the movement from civil society to the rational state. Instead it was left to Friedrich Engels and Karl Marx to adjust Hegel’s political theories to include the proletariat.

Since the 1832 Reform Act and further constitutional reforms which extended the electoral franchise, the British revolution Hegel, Engels and Marx all anticipated has been avoided. Under pressure from an increasingly organised working class, the British state began to become more rational. But since the election of Margaret Thatcher in 1979, narrow economic interested centred on the City of London have ‘re-captured’ the state. Gradually these economic interests have managed to reverse the social democratic policies pursued first by the Liberal party and then by Labour and Conservative governments during the post-war consensus period. In Scotland the response to the Thatcher era was a revival of the idea of civil society. It was pressure from Scotland’s civil society which led to the establishment of a devolved Scottish Parliament in 1999.



The crisis of capitalism which began in 2008 and the policies of austerity pursued by the UK coalition  government have revealed the limits of civil society and of devolution- without provoking a British Revolution. Instead, with the movement towards Scottish independence, a dramatic solution to the constitutional contradictions of the British/ UK state identified by Hegel in 1831 is underway. This revolutionary reform will cut the constitutional Gordian knot by dissolving the Union of 1707.

In this movement, the active involvement of civil society in the Yes campaign has the potential to create a rational state based on a written constitution as the actuality of the ethical idea. If this occurs it would truly be, in Hegel’s language ‘a world historical event’. However, before this can happen, civil society in Scotland must first overcome -negate- the negativity of the No campaign. To do this civil society must become self-aware, become conscious of its limitations and contradictions and find the will to re-invent itself. Common Weal’s ‘Practical Idealism’ is an essential part of this process.

At the same time, the Radical Independence Campaign have been pursuing a strategy recommended by James Foley and Pete Ramand in ‘Yes-The Radical Case for Scottish Independence’ [Pluto books, 2014]. This strategy involves actively canvassing areas of high social deprivation where voter registration and participation are low. Voters in these areas have become increasingly alienated from the Labour party as it has become part of the neoliberal consensus. By accepting what Mark Fisher calls ‘capitalist realism’ in the 1970s-that there is no alternative to the re-establishment of the conditions for capital accumulation and the restoration to power of economic elites- the Labour party has become part of the problem rather than the solution.

For the Yes campaign to win in September 2014, the majority of current and former Labour voting Scots will have to be persuaded that an independent Scotland  offers the best chance of achieving their aspirations for a more rational (post-neoliberal) state. But a yes vote on 18 September will mark the beginning not the end of the real struggle to secure Scotland’s future. As Foley and Ramand ask, will Scotland’s elites ‘freely surrender their existing privileges’? Without coercion, will they submit to the ‘common good’? [p. 64]

In Hegel’s model, Scotland’s elites would be compelled to surrender their privileges as part of the process through which civil society, as economic society, gives way to the rational state. The ethical idea of the rational state is that economic activity must benefit all of its citizens, not just an elite. A state in which only a few benefit from economic activity would not be a rational state.


Unfortunately, such absolute idealism runs smack up against capitalist realism. Under capitalist realism a rational state which attempts to minimise the extremes of wealth and poverty is an impossible state. Under capitalist realism, the state does not exist to secure the welfare of all its citizens. It exists to maintain the conditions for capital accumulation and the power of economic elites. But what Hegel argued 200 years ago, looking at the USA and the UK was that they were forms of civil society, not states. That capitalist realism - and the No campaign- cannot imagine the possibility of anything beyond civil society does not mean that a rational Scottish state is impossible. It just reveals their collective poverty of imagination.

To conclude.

Although the Scottish Enlightenment was the product of an intellectual elite, it was an elite alienated by the Union of 1707 from the new centre of political power in London. This distancing led the Scottish Enlightenment to two related modern concepts- civil society and political economy. Conservative reaction to the French Revolution cut short further evolution of these ideas in Scotland and the rest of the UK. In Germany they were developed by Hegel who argued that the limitations and contradictions of a civil society focused on economic self-interest justified by political economy would give rise through reform to a rational state.

Reflecting on the apparent inability of the UK to properly reform itself and become a rational state, Hegel evoked the spectre of a British Revolution. Engels and Marx added a new element to Hegel’s notion of civil society - a revolutionary class struggle. The crisis of capitalism which began in 2008  and the policies of austerity pursued by the UK coalition  government have revealed the limits of civil society and of devolution- without provoking a British Revolution. Instead, with the movement towards Scottish independence, a dramatic solution to the constitutional contradictions of Britain identified by Hegel in 1831 is underway. This revolutionary reform will cut the constitutional Gordian knot by dissolving the Union of 1707.

In this movement, the active involvement of civil society in the Yes campaign has the potential to create a rational state based on a written constitution as the actuality of the ethical idea. If this occurs it would truly be, in Hegel’s language ‘a world historical event’. However, before this can happen, civil society in Scotland must first overcome -negate- the negativity of the No campaign. To do this civil society must become self-aware, become conscious of its limitations and contradictions and find the will to re-invent itself.


Significantly, there parallels between this process and the Marxist concept of ‘class-consciousness’. The Radical Independence Campaign’s contribution to the Yes campaign is an ongoing attempt to re-engage Scotland’s working class communities with the political process, a process which can be described as ‘consciousness-raising’.

Common Weal is not directly engaged with the Yes campaign, arguing that their proposals ‘[are] not meant to be a case for or a case against independence but only a case for a better Scotland’. Common Weal’s proposals have their roots in the progressive ideals of the 1970s, in the movements for industrial democracy, socially useful production and what was to become the Green movement. These movements had the potential to deepen and extend the social democratic post-war consensus but were blocked and then suppressed by the neoliberal counter-revolution.

Shared by both Common Weal and the Radical Independence Campaign is a focus on the recent past which has been dominated by the neoliberal counter-revolution. However, since, neoliberalism has its roots in Scottish Enlightenment theories of political economy and civil society, we should be aware that our debates and discussions about Scotland’s future are also haunted by the ghosts of Hegel and Marx.

Tales from the Punkside-out now!

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I have chapter in this.

An eclectic collection of academic articles, personal recollections, short stories, artwork, poetry and more. An anthology of work about Punk written by the survivors and by those who want the world to see not just the writings of those who were in the bands, but by those who were the supporters of the punk movement. 

Available now for £8 plus post and packing from Lulu. 

Fields, Factories and Wind farms-order now

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Fields, Factories and Wind Farms.
Available for £5 including  post and packing from Radical Independence Dumfries and Galloway

And farther west on the upper reaches the place of the monstrous town was still marked ominously on the sky, a brooding gloom in sunshine, a lurid glare under the stars. "And this also," said Marlow suddenly, "has been one of the dark places of the earth." 
                    Joseph Conrad, Heart of Darkness

Early last year (2013), Lucy Brown got in touch to ask if I would be interested in joining the Radical Independence Campaign (RIC) in Dumfries and Galloway. Lucy had been reading  and enjoying Greengalloway with its eclectic mix of local and countercultural themes. I thought ‘Why not?’ and said yes.

Over the past 18 months, as well as giving several talks to RIC meetings locally, I have written many posts for the Radical  Independence Dumfries and Galloway blog. ‘Fields, Factories and Wind farms’ is a collection of edited  -by Kevin Witt- highlights from these talks and blog posts plus (last article)  a talk I wrote for an academic conference on contemporary anarchism . A version of the same article also features in ‘Tales from the Punkside’.


I had a test pressing of ‘Fields, Factories and Wind farms ’(the title is inspired by Kropotkin’s ‘Fields, Factories and Workshops’) to read over the weekend . Although it is rather random collection of articles, a few connecting themes began to emerge.

One is a very broad theme which starts from the origins of feudalism in Scotland 900 years ago and winds  through  political/ religious conflicts over the divine right of kings to the Scottish Enlightenment and the Age of Reason and ends with the dramatic transformation brought about by the Lowland and Highland clearances and the industrial revolution.

This theme then becomes modern history in the 1970s. The radical politics and counterculture of that era inspired and influenced me as a teenager but were blocked and reversed during the 1980s and 90s. Marxist geographer David Harvey has described this era as a ‘neoliberal counter-revolution’. This is where  things become confusing. Many possible futures seemed to come to end with the election of Margaret Thatcher’s government in 1979. Were these unconnected futures, or was there an underlying logic behind them?

At the time  I did not connect the failure of a proposal for Scottish devolution with the failure of the radical technology (proto-Green) movement. I did not connect my interest in the Do It Yourself ethic of punk with the closure of a factory I had worked in due to Thatcher’s economic policies. Even in 1990, when anti-Poll tax protests in London where I was living turned into riots, I did not notice that in Scotland they did not.

Only now by reading back through the articles in ‘Fields, Factories  and Wind farms ’ can I begin to see the connections between  Harvey’s neoliberal counter-revolution and my ‘broad’ historical theme. It is in this context that references to Hegel’s theories of the state start to fit in. Hegel anticipated the emergence of rational states 200 years ago. So far, no such state exists. We live in a world of irrational states pursuing economic gains at the expense of a sustainable future.

Although I only mention it a couple of times, the prime example of irrationality is the failure of states to respond to climate change. This failure is intimately linked to the dominance of industrial capitalism and has been since coal replaced renewable sources of energy 250 years ago. Oil is the main energy source today. Without it the whole machinery of modern life would collapse into chaos. But then it  will anyway thanks to climate change.

The Radical Independence Campaign’s slogan is ’Another Scotland is Possible’. Although RIC is determinedly  non-nationalistic, only voters in Scotland have the chance to choose a different future this September. Even if there is a Yes vote, James Foley and Pete Ramand have made it clear in their book ’Yes- the Radical Case’  that the struggle for another Scotland will be long and hard.

The first Stop the City  protest  took  place  31 years ago this September. One of the organisers was my future wife. She was 21, younger than any of our children are now. She was already a veteran of the Greenham Women’s Peace Camp. In the booklet I quote Rich Cross on the event.

Called on 29 September 1983, to coincide with the quarterly calculation of the City’s profits, protestors were encouraged to take part in a ‘carnival against war’ and deliver ‘a day of reckoning’ for the warmongers and racketeers of the Square Mile. Around 1500 anarchists, libertarians, punks and radical peace activists descended on the City to occupy buildings, block roads, stage actions and swarm through the streets.
Cumulatively these efforts were designed to snarl up the operation of the capital’s financial hub. In an analogue era, long before the City’s ‘Big Bang’, when files and paperwork still had to be physically couriered between companies, the impact of mobs of unruly demonstrators filling the City’s narrow streets could be dramatic. Estimates differed, but the occupation of corporate space interrupted scores of monetary transactions, and drove down the day’s profits. The cost to those demonstrating was significant too: more than 200 arrests at the first STC; nearly 400 at the March 1984 event; and close to 500 in September 1984.

The Stop the City protests are all but forgotten now. ‘When ideology becomes absolute,  the thought of history is so perfectly annihilated that history itself can no longer exist.’ and ‘The spectacle, as the present social organization of the paralysis of history and memory, of the abandonment of history built on the foundation of historical time, is the false consciousness of time.‘ [Debord]

It was against the forgetting, the annihilation, of such histories and the false consciousness of time that I began writing Greengalloway in 2005. The talks and essays in ‘Fields,  Factories and Wind farms’ are a bridge between my anti-Spectacular writings and  current events in a Scotland which the UK’s constitutional experts say  ‘was extinguished as a matter of international law’ by the Union of 1707.



The effect is shattering

The freaks attacked capitalism where it hurt.

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Did you believe in the idea of an alternate culture whose evolution could undermine and finally break the stranglehold of capitalist death culture on our planet?


From The IT archives  Article by Mick Farren 10 February 1972 It Vol. 1 No. 123

Did you believe in the idea of an alternate culture whose evolution could undermine and finally break the stranglehold of capitalist death culture on our planet?

Did you also believe that the situation of a minority holding authority and deciding the behaviour of the rest of us was a destructive one?

Did you think that a society that was sufficiently plural to contain a number of different beliefs existing in harmony was a preferable situation to a regime that permitted little or no variation on a single lifestyle?

Did you ever express the idea that a person should be free to do what she or he desires providing it harms no one?

Did you feel that social change and a change for individual consciousness was so linked as to be indivisible?As you read this are you feeling embarrassed about the fact that a lot of these concepts are naïve hangovers from flower-power?

This embarrassment could be the result of a trend in underground media that has lately made it fashionable to dismiss the good ol’ hippie idealism as childish and impractical, and suggest a concentration on solid, sensible adult political solutions.The retreat from a hippie, illogical revolution to solid Marxist Leninist good sense is possibly another symptom that social change toward a free human environment on this planet is losing ground.– a symptom similar to finding too many people too wrecked on downers to even think.– similar to us all getting drawn into various consumer capitalist shucks.– Similar to the increasing poverty in freak communities everywhere.

The freaks attacked capitalism where it hurt. (You who are laughing at this statement should now explain to yourselves why our rulers bust hippie rags like Nasty Tales and Oz and not, say, the Socialist Worker). The capitalist system is unable to cope with the active freak on any level. It can be the level of the lone Viet-Cong who rode into Saigon on a motorcycle, machine-gunned a lot of US officers and split, or it can be the level of a bunch of freaks who, stoned on acid, start painting the High Street dayglo.

The system which works on a killer logic is mortally afraid of the freaky, joyous act. They are afraid of homosexuality because it is an act of love, of joy that has no hypocritical bullshit about families, children and apple pie. It’s joy, and that’s it, and so it had to go.The first response of our rulers was to repress the freaks with physical and psychological brutality.It was failure.It merely brought us together and gave us strength and energy.Then they tried to contain us by destroying our energy.And they are getting more successful every day.All God’s children having clap should not demoralise us, but it does, it is as though we had been promised it was going to be easy.

Capitalism, over the last five years, has made great efforts to replace most manifestations of freak culture with sad, rip-off imitations that seek to destroy communal energy and isolate the individual. They also demoralised us by deceiving us into judging the products of our own culture by capitalist standards.If a rock festival attracts a million people who watch a whole bunch of superstars but feel isolated and lonely, it is generally acclaimed as a success. A festival where ten thousand freaks show up, watch other freaks make music, get high and joyful, is put down as a failure.A band like Emerson, Lake and Palmer seek to impress the audience with the fact that they (the audience) lack the ability to do what the musicians are doing: their end product is that the audience feel inferior and isolated. (Think about the groupie reaction and read that again).A band like David Peel and the Lower East Side seek to impress the audience that any one of them are able to do what the band is doing. The audience can take part and create a total joyous event.The problem is that we are encouraged to view ELP as a success and David Peel as a failure.

We are being forced to think of our culture in commercial terms.We are being re-conditioned to think like capitalists.Even concepts like success and failure are being used to undermine our confidence that we are able to organise our own culture and society.Say you wanted to provide the freaks in your neighbourhood with some of their material needs; so you want out and conned some old capitalist to put money into a "hippie store" in the hope of his making a load of bread. Say the store went broke in six months because you had been giving the stock to people who had need of it.Would that be success or failure?The only person who could call it a failure would be a capitalist.

There is a fashionable saying: - Freaks can’t get anything together. It was invented by the system to bring you down.When you are down, the system has another set of answers: -Here, man, have some downers. Here, man, get into sensible, serious politics. Here, man, buy a Grand Funk album.Have you ever had some far out idea that your friends have laughed at and called you crazy? Have you felt frustrated because of it? Your friends are reacting to this kind of pressure.To be called crazy should be a compliment.Blow up a bank as a revolutionary protest or blow up a bank to see the flash? Or does it matter?

The system seems very afraid of colour, of flash, of high joyful energy. It is afraid of people coming together. If you hide in your pad or freak ghetto, if life becomes drab and quiet, it means the pigs are winning.A new summer is coming and it can either be a hard time or a series of weir, colourful, joyful events that jar the confidence of straight society.They may react in hysteria and fear. It will require strength.It will, however, generate it’s own energy and strength once it begins.

If it does not begin, we move closer to being parasites on the system, begging for crumbs, dependant on them for our food, homes, clothes, music and our very lives.We come closer to accepting the drab, lonely, frightened existence of our parents. We will join the system that is killing our planet.The stoned fantasy is in vain, unless it becomes the absurd reality.

Remember Fudd’s First Law of Opposition: - That which is pushed eventually must fall over.

Making an exhibition of my book.

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Image of iron furnaces from 1853 plus text from book
For the launch of my book - on sale here -there will be an event and exhibition in September 2014. It will be held at the  Workshop Gallery in Castle Douglas (where I live in Scotland). The gallery is attached to my brothers’ furniture restoration/making workshop.

The plan is to illustrate the themes of the book with a collection of graphic images. I have done a quick trawl through images I have but they will need to be whittled down to 12 or so. There will also be some of my daughter Elizabeth’s paintings. Elizabeth designed the cover image of my book.

The chapters in the book began life as a series of blog posts for Radical Independence Dumfries and Galloway. Reading through them in print there are three phases of history  present

I. Deep history
This  phase runs from the origins of feudal land ownership in Scotland a nearly  thousand years ago when Scots kings borrowed the idea from the Normans in England. This phase carries on through taking in the Reformation, the ‘English’ civil war, the Jacobite rebellions, the Scottish Enlightenment, the French Revolution, the Industrial Revolution and  reaches the present with the idea that the aim of Scottish independence is a democratic revolution .

2. Modern history
This phase covers the past 40 years. The argument here is that the radical possibilities of the 1970s, which could have pushed the post-war social democratic consensus towards a more sustainable society through a combination of social, economic and ecological justice, were  blocked by a neoliberal counter-revolution. More than blocked, the radical possibilities were actively suppressed. The problem here is that I link together what were quite separate ‘alternatives’ at the time- for example punk and the proto-Green radical technology movement .

3. Immediate history
This is where I am responding to, for example, Nigel Farage of Ukip being run out of Edinburgh last year. It is where I try to bring  the deep  history and modern history phases into alignment with the as yet unknown outcome of the Scottish independence referendum vote on 18 September.

To overcome the ‘too long, didn’t read’ problem, the text of the original blog posts is broken up by the insertion of images every 500 words or so.  Although there are illustrations/images in the booklet there are far fewer. The idea of the book launch exhibition is to re-illustrate the book  with a set of powerful/striking images.

Here are some of the possible exhibition images,



From the 'School Kids Oz' 1970

South Scotland Bio-sphere Reserve


Stop the City

Nigel Farage plus Sex Pistols/Jamie Reid graphic

Wind farm

                  



Airds Moss, Ayrshire- monument to Richard Cameron and his followers
 killed after declaring war on Charles II in 1680.




Tipping the Slag by Edwin Butler Bayliss 1870-1950

Coal miner working narrow wet seam, Lanarkshire 1950s
The Mob- Kill Your Pet Puppy 1981
Lugar Iron Works 1858- close to Airds Moss above






Original art work for  Mob album
Let the Tribe Increase, 1983



Poll tax riot Trafalgar Square 1990 plus Situationist text

Situationist image on cover of International Times no.26.

                          

Raw Power

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Another bad day for the Stock Market

So it’s a mess. It would have been a mess either way the vote went. If it had been a Yes I was expecting an economic / sterling crisis. The No vote has postponed that crisis, but now we have a constitutional crisis which has the potential to tear the Union apart anyway.  You can‘t have a Union Parliament and ‘English votes for English laws’.

If there had been a Yes vote I would have been writing about a Scottish constitution and the problem of how to embed social and economic justice in it. The problem I was going to focus on was how to establish democratic power over economic power. Instead of that, here are some thoughts on  economic power and the British constitution .

The British constitution goes back to 1100 when king Henry I of England needed to legitimise his rule in the face of opposition from the barons, the Church and the recently conquered  (Anglo-Saxon) English .he did this by offering concessions to all three groups in a ‘Charter of Liberties’. In 1215, king John 1 of England had to make  similar concessions in order to legitimise his rule- the famous Magna Carta. One of the signatories was Alan, lord of Galloway and constable of Scotland. The aim of these charters was to resolve disputes between the centre represented by the king and peripheries represented by regionally powerful barons. The power of the barons was determined by  their military strength, which was influenced by  their wealth which was influenced by the agricultural/ economic  prosperity of the lands they owned.

Four hundred years on from Magna Carta, the English economy had developed and with it the English constitution. Now rent from land rather than military strength indicated the barons’ power. This power was exercised through the House of Lords. The beginnings of  ‘middle class’ also existed in the House of Commons, occupied by wealthier farmers and merchants. Taxation was the source of the constitutional conflict which led to a civil war across England, Scotland, Wales and Ireland. The turmoil lasted  from  1638  to 1746-  from Charles I’s  first war against the Scots to the defeat of the Stuart cause at Culloden.

The end result, which included  the Union of Parliaments as a side effect, was an increase in the power of the English Parliament and a dramatic reduction in the power of British queens and kings.  However, the power of the new British Parliament was then challenged by the American colonies over a constitutional problem- taxation without representation. The new American state then adopted a written constitution.

The French had supported the American’s against the British but to meet the cost of this support the French needed to raise money through taxation.  To do this, an assembly called the Estates General which had not met since 1614 was summoned in 1787 by Louis XVI. This was done to bypass the Paris Parliament which was refusing to help the king. But, similar to the problems experienced by Charles I in England, the Estates General made demands on the king in exchange for agreeing to new taxes.

When these demands were refused a constitutional crisis broke out which led to a revolution and Louis XVI’s execution.  Like the revolutionaries in America, the French revolutionaries drafted a written constitution in 1793. This was ratified by a referendum but then replaced by a fresh constitution in 1795.

In Britain, the idea of a written constitution became associated with fears of revolution and democracy. The situation was further complicated by the industrial revolution which shifted economic power towards the midlands and north of England, to south Wales and to Scotland. The industrial revolution also led to the rapid growth of new industrial towns and cities although few of their inhabitants had the right to vote.

Gradually and grudgingly the constitutional system was reformed until representation in the House of Commons, but not the House of Lords, roughly matched the new economic and demographic reality. This created a rough balance of power between the financial interests of the City of London and the manufacturing regions. But as  the UK’s role as ‘workshop of the world’ declined, so economic power and hence political power shifted  to London as a centre of global finance. This process has speeded up over the past 35 years.

The central problem with this concentration of economic power in London is that because it is based on banking and financial services it relies on the confidence of global markets that London will remain a good place to do business. If that confidence wavers, London’s wealth will vanish in an instant. At the same time, given the problems of a global economy which is still struggling to  recover from  the collapse of confidence which occurred in 2008, London’s failure could well trigger another global crisis of capital.

"The British pound (also called the pound sterling) is one of the most economically and financially important currencies in the world. The pound is the fourth-most traded currency in terms of turnover and it is the third-most widely held reserve currencies among the countries of the world."
Source 

Any threat to the value of the British pound is therefore of international as well as local importance. The loss of export earnings from oil would have impacted on the British pound’s international status. That fear has now receded, but the constitutional crisis triggered by the No vote may also have an economic impact.

The problem here is that to maintain London as a centre of global finance requires huge investments in London’s infrastructure, including transport. But, as the Scottish independence campaign showed, this is at the expense not just of Scotland, but of other English regions, Wales and Northern Ireland. The ‘devolution all round’ demands from other parts of the UK which have emerged  in response to  the ‘vows’ of more power to Scotland conflict with the need to maintain investment in London. The political demands to rebalance the UK economy, to shift power away from London, are impossible demands.

It is very difficult to see how the UK’s  Londoncentric status quo can be maintained  in the face of  a UK wide constitutional crisis. If Scotland is not given more powers, then  pressure for independence will increase. But if Scotland is given more powers, then pressure for a shift of resources away from London will also increase. This risks checking London’s growth and disrupting economic policies designed to maintain London as a global financial centre.

A further constitutional conundrum is the idea of  ‘English Votes for English Laws’ as a solution to the West Lothian question.  Labour are against it because it would mean that even if  elected,  Scottish and Welsh Labour MPs  could not be used as lobby-fodder to push through reforming legislation affecting England. If more powers are transferred to Scotland, the scope of  EVEL would be increased.  The danger  for Labour in Scotland would be having a group of second class MPs with  no effective power.

The answer would be for Labour to win a majority  in England so they don’t have to rely on their Scottish and Welsh MPs. However to win in England Labour have to break out of their traditional heartlands and gain LibDem and Tory seats. That will be very difficult if Labour are seen as being ‘soft on the Scots’ - which they need to be to win seats in Scotland. Even in their traditional heartlands, Labour could suffer if they are seen as neglecting deprived areas of England by failing to promise them equivalent devolved powers.

To conclude.

Constitutional history is rooted in civil wars and revolutions. Constitutional change is driven by crises of legitimacy, by an old order trying to hang on to power or a new order seeking to establish itself. Changes in constitutions reflect changes in the structures of power and the balance between economic and political power.

In the nineteenth century, the present ‘unwritten’ UK constitution was forced to adapt itself to economic and demographic changes which  followed the industrial revolution  The UK is no longer a significant industrial power but it is, via the City of London, a key part of the global financial system. Economic power dictates that the rest of the UK is drained of resources in order to maintain  this status.

The fearful desperation which drove the No campaign to hold onto Scotland at all costs was driven by the nightmare scenario of a loss of global confidence in UK plc and the British pound. That moment of fear has passed, but the slowly unfolding constitutional crisis which victory has wrought will be no less damaging.
Stop the City flyer from 1983


The Peace Convoy 1986 Report

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From 1986, a booklet about the Peace Convoy (new travellers) in the aftermath of the eviction of Molesworth Peace Camp and the Battle of the Beanfield in 1985. I contributed some discussion about punk and the 'bomb culture' (page 9). I met the authors Ann Morgan and Nick Mann at Glastonbury where survivors of Molesworth and the Beanfield were given refuge at Greenlands farm. This did not just create problem with the ordinary residents of Glastonbury. The 'new age' (crystals and mysticism) residents of  Glastonbury who had settled there since the late 60s and were  now almost respectable were also unsettled by the travellers. Although Ann Morgan and Nick Mann [author of 'The Cauldron and the Grail' 1985] were part of Galstonbury's mystical community, they were sympathetic to the travellers -hence this booklet. Bruce Garrard who is mentioned in the credits is still running his Unique Publications in Glastonbury.   









































Tanith Livingston -road protestor

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Newbury Road Protest-9 Jan 1996 : Attempts to start clearance work on the route of the Newbury bypass are foiled when hundreds of security guards and contractors are prevented from leaving their overnight base by protestors perched on scaffold tripods.


Here are scans of three road protest related documents composed by Tanith Livingtson (1962-1996)

First set- Newbury 1996
Tanith (aka Pinki) last piece of direct action was posthumous. On 4 January 1996 she reflected on her experiences at the Greenham Common Women's Peace Camp (from 1981 to 1984) to make some suggestions for the ongoing Newbury Road Protest. I typed them up on 5 January and took the pages through to show her in the bedroom ...only to discover that she was dead. However, thanks to her best friend Tinsel the suggestions got passed on and one of them- to blockade the bailiffs/ security guards/ contractors in their camp -was used successfully on 9 January.

Second set Bath 1994
In 1994 Tanith had been a protestor at the Bath Road Protest and been arrested- she reckoned it was her 24 'political' arrest. She was summoned to appear before Bath Magistrates Court 15 July 1994. Tanith had been a student at the London Schoolof Oriental and African Studies on and off since 1987 and had most recently passed courses on Public International Law and Law and the Environment.  She used this knowledge to construct a her defence based on international environmental law. However, although we all went down to Bath for the 15th, her case wasn't heard and seems to have been dropped.


Thirds set- Wanstead/ M11 1993
In 1993, Tanith was involved with the ant-M11 extension Road Protest at Wanstead in east London. The protestors occupied a couple of houses due for demolition and decided to declare independence for Wanstonia as they called it.[This was probably inspired by Frestonia ] Tanith decided to take this idea seriously and used her international law text books to explain how Wanstoniua could declare independence properly.

1. Newbury Road Protest 1995




2. Bath Road Protest 1994






3. M 11 Road Protest- Wanstead/ Wanstonia 1993 












Anarcho-punk and the Spectacle of Neoliberalism

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Demolition of Ravenscraig Steel Works 1992

Wow, that was fun. Just spent  90 minutes on the phone (due to Skype malfunction) with Matt Grimes doing an interview for a  research project on ‘the role of cultural memory in the lives of former participants in the British anarcho-punk scene aged 52 to 65’. This was the third  interview I have done with Matt.

Why is it fun? It is fun because it is quite challenging. With some of the questions Matt asks I can answer almost by rote, they are questions I have answered before in various (written) interviews but every so often Matt throws in a question which stumps me and my reply becomes more vague, less certain as I rack my brains trying to formulate a coherent response.

There are two aspects to this problem. One relates to conflicts and tensions at the time. The other are conflicts and tensions which emerged later.

At the time there were conflicts and tensions between both the anarchist aspect of anarcho-punk and the punk aspect. From the perspective of  people who were already self-professed  anarchists, the punks were not really anarchists at all. Most punks had picked upon ‘anarchy’ via the Sex Pistols and were only in it for the chaos [‘get pissed, destroy’] and knew nothing of the history and current practice of actually existing anarchists.

At the same time, by 78/79, musically punk was already splitting off into 57 varieties of  what is now called post-punk. What was to become anarcho-punk was only one part of this creative confusion and, apart from Crass, scarcely existed as a genre. But punk was always about more than the music.

One of the questions Matt asked me was about direct action as an anarchist tactic. In my answer I talked about road protests but I didn’t mention squatting as a form of direct action. Thinking about it a bit more,  I think squatting was very important for the development of punk towards anarcho-punk, but also reveals  the limitations of ‘anarcho-punk’ as a descriptive category.

If we go back to 1976, there already were a lot of squats in London  which had their origins in the late sixties/early seventies countercultures revival of squatting .[There had been a large spontaneous squatting movement post- WW2 as a response to the immediate post-war housing crisis]

Punk squatting began 1977/78  when hundreds of young people were inspired by punk to move to London and had nowhere to live. It was not a ‘political’ act, it was purely practical, but once established within the punk community it became part of  punk-as-a-way-of-life  as an alternative and in opposition to punk as music based subculture. Squatting could not be co modified, could not be ’sold’ as a punk product, it meant living punk 24 hours a day, 7 days a week, 52 weeks a year. Squatting was also a practical way in which punk acted out the situationists’ theory of re-imaging the city.

Although there were punk squats in other cities, the sheer size of London and its then possession of  thousands of derelict/ empty/unused properties plus the continuity of squatting from pre- through to post-punk eras allowed the creation of a critical mass of punk squatters.  At the time, via my involvement with the Kill Your Pet Puppy collective, my perception of ‘anarcho-punk’ was of its emergence out of the punk squatting scene and its overlap with the counterculture squatting scene- for example  pre-Wapping Autonomy Centre gigs at a squatted church (St James) on Pentonville Road where Rubella Ballet and the Mob amongst many others played1980/81. [The first punk gigs at the Wapping Autonomy Centre were in late 1981].

That trajectory carried through from Wapping to the Centro Iberico on Harrow Road and then to a whole string of squatted buildings across London. [And in other cities but that is not part of my direct knowledge.] But although what was to become anarcho-punk overlapped with the London  punk squatting scene the two were not identical. Through Crass’ high profile and their willingness to play  in village halls and community centres across the UK, anarcho-punk grew and flourished  in many very different situations and contexts.  Equally, the punk squatters in London were a very diverse group numbering in the thousands while  the Wapping Autonomy Centre and Centro Iberico gigs attracted only a few hundred punks, many of whom were teenagers.

My benefit of hindsight  interpretation of this is that  although squatting is a practical form of direct action and therefore has a political/anarchist dimension, living in a squat in itself/ on its own did not ‘politicise’ punk squatters. Rather, where there was an awareness of squatting as a significant act, its significance was understood within a generalised/vague countercultural opposition to the status quo. This aspect or element of the punk squatting scene acted as a pathway towards many punk squatters becoming ‘new travellers’ in the mid /late eighties, with a corresponding blurring of the distinction between ‘punks’ and ‘hippies’.

In the conversation /interview I also tried to highlight the ways in which Kill Your Pet Puppy  engaged with the more Crass influenced aspects of anarcho-punk which we felt at the time were narrowing the possibilities punk had opened up. One way we did this was by putting together a ‘recommended reading list’ which republished in KYPP4 (summer 1981 -ie pre-Wapping Autonomy Centre). Here it is…

KYYP 4 (1981) recommended reading list (complied by Brett Puppy)

The Dispossessed by Ursula le Guin
Homage to Catalonia by George Orwell
The Floodgates of Anarchy by Stuart Christie and Albert Meltzer
News from Nowhere by William Morris
Play Power by Richard Neville
Ivan Illich’s books
The Female Eunuch by Germaine Greer
Functions of the Orgasm and The Mass Psychology of Fascism by Wilhelm Reich
The Illuminatus Trilogy by Robert Anton Wilson and Robert Shea
Fat is a Feminist Issue by Susie Orbach
The Christie Files by Stuart Christie
Spectacular Times (booklets) by Larry Law
Beneath the City Streets by Peter Laurie

Music (listed immediately below the reading list)
The Mob x 2 , Soft Cell, Lou Reed, Syd Barrett, T. Rex, The Associates, The Cramps, The Igloos, Charge and a couple I can’t read plus the Barracudas….

I think the diversity of books suggested above illustrates the diversity of sources  KYPP was able to draw on in constructing our particular version of punk. It is important to remember here that KYPP was successor to Tony Drayton’s Ripped and Torn which was first published in October 1976 and ran through 19 issues to1979. This meant that KYPP never doubted its punk credentials so we [the Puppy Collective] were fully confidant that what we were doing was a continuation and expansion of  ‘punk’ in its pure form.

But were we really  articulating the essence of punk? Yes we were, if punk is a ‘permanent revolution’, a continuing creative ferment which keeps re-inventing itself/ ourselves, resisting commodification, resisting ossification, resisting becoming a known and knowable entity. Neti, neti. Not this, not that, but always something more, something beyond limits and constraints, always challenging the fixed and frozen time/space of the spectacle. Cue Situationist quote…

Another side of the deficiency of general historical life is that individual life as yet has no history. The pseudo-events which rush by in spectacular dramatizations have not been lived by those informed of them; moreover they are lost in the inflation of their hurried replacement at every throb of the spectacular machinery. Furthermore, what is really lived has no relation to the official irreversible time of society and is in direct opposition to the pseudo-cyclical rhythm of the consumable by-product of this time. This individual experience of separate daily life remains without language, without concept, without critical access to its own past which has been recorded nowhere. It is not communicated. It is not understood and is forgotten to the profit of the false spectacular memory of the unmemorable. [Guy Debord, The Society of the Spectacle, 1967, # 157]

The above quote is what inspired me to start my Greengalloway blog in 2005, but even before then - back in 1996-  I was challenging limited versions of the history of (anarcho-) punk as this quote from my sleeve notes of ‘May Inspire Revolutionary Acts’ (2007) by the Mob shows.

I am listening to The Mob’s 1983 album ‘Let the Tribe Increase’ and looking at the cover of a 1996 book which  shows two ‘new age traveller’ style road protestors standing on a pile of chalk at Twyford  Down, blowing horns.  The photo is on the cover of ’Senseless Acts of Beauty : Cultures of Resistance since the Sixties’. It is a damn good book, moving from free-festivals to acid house raves, but it annoys me. Or rather this quote does:                      
Of all the successful punk and post-punk outfits, Crass alone managed that most difficult of manoeuvres: to avoid recuperation, to maintain political and artistic autonomy in the music industry. That is such an achievement. If punk was a discourse of authenticity, obsessed with street credibility, with not ‘selling out’, Crass must be placed at the centre of that discourse.
 [Back in 1996 when I first read the book] I underlined  the ‘Crass alone’ bit and   scribbled ‘ What about the Mob!’ in the margin. Then I took  it up with  the author, George MacKay, who was a lecturer, now professor, of Cultural Studies. He apologised. He had never heard of The Mob, did not know about the many ‘Anarchy Centres’, about the punk squatting scene, about fanzines like Kill Your Pet Puppy… about any of it. A whole underground  punk ‘culture of resistance’ had grown, flowered and faded between 1978 and 1985. It spread like some strange mutant weed through an ever shifting and changing network of squats across London. Then it vanished without trace, leaving only ‘Crass’ in its wake.

Although the Crass/MacKay interpretation of anarcho-punk remains the dominant narrative, 18 years on the MacKay ‘argument from ignorance’ cannot be sustained without a 1984 style re-writing of history to consciously exclude alternative constructions of anarcho-punk. In particular the sheer volume of material archived since 2007 on the KYPP blog site -music, print material, photographs and personal recollections- challenges the simplification of anarcho-punk. At the same time, Rubella Ballet, Zounds, the Mob and Hagar the Womb to name but four groups have all played live, recorded and released new material recently.

At the same time, to give credit to MacKay, he did attempt to trace the continuing story of the counterculture through the free festivals and new travellers as a parallel and overlapping narrative from the seventies through into the road protests and anti-criminal justice act protests (which drew in the acid house ravers) of the nineties as ‘cultures of resistance’. Although the targets for the resistance may change, there is a continuing counter culture of creative opposition to power. Significantly, this counterculture has emerged and grown as what is now called neoliberalism has developed and grown as the dominant ideology of global power.

EDIT- I have just cut a 2000 word section on the history of neoliberalism which I wrote here. My conclusion was that neoliberalism can be equated with the situationists’ society of the spectacle.

But this conclusion confuses the construction of anarcho-punk as a distinct genre, as a distinctive subculture. Instead it becomes one among many historical forms of resistance to/ disruption of  ‘the existing order’s uninterrupted discourse about itself, its laudatory monologue.’ [From Chapter 1 part 24 of ‘The Society of the Spectacle’].

Such historical forms of resistance are very interesting. I started my Greengalloway blog while I was researching the (armed) uprising of the Galloway Levellers in 1724. Although now regarded as only a minor incident, I found that it had connections backwards to the early 17th century Plantation of Ulster and forwards to the agricultural and industrial revolutions of the late 18th/early 19th centuries. I also found that only one account by a participant had survived- that of John Martin 1710-1801. Martin had run away from home to join the Levellers as a teenager, had been fined for his actions and gone on to become a respectable clock-maker, living long enough to pass on his recollections to a local antiquarian.

So when I started jotting down my memories of anarcho-punk, I was also thinking of the Galloway Levellers, of history from below as a form of resistance to history from above. The idea being that the existing order’s laudatory monologue contains the subliminal message ‘resistance is futile, resistance is futile’, that opposition will always be negated and/or assimilated. What this does is keep the possibility that resistance is fertile submerged below the level of historical consciousness.

The world already possesses the dream of a time whose consciousness it must now possess in order to actually live it. [Debord, Society of the Spectacle #164] 

taken from :

Marx, Letter to Ruge, September 1843: "The world has for a long time possessed the dream of a thing, of which it now suffices to become aware so as to really possess it."

But ‘dream of a thing/time’ suggests fantasy not reality. I would re-word this as ‘The world already contains the potential of a future which we must become conscious of before we can make it happen’.

This fits with the experience of the independence referendum in Scotland. At the beginning of the process, independence was a possibility. As the grassroots Yes campaign began to develop outside the official Yes campaign, through thousands of debates and discussions on doorsteps, community centres, village and town halls and online, the reality that another Scotland is possible became part of a collective, historical, consciousness.

But as opinion polls showed the Yes vote gaining traction in the last few weeks of campaigning, the No campaign went into overdrive. Scotland was bombarded with scare stories of job losses, price rises, pensions being slashed and economic meltdown. At the same time promises -a ‘Vow’- of maximum home rule and the federalisation of the UK were made.This combination of fear and hope was enough to win the vote for No on the day.

However, it is beginning to look as if it is not over yet. The No vote on 18 September 2014 now appears to have been a pause rather than a defeat for the process of independence. Attention has now shifted to the next UK general election which will be held in May 2015.

Stepping back, the bigger picture is that it is neoliberalism/the spectacle which seems more and more like a dream (nightmare) or fantasy. In this dream, the global economy stimulated by the free play of competition, would continue to grow forever and ever. That dream died with the global economic crisis of 2008. The spectacle of  neoliberalism is  now on life support, kept from flat-lining only by billions of money units being pumped into the system via quantitative easing and near zero interest rates.

The problem is that the spectacle of neoliberalism has been so successful at presenting itself as the only possible reality while eliminating and extinguishing alternative realities that it has become an evolutionary dead-end. It cannot adapt to changing circumstances, to shifts in the tectonic plates of reality. Locked in to its cold-blooded ideology of competition uber alles, it cannot conceive of warm-blooded progress through cooperation and mutual aid.

To talk of evolution and adaptation to changes in environmental/ecological circumstances brings in a final theme- climate change. Throughout our history, humanity has survived living under many oppressive/repressive social/economic systems. But history is only a record of the relatively recent past, the 6000 years or so since writing was invented, against the 195 000 years that ‘anatomically modern’ homo sapiens sapiens have existed. Writing and history can be connected to the domestication of plant and animal species (farming/ Neolithic revolution) which began about 10 000 years ago when the end of the most recent Ice Age created a more stable climate. This was essential for farming and the ability of post-Ice Age human communities to cooperate in building up surpluses of food which in turn allowed settled/fixed communities to develop. Within these communities specialisation of labour emerged and with it ‘civilisation’.

Climate change will disrupt out ability to create food surpluses. No food surpluses = no civilisation.

The spectacle of neoliberalism comes in to play here because it sees the shifts necessary to mitigate climate change as ‘anti-competitive’, as placing limits and restrictions on economic behaviour. Unfortunately by the time the food starts to run out it will be too late to do much about it. Fortunately, civilisation is about more than food surpluses, it is also about the accumulation of knowledge. Civilisation requires education as well as farming. Both are long term projects.

Liberalism as an economic doctrine had its beginnings when the industrial revolution took place in late 18th century Manchester gave rise to modern/industrial capitalism. This place and period strongly influenced Marxism because Karl Marx’s collaborator Friedrich Engels wrote ‘The Condition of the English Working Class’ based on his encounter with Manchester 1842/3. Marx’s major work ‘Capital’ was subtitled ‘A Critique of Political Economy’. In Engels’ book he mentions that Galloway born John Ramsay McCulloch (1789-1864) was the English bourgeoisies’ ‘favourite political economist’.

McCulloch is interesting since he provides a link between the theories of political economy developed by Adam Smith before the industrial revolution and the practices of industrial capitalism/ political economy which was then developed in Manchester. By the 1850s these had become the ‘Manchester School’ doctrines of free-trade and laissez-faire - the idea that economic success requires minimal state intervention. This can also be called economic liberalism.

Neoliberalism could then be described as an attempt to wind the clock back to the golden years of capital in the nineteenth century before it was contaminated by socialism. It was the doctrine adopted by Thatcher in the UK and Reagan in the USA in the 1980s and which has now gone global. This was the version of neoliberalism set out by David Harvey in ‘A Brief History of Neoliberalism’ in 2006. However…in 2009, French authors Pierre Dardot and Christian Lavall came up with an alternative understanding of neoliberalism which was published in English in 2013 as ‘The New Way of the World-On Neoliberal Society’.

Dardot and Lavall trace neoliberalism back to the later nineteenth century when Herbert Spencer (1820-1903) who came up with the phrase ‘survival of the fittest’ as a simplification of Charles Darwin’s theory of evolution. This simplification was challenged by Friedrich Engels in 1875.

The whole Darwinist teaching of the struggle for existence is simply a transference from society to living nature of Hobbe's doctrine of bellum omnia contra omnes [a war of all against all] and of the bourgeois-economic doctrine of competition together with Malthus's theory of population. When this conjurer's trick has been performed...the same theories are transferred back again from organic nature into history and it is now claimed that their validity as eternal laws of human society has been proved.

By the 1870s, Britain’s supremacy as the first industrial nation was threatened by Germany and the USA. Dardot and Lavall suggest that this led to a shift from the idea of the market as a place of exchange to the idea of the market as a place of competition. By the 1930s, as old fashioned liberalism was threatened by the rise of ‘state capitalism’ via fascism and Stalinism, a new liberalism based on the need to ensure competition began to emerge. The outlines of what was to become neoliberalism were established at an economic conference in Paris in1938 but had to wait until after WW2 to take root- in post-war Germany and in what was to become the European Union.

Dardot and Lavall go on to argue that neoliberalism has moved on from being an economic doctrine or ideology to becoming a ‘rationality’. Within this rationality the necessity of ‘competition’ has become so deeply embedded that, for example, the idea of cooperation is considered irrational and therefore impossible. What this means is that, as Margaret Thatcher once said ‘there is no such thing as society’, there are only individuals competing with each other as economic agents. Human beings are not social animals, they are calculating atoms existing within a global market place in an economic war of all against all. In this war the fittest, those who maximise their economic advantages, survive and prosper while the unfit, those who fail to compete successfully, must resign themselves to lives of enduring poverty.

This rationalisation of competition takes us back to Thomas Hobbes and ‘bellum omnium contra omnes’ - the war (or struggle) of all against all- which Hobbes believed was humanity’s condition before the invention of civil[ised] society. Yet, based on studies of existing pre-agricultural societies, their survival is rooted in cooperation rather than competition. We are a social species.

The spectacle of neoliberalism is a flawed rationality, a false consciousness which is slowly destroying our socialised humanity and the ability of the planet to sustain ourselves and a large part of life on earth.

Yet even now, there still seems to be a separation between economy and ecology, a belief that the struggle for economic justice is separate from the struggle against climate change. Bringing the two together is therefore the most pressing challenge we face.

Coming back to anarcho-punk… its cultural memory is useful to the extent that it was a culture of resistance, but it is also distraction, shading over into nostalgia. Of more interest to me right now is work I am doing-writing/researching- on the 19th century Scottish iron industry, showing how it combined economic exploitation of its workforce who lived in appalling physical conditions with unsustainable exploitation of natural resources-  iron ore and coal- leaving a legacy of social deprivation and adding millions of tons of carbon dioxide to the atmosphere. This combined legacy is very relevant to the present day in Scotland, influencing the political landscape and acting as a warning for the future against economic reliance on an oil industry which is also a contributor to climate change.



Did the Scots invent Thatcherism?

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Kennedy & McConnell's cotton factory , Manchester 1815


1. Introduction

On 13 May 1988, prime minister Margaret Thatcher addressed the Scottish Conservative and Unionist party conference in Perth. In the speech she launched a campaign to ‘strengthen the Union by winning back Scotland for the Conservative and Unionist cause’. Thatcher went on to say:

Mr. President, I'm sometimes told that the Scots don't like Thatcherism. Well, I find that hard to believe—because the Scots invented Thatcherism, long before I was thought of. It is more than two hundred years since Adam Smith, David Hume, Adam Fergusson and others first set out their ideas of a world in which wealth would be generated and spread ever more widely. They saw that it's not Government which creates wealth—it's people. That People do best when they pursue their own vision. And that a wise Government will harness the efforts of individuals to improve the well-being of the whole community. So they proposed to restrain Government and to liberate men and women. Mr. President, those are the ideals I hold most dear. And they had their origins in the Scottish Enlightenment.

In making this claim it is unlikely that Margaret Thatcher was aware that nine years earlier leading French philosopher Michel Foucault had made a very similar claim. In March and April 1979, Foucault concluded a series of lectures at the College de France on neoliberalism by identifying Adam Smith, David Hume and Adam Ferguson  as the ‘inventors’ of what he called English liberalism. It was on the foundations of this English liberalism , so Foucault argued, that neoliberalism was built.

Since Thatcher did not become prime minister until May 1979, Foucault was unable to connect neoliberalism with Thatcherism. However, it is now widely accepted that Thatcherism was a form of neoliberalism. [For example see David Harvey ‘A Brief History of Neoliberalism’(Oxford, 2006) pp 56-63]

In which case, since the very different figures of Margaret Thatcher and Michel Foucault both identified the Scots as the ‘inventors’ of neoliberalism making a counter-argument will be difficult. Difficult but, I hope, not impossible. However, in making this counter-argument I will be drawing on some obscure corners of Scottish history. In particular, my starting point will be the Lowland Clearances which preceded the more familiar Highland Clearances.

2. From Local to National History 

During and since the referendum campaign I have noticed many people commenting that they were never taught Scottish history at school. I was fortunate since ‘Changing Life in Scotland 1760 to 1830’ was the topic I had to study for O Grade history at Kirkcudbright Academy in the 1970s. Looking back however, it would have been even more interesting if connections had been made between Scottish and local history during the period covered. It was only after I returned to Galloway after 20 years in England that I began to discover the connections as I read my way through the local history section of Castle Douglas Library.

One of the discoveries I made was that what we had been taught at school to call the Agricultural Revolution is now described as the Lowland Clearances during which a whole class of farm workers- the cottars- disappear from Scottish history. Unlike the dramatic Highland Clearances, the Lowland Clearances were a ‘silent revolution’ which did not lead to rural unrest- apart from in Galloway. Here in 1724, the beginnings of Scotland’s eighteenth century agricultural revolution were met with an armed uprising by cottars and tenant farmers who had been evicted from arable farms to make way for cattle farms. The uprising lasted for several months and was only suppressed after a regiment of dragoons was sent to Galloway.

Inspired by the Galloway Levellers, I began digging deeper into local history. One surprising discovery is that in the 1780s a small group of young men from Galloway became apprentices to a textile machine maker (also from Galloway) who was based near Bolton in Lancashire. In the 1790s four of these young men moved to Manchester where they soon became leading cotton spinners. One of this group was John Kennedy (1769-1855) who promoted the Liverpool-Manchester railway and was a judge at the Rainhill Locomotive Trials in 1829 which were won by George and Robert Stephenson’s with their famous ‘Rocket’.

Kennedy’s business partner was James McConnell who married Margaret Houldsworth. Her brother Thomas owned a rival cotton spinning business and later became an MP for Manchester. Her other brother, Henry moved from Manchester to Glasgow where he set-up Scotland’s first steam powered cotton mill in 1801, using machinery supplied by Kennedy and McConnell. Then in 1836, with financial help from his brother Thomas, Henry Houldsworth bought Coltness estate near Wishaw in Lanarkshire.  Beneath the estate were rich seams of coal and ironstone which provided the raw material for the Coltness iron works which Henry established.

Ten years later, Henry Houldsworth established the Dalmellington iron works in Ayrshire. Part of the finance for this venture was provided by James Murray, Henry’s son-in-law. James’ father was George Murray who with his brother Adam was one of the Galloway-Manchester cotton spinners.

As well as the Galloway-Manchester, cotton-iron connections, I also found a Liverpool   connection. William Ewart senior was a Galloway born merchant in Liverpool where his business partner was John Gladstone from Biggar. William Ewart’s son William became an MP. William Ewart junior was a supporter of the Anti-Corn Law League and a keen advocate of free-trade. William Ewart senior was godfather to John Gladstone’s son  William Ewart Gladstone the famous Victorian prime minister.

To this group can be added another significant player, Galloway born economist John Ramsay McCulloch who was described by Friedrich Engel’s as ‘the English bourgeoisies’ favourite political economist’ in 1844.

However, before discussing the role these Scots played in the creation of ninettenth century ‘English liberalism’ we need to go back to the early eighteenth century and take up the story of the Galloway Levellers again.

In 1723, the year before the Levellers uprising began, the Honourable Society of Improvers in the Knowledge of Agriculture was established in Edinburgh. Its patron was John Dalrymple, second earl of Stair and its secretary was Robert Maxwell of Arkland in Galloway. Amongst the  Society’s members were John Clerk of Penicuik, Patrick Heron of Kirroughtrie in Galloway and James Steuart of Coltness. Of these, Patrick Heron of Kirroughtrie was one of the landowners who attempted to negotiate with the Galloway Levellers and John Clerk’s brother was a customs officer in Kirkcudbright at the time and kept his brother Clerk informed of events through a series of weekly letters. The troops sent to quash the Levellers were the earl of Stair’s dragoons. Members of the Society were therefore very aware of the events in Galloway.

Although Galloway was quiet the following year, cities across Scotland were not. An attempt to raise the duty paid on malt, essential for beer making, led to riots. The worst of these took place in Glasgow where  the rioters had control of the city for two weeks in 1725 before General Wade was able to restore order with his troops.

Tucked away in the ‘Select Transactions’ of the Society of Improvers, edited by Robert Maxwell and published in 1747 is ‘An Account of the Society’s Endeavours  to Promote our Manufactures’. The Society began these endeavours in November 1723, focussed on promoting the linen industry in Scotland. Work on this idea continued through 1724 and 1725.  In 1726, a ‘Bill for Encouraging and Promoting Fisheries and other Manufactures and Improvements in that part of Great Britain called Scotland’ was laid before Parliament. The ‘Select Transactions’ includes the complete text of this Bill.

The Bill was supported by prime minister Robert Walpole but opposed by English members of parliament who objected to the costs involved. Walpole replied that it would be cheaper than maintaining 6000 troops in Scotland to maintain order. Walpole’s fear was that so far the Union of 1707 had failed to stimulate the Scottish economy and that this was being exploited by the Jacobites to stir up resentment against the Union. While Glasgow and Dumfries had been hostile to the Jacobites in 1715, if nothing was done to increase employment and prosperity in the Presbyterian west of Scotland, this could change. Indeed, if there had been popular support for the Jacobites in southern Scotland in 1745, the Jacobites might well have succeeded.

Between 1727, when the Board of Trustees for the Improvement of Manufactures and Fisheries was established, until state regulation of the linen industry was abolished in 1823, Scottish production of linen rose from 2.2 million yards in 1728 to 36 million yards in 1822. Although since 1780 the linen industry had been overshadowed by the rapid growth of Scotland’s cotton industry, the Board of Trustees successful improvement of the linen industry laid the foundations for the rise of cotton.

The significance of the establishment of the Board of Trustees is that it operated through the era of the Scottish Enlightenment as a successful example of state intervention in the Scottish economy. When the Board’s origins in the work of the Society of Improvers is taken into account a further significant factor emerges. In 1723 the Union of 1707 had not delivered an economic boost for Scotland. Since key members of the Society like the second earl of Stair and Sir John Clerk were supporters of the Union and opponents of the Jacobites, they were very aware that without some form of state support and intervention in the Scottish economy, the future of the Union was at risk.

Of course the Union might still have survived without state support for the Scottish linen industry in the eighteenth century, but it is interesting that the movement towards Scottish independence was boosted in the late twentieth century by Margaret Thatcher’s antagonism to state intervention and support for key Scottish industries.  

3. The Scottish Enlightenment and the Origins of Liberalism

The Union of 1707 created an anomaly. While the centre of political power moved south to London, only a few Scottish landowners, like the dukes of Buccleuch, were wealthy enough to live in London. However, the remaining landowners were still influential through the Commissioners of Supply (local government) which the Union had not affected. The Church of Scotland retained its autonomy, as did the Scottish universities. Along with the Convention of Royal Burghs and the persistence of the Scottish legal system, the shadowy outlines of a Scottish state endured thus giving members of Scotland’s ruling elite limited but real power within ‘that part of Great Britain called Scotland’.

I believe that it was the uncertainties and ambiguities of their new situation which forced the more intellectual members of the Scottish elite to think more deeply about the nature of society, about the economy and about political power. These philosophical speculations were given an extra edge in the aftermath of the Jacobites final defeat in 1746. As the Jacobites advanced south, there was panic on the streets of London and Scots were portrayed as barefooted barbarians and destroyers of civilisation. It was only after 1746 that the Scottish Enlightenment really took off and the Age of Improvement began.

What occurred was an elite led, top-down attempt to modernise and civilise Scotland and the Scots. Across Lowland Scotland landowners began sweeping away the physical signs of the old Scotland by rationalising the farmed landscape. The Military Map of Scotland made by William Roy in 1755 captures the beginnings of this process. It shows, dotted across the Lowlands, the houses of large landowners surrounded by neat chequerboard patterns of square fields bounded by hedges and dykes. Over the next fifty years, estate by estate, county by county, the square or rectangular fields of improved farms spread out over the landscape. The old fermtouns were swept away and  new stone built steadings replaced them. New villages and towns were built, 86 in Dumfries and Galloway alone. These in turn were linked together by a network of new roads, improving and speeding up communications.

Significantly, this transformation was brought about not by the actions of the British state, but by Scotland’s civil society. However, the actions of the British state did facilitate the process by providing opportunities for Scottish merchants, soldiers and even doctors to make huge fortunes as what was to become the British Empire expanded across the globe. Many of the improving landowners were not members of the traditional landowning elite but had bought their estates with wealth gained overseas. By improving their new estates and, in the process themselves, the newly rich could disguise the origins of wealth gained  through crude and brutal exploitation and become ‘gentlemen’.

Across Dumfries and Galloway and the rural south of Scotland, the late eighteenth century landscape of Enlightened Improvement survives. In central Scotland it is overlaid by a very different landscape, a landscape shaped by the Industrial Revolution. While it has been argued, for example by Joel Mokyr in ‘The Enlightened Economy’ [Yale, 2010] that the Industrial Revolution was a product of the Enlightenment I am not so certain.

Although the first of James Watt’s steam engines began working in 1776, they were used as pumping engines. It was not until the 1790s in Manchester that steam was used to directly power cotton spinning machinery. For Friedrich Engels, writing in 1844, it was this combination of steam plus cotton machinery that began the Industrial Revolution and Engels was the first to use the term in an British context.

Freed from reliance on water power and close to sources of coal, the cotton industry grew rapidly in Manchester. The opening of the Liverpool and Manchester railway in 1830 removed transport problems caused by the slow and expensive canal network, leading to further growth. But then the cotton manufactures encountered another problem. During the Napoleonic Wars, farmers and landowners profited from the high price of wheat. When prices fell in 1815, their dominance in the unreformed House of Commons and in the House of Lords led to the passing of a law to keep corn (wheat) prices high by excluding imported wheat. High corn prices, it was argued, led to high wages which in turn pushed up the production costs of cotton. After several years of struggle, in 1845 the Manchester based Anti-Corn Law League succeeded in getting the 1815 act repealed. From 1845 until 1914, ‘free trade’ became the cornerstone of economic policy in the UK, supported and promoted by the ‘Manchester School’ of  English (British) liberalism.

In the mid-nineteenth century, France Belgium, Prussia, Sweden, Spain, Norway, Holland, the Hanseatic league, Switzerland, Austria and the German principalities adopted free-trade polices. However, beginning with France in 1875 and soon followed by Germany, enthusiasm for free-trade began to wane and measures to protect domestic industries from ‘unfair’ competition were introduced.  In the USA, the slave-owning, cotton producing states favoured free-trade while the more industrialised northern states were protectionist. The victory of the northern states in 1865 was therefore also a victory for protectionism.

After WW1 there was a period of economic recovery but the Great Depression which followed saw even the UK give up free-trade in favour of a protectionist system of ‘imperial preferences’. Combined with the rise of fascism and communism it seemed that economic liberalism was dead. But, as Foucault argued, the same period saw the birth of what was to become neoliberalism after WW2. The key moment identified by Foucault was a conference held in Paris in August 1938, inspired by the work of Walter Lippman in the USA.

As well as Lippman himself, the meeting was also attended by Wilhelm Röpke and Alexander Rüstow from Germany and Austrian School theorists  Friedrich Hayek and Ludwig von Mises. Participants from France included Raymond Aron, Robert Marjolin, Louis Rougier, and Jacques Rueff and entrepreneur Ernest Mercier. Hungarian born but UK based  Michael Polanyi was another participant. Participants from France included Raymond Aron, Robert Marjolin, Louis Rougier, and Jacques Rueff. Walter Eucken, the founder of German neoliberalism, called ordoliberalism, was invited to the conference, but was not given permission to leave Germany.

Significantly, based on his experiences as a journalist, Lippmann argued that policy makers could ignore public opinion and even dismiss it. Lippmann believed that public opinion is incoherent, ill-informed and lacks an organised or coherent structure. Effectively, Lippmann was arguing for a tightly controlled and limited form of  democracy. Eucken's contribution was drawn from his writings, where he argued that the state has the task of providing  the political framework for economic freedom, in contrast to Adam Smith's doctrine of 'laissez-faire'. For Eucken, the essence of the market was competition rather than exchange To facilitate market competition, the state should maintain legal and institutional frameworks, including the maintenance of private property, enforcement of private contracts, liability, free entry to markets, and monetary stability. However, the state should not direct or intervene in the economic processes of daily practices, as occurs in a centrally planned economies.

Necessarily, since his lectures were delivered before the elections of Margaret Thatcher in the UK and Ronald Reagan in the USA, what Foucault called neoliberalism is not quite the same as today’s neoliberalism. However, by locating the origins of neoliberalism in the 1930s rather than the 1970s, Foucault’s work challenges the tendency, especially in Scotland, to simplify its complex history by equating neoliberalism with Thatcherism.

4. Scottish Influence on English Liberalism

Finally, from my own research, I have found a Scottish link which connects Adam Smith’s ‘laissez faire’ liberalism with Foucault’s ‘English liberalism’. In his book ‘Why Europe Grew Rich and Asia Did Not: Global Economic Divergence , 1600-1850’ (Cambridge, 2011), Prasannan Parthasarath highlighted a significant lecture given to the Manchester Literary and Philosophical Society by John Kennedy in November 1815. Kennedy’s lecture was on ‘The Rise and Progress of the Cotton Industry’ and Parthasarath noted that Kennedy drew on Adam Smith’s work to explain the success of the British cotton industry. This was the first time Smith’s work had been used in this way.

This marked a significant change since in the final quarter of the eighteenth century the cotton manufactures of Lancashire had favoured and benefited from protectionist policies which cushioned them against Indian competition. It was only after improvements pioneered by Kennedy and others increased the quality and lowered the cost of their cotton that Smithian free-trade was adopted by the Manchester cotton barons. One result was that the flow of the cotton trade was reversed.

Textile manufactures in the Indian subcontinent suffered grievously with the rise of Lancashire and the rapid growth in exports of British cotton yarn and cloth. By 1820 the English [British] East India Company had terminated its cloth trade and closed down the network of factories that had been purchasing Indian cloth for nearly two centuries. [Parthasarath 2011, p.153]

In addition to John Kennedy, the work of the Galloway born economist John Ramsay McCulloch (1789-1865) provides an important link between the liberalism of the Scottish Enlightenment and that of the Victorian era. Described by Engels in ‘The Condition of the Working Class in England’ as the ‘English bourgeoisies’ favourite political economist’, McCulloch edited The Scotsman from 1817 to 1821 before publishing ‘ The Principles of Political Economy’ in 1825. Unable to secure a university position in Scotland, McCulloch moved to London where he became professor of Political Economy at University College in London from 1828 to 1837. In 1838 he was appointed Controller of Her Majesty’s Stationery Office, a position he held until his death.

The move to London brought McCulloch into close contact with leading politicians like Robert Peel who was prime minister 1834-5 and 1841-46. Peel became a close friend and McCulloch, despite disagreements over economic policies, also had a ‘cordial’ relationship with William Ewart Gladstone who was a member of Peel’s cabinet and then Chancellor of the Exchequer 1852-5 and again 1859-66. After McCulloch’s death, Gladstone became prime minister four times. Gladstone’s great rival Benjamin Disraeli attended McCulloch’s lectures on political economy in the 1830s.

Although, as Marx pointed out in ‘Theories of Surplus Value’ (1860) McCulloch did not make any major contributions to political economy as theory, through his journalism, lectures, books and influential friendships, McCulloch brought the practice of economic liberalism into the heart of the British state. In addition, through his friendship with leading cotton manufacturer John Kennedy of Galloway and Manchester, McCulloch was able to bring the Scottish Enlightenment version of economic liberalism up-to-date by including the impact of the Industrial Revolution on the British economy.

A final connection is provided by William Ewart (1798-1869). Ewart was the son of the Galloway born Liverpool merchant William Ewart mentioned above and was first a Member of Parliament for Liverpool before becoming M.P. for Dumfries. Ewart was a keen supporter of free-trade and a fierce opponent of the Corn Laws, working closely with Richard Cobden and John Bright of the Anti-Corn Law League.

5. Conclusion

In the Introduction to their book ‘Yes-The Radical Case for Scottish Independence’, James Foley and Pete Ramand noted that the 300th anniversary of the Union of 1707 passed with very little public celebration despite the fact that the Union ‘marked  the beginning of two centuries of global domination’ by the Britain and its empire. Although the immediate results of the Union were slight, its long term consequences shaped world history no less than the French Revolution or the American War of Independence.

While the sun has long since set on the British Empire, a very different legacy of the Union continues to influence and shape the world today. What is now called neoliberalism has become over the past 35 years the dominant economic paradigm or belief-system. However, before advent of Thatcherism in the UK and Reaganomics in the USA, in series of lectures in 1978-79 French philosopher Michel Foucault identified an earlier form of neoliberalism. Foucault’s neoliberalism had its roots in the Great Depression of the 1930s which had created a crisis of confidence in traditional economic liberalism. Faced with the threat from the left and the right of state intervention and control of national economies, the neoliberals’ counter proposal was to deepen and extend liberalism so that the state would become the servant of the economy.

Foucault then showed that the idea that the economy should act as a limit or restraint on state power was already present in what he called ‘English liberalism’, drawing on the work of Adam Ferguson, David Hume and Adam Smith to support this claim. But as I have found, the failure of the Union of 1707 to improve the Scottish economy led to lobbying by the Society of Improvers  for state supported intervention via the Board of Trustees for the Improvement of Manufactures and Fisheries. The Board played an active role in developing the Scottish linen industry from 1727 to 1823.

In England over the same period, the early cotton industry was protected from competition from India by import tariffs. Manchester’s cotton capitalists only adopted the doctrines of free-trade after the process of mechanisation allowed Lancashire cottons to be mass produced at high quality. This had a devastating impact on India’s traditional cotton industry. Beginning with John Kennedy’s 1815 lecture, the history of the English cotton industry was then re-written to fit with Adam Smith’s economic theories.

Once its history had been re-written, the huge success of the Lancashire cotton industry in the later nineteenth century was used to prove the economic superiority of laissez-faire and free-trade policies over state-led economic policies based protectionism and market intervention. This went hand-in-hand with a selective reading of Adam Smith’s work to emphasise his support for the ‘free-market economy’ while the work of former Jacobite James Steuart of Coltness was sidelined. Steuart was a former member of the Society of Improvers. Steuart favoured more interventionist economic policies in his book ‘The Principles of Political Economy’ which was published in 1767, nine years before Smith’s ‘On the Wealth of Nations’.

Margaret Thatcher was an admirer of Adam Smith and told a Conservative party conference in 1988 that it was the Scots who first invented Thatcherism. Thatcher was also a committed Unionist. But as the Society of Improvers recognised in the 1720s, unless the Union could improve the Scottish economy, it would fail. Their response was to actively promote state support and intervention in key Scottish industries. It may prove to be an irony of history that it was Margaret Thatcher’s version of Adam Smith’s liberalism which began the break up of the United Kingdom.

Enyclopaedia of Ecstasy 1983

In the sky a lurid glow

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The Neilson Mausoleum- Tongland kirkyard




How iron furnaces forged modern Scotland.

Post-referendum, the Labour vote in Scotland appears to be in meltdown. It now seems possible that despite victory for the No campaign last September, the SNP will win enough seats in the May UK general election to create a further constitutional/political crisis/major headache. But will a strong SNP vote mean that most former Labour voters  have become nationalists?  Or will a significant number of SNP voters in May be voting not as ‘nationalists’ but as opponents of neoliberal austerity? That suggestion is a simplification of an older and deeper dimension of Scotland’s politics, one which is tied up with the beginnings of the Labour party in Scotland. This in turn connects to the Scottish experience of industrialisation and ‘old’ rather than neo liberalism.

The following is a beginning. When it got to 3500 words I paused it. Even in this condensed form it will need another 4000 to finish and many more to do justice to the subject.


Hot Blast

In 1994 an attempt was made to blow-up a statue erected in 1834 on Beinn a' Bhragaidh. Attempts to have it more lawfully removed have also been made. An inscription at its base reveals why.

In lasting memorial of-George Granville-Duke of Sutherland Marquess of Stafford KG-An upright and patriotic nobleman-a judicious kind and liberal landlord-who identified the improvement of his vast estates-with the prosperity of all who cultivated them-a public yet unostentatious benefactor-who while he provided useful employment-for the active labourer-opened wide his hand to the distresses-of the widow the sick and the traveller-a mourning and grateful tenantry-uniting with the inhabitants of the neighbourhood-erected this pillar-AD MDCCCXXXIV (1834).

For many people the statue and its inscription  mocks and insults the memory of the thousands of people evicted from the land by the duke of Sutherland and other landowners during the Highland Clearances.

Three hundred miles to the south of Beinn a' Brigade a smaller monument on Barstrobrick hill in Galloway erected in 1888 commemorates an event which changed and disrupted the lives of hundreds of thousands of Scots, Irish and other nationalities. Yet this monument to human misery has never attracted any more than passing attention and has never been threatened with demolition or removal. Perhaps if the monument had been built on the same ‘eminence’ as this parish church, it would have attracted more attention and less indifference.

From the steeple of the parish church, which stands on a considerable eminence, the flames of no fewer than fifty blast furnaces may be seen. In the daytime these flames are pale and unimpressive; but when night comes on, they appear to burn more fiercely, and gradually there is developed in the sky a lurid glow similar to that which hangs over a city when a great conflagration is in progress. Dense clouds of smoke roll over it incessantly, and impart to all the buildings a peculiarly dingy aspect. A coat of black dust overlies everything, and in a few hours the visitor finds his complexion considerably deteriorated by the flakes of soot which fill the air, and settle on his face. There is something grand in even a distant view of the furnaces but the effect is much enhanced when they are approached to within a hundred yards or so. The flames then have a positively fascinating effect. No production of the pyrotechnist can match their wild gyrations. Their form is ever changing, and the variety of their movements is endless. Now they shoot far upward, and breaking short off, expire among the smoke; again spreading outward, they curl over the lips of the furnace, and dart through the doorways, as if determined to annihilate the bounds within which they are confined; then they sink low into the crater, and come forth with renewed strength in the shape of great tongues of fire, which sway backward and forward, as if seeking with a fierce eagerness something to devour.

In 1869, when the above was written, the parish church mentioned overlooked the rapidly growing town of Coatbridge in Lanarkshire. This growth began in 1830 when the first blast furnace built  for the Baird family at Gartsherrie  was fired up. The blast furnace was one of the first to use a new technique which was to revolutionise  the Scottish iron industry and make Scotland the workshop of  the world. The new technique involved superheating the air blasted into the furnace. This reduced coal consumption from 8 tons per ton of iron produced to three tons. This made the Scottish pig iron the cheapest in the world. In 1825, Scotland produced only 25 000 tons of pig iron per year. By 1840 this had risen to 240 000 tons, to 564 000 tons by 1848 and over 1 million tons by 1862.

The ‘hot blast’ technique of iron smelting which created this phenomenal growth was discovered by James Neilson, manager of the Glasgow Gas Works in 1828. The monument on Barstobrick hill was erected by his son Walter Neilson in honour of his father’s revolutionary discovery. After making his fortune through his discovery, James Neilson had bought Queenshill estate, including Barstobrick hill, in 1848. Neilson’s choice of Galloway to retire to was influenced by a family tradition that John Neilson of Corsock in Galloway was an ancestor. James Neilson was a strongly religious man and John Neilson was a Covenanter ‘martyr’ -or rebel- who was executed in Edinburgh in December 1666 after being captured following the battle of Rullion Green.

There is a difficult point to make here. When the duke of Sutherland and other Highland landowners began reorganising their estates, were they intentionally setting out to destroy the traditional ways of life of their tenants, or were they trying to improve the lives of their tenants? In Lowland Scotland, it is accepted and understood that the re-organisation of estates by landowners was intended to modernise and improve farming practice, making it more profitable for landowner and tenant. The aim, which was accomplished, was to move from subsistence to surplus, banishing the spectre of ‘dearth’ (famine)  from the land.

The problem in the Highlands was that the its very different physical and human ecology meant that trying to copy a process which had worked in the Lowlands failed, with disastrous consequences. But, given the very limited knowledge of physical and human ecology available at the time, how could  Highland landowners have predicted the destructive consequences of their actions? In the context of the Highland Clearances, such arguments are dismissed as apologetic excuses. But by the same logic, does that mean we must hold James Neilson and the Scottish iron masters who profited from his invention accountable for the appalling human cost of the industrial revolution they created?

Extending this argument and with the benefit of environmental hindsight, would it have been better for Scotland if its coal and ironstone had been left untouched beneath the ground?

Coal had been exploited in Scotland since the middle ages, a move pioneered by the great abbeys who used it to boil sea water in  to make salt. However, even by the beginning of the nineteenth century, most coal was still used domestically and production was based on small, shallow mines. Of the future iron producing areas, the expansion of coal mining in Ayrshire had been limited by the failure of several attemtps to break into the Irish coal trade. Since the mid-seventeenth century, coal mining had been built up in West Cumberland to supply the Irish market and Cumbrian coal retained its dominance of this market through the eighteenth century. While coal from Lanarkshire supplied Glasgow, as late as 1769 coal mining was still not a major industry.

By 1769 work had begun on the Forth and Clyde canal and James Watt had surveyed the route of what was to become the Monklands canal. James Steuart, who owned the 12 000 acre Coltness estate was a former Jacobite who had spent 20 years in exile in Europe. Steuart was interested in political economy and had already published his book ‘Outlines of Political Economy’.  In 1769 Stueart published ‘Considerations on the Interest of the County of Lanarkshire in Scotland’. The main focus of this paper was Steuart’s fear that the Forth and Clyde canal would damage the economy of Lanarkshire by allowing imports of grain from the eastern Lowlands to be sold cheaply in Glasgow. Lower grain prices would have a damaging impact on the process of agricultural improvement in Lanarkshire. Ironically, in 1836 Steuart’s son sold Coltness estate for £80 000, not for its agricultural value, but for the coal and ironstone which lay beneath its fertile fields.

Between 1769 and 1836, Scotland did undergo an industrial revolution. This revolution was based on cotton. By 1835 there were 125 cotton mills in Scotland, but although steam was a mature technology, 44 % of the power used in the mills was still supplied by waterwheels. Likewise although there were steamships and steam locomotives at work in Scotland by 1830, their demand for coal could still be met by traditional coal mining. Population growth and economic growth would have increased demand for coal through the nineteenth century. More modern, deeper mines would have been developed to meet this demand, but without the stimulus of the iron industry, this change would have been more gradual and less traumatic.

The discovery that coke could be used instead of charcoal to smelt iron was first made by Abraham Darby in England in 1709. It took fifty years before the technique was successfully applied in Scotland at the Carron iron works. After 1759 no new iron works were built in Scotland until 1785 when the Clyde iron works was built and over the next forty years only a further eight  were constructed. This contrasts with the situation in South Wales where production of pig iron grew from 12 300 tons in 1788 to 277 643 tons in 1830. This was 41% of total UK production. Scottish pig iron production in 1830 was only 39 000 tons or 5.5% of total UK production.

Why was the South Wales iron industry so much more successful than the Scottish iron industry before 1830? There are two main reasons. Firstly, production costs were lower. The Welsh coal had a carbon content of 80%, twice that of Scottish coal. This meant that the Welsh needed less coal to produce their iron. The Welsh coal and ironstone were close to the surface in the hills and could be mined using horizontal shafts driven into the sides of the Welsh valleys. This reduced the labour costs involved in mining the coal and iron stone, producing another cost saving. Secondly, the Welsh had the advantge of ‘location, location, location’. The iron works were linked to Cardiff and Newport by dense network of eighteenth century canals and waggonways. From Cardiff and Newport the Welsh iron could not only be exported by sea but also sent, via the river Severn and the English canal network, to the already well established metal bashing industries of the West Midlands.

Until 1830, the main disadvantage of the Scottish iron industry was that the low -35% to 40%- carbon content of Scottish coal meant that it took as much as 8 tons of coal to produce one ton of iron. This made Scottish iron more expensive than Welsh iron. Apart from the Carron iron works, which specialised in the production of cannons -the Carronade- the other Scottish iron works were only able to survive because the transport costs of shipping Welsh iron to Scotland offset its cheaper production costs. If progress on deepening the Clyde to Glasgow had been more rapid, or if a rail link to England had been established earlier, the Scottish iron industry might have withered away before Neilson’s hot-blast could revolutionise it.

Neilson had become manager of the Glasgow Gas Company in 1817. In 1824 he was approached by an ironmaster who asked if the techniques used to purify the gas could be used to remove sulphur from the air used in blast furnaces. As Neilson explained in a paper he read to the Glasgow Philosophical Society in 1825,this question had arisen because ironmasters had observed that the iron produced in winter was superior to iron produced in summer. In the absence of  scientific knowledge, some ironmasters believed that there was more sulphur in the air in summer while many others believed that colder air produced finer iron. Neilson argued that the difference was due to the higher oxygen content of cold air. He also noted that warmer air had a higher water content.

This led him to experiment with heating the air to dry it out. His first experiment involved supplying an ordinary blacksmith’s forge with heated air ‘the effect was that fire was rendered  most brilliant, with an intense degree of heat’ while blasts of cold air produced only ordinary brightness and heat. Unfortunately, as Neilson later recounted, there was a ‘strong prejudice’ and a ‘superstitious dread’  amongst furnace managers against meddling with furnaces that were producing good quality iron. However, one of the furnaces at the Clyde iron works was producing poor quality iron so Neilson was allowed to experiment with heating the blast supplied to this furnace. This improved its performance and Neilson was able to use the results of his trials at the Clyde iron works to produce a provisional patent for his invention in 1828 and a full patent in 1829. The first hot-blast furnace using an ‘improved apparatus’ began operations at the Clyde iron works in 1830.

If it had been left to existing ironmasters, their ‘strong prejudice’ against innovation would have led to a slow uptake of Neilson’s hot-blast. The rapid adoption of the new technology was driven by the Bairds of Gartsherrie. The Baird family had been tenant farmers in Lanarkshire for generations. They had profited  rise in food prices during the Napoleonic wars,  but as prices fell after 1815, Alexander Baird took on the lease of a coal mine near the Monklands canal in 1816. Alexander had 8 sons and made William, then aged 20, manager while Alexander junior, aged 16, became the selling agent in Glasgow. In 1825 the brothers took the lease of a pit at Gartsherrie in Old Monklands parish. The problem with supplying coal for the Glasgow market was its seasonal nature with high demand in winter and low demand in summer. The existing coal suppliers also operated a cartel, keeping the price of coal high by restricting production. It seems likely that the Bairds decision in 1828 to build an iron furnace at Gartsherrie was driven by a need to find a use for surplus stocks of coal and the fact that there were extensive reserves of ironstone in the immediate area.

The Bairds first furnace was fired up in 1830 and was a hot-blast furnace. This meant that they were immediately able to produce pig iron more cheaply than their traditionalist competitors. Emboldened by the success of their new venture, by 1843 the Bairds had built 16 blast furnaces at Gartsherrie producing 100 000 tons of pig iron per year making it the largest iron works in the world. As they built more iron furnaces, the Bairds improved the hot-blast systems used and stopped paying royalties to Neilson. This led to a legal dispute which Neilson won in 1843. During the trial, the Bairds revealed that in the ten years between 1833 and 1843 they had made £ 260 000 net profit from hot-blast iron.

The Bairds ability to make huge profits from Neilson’s hot-blast was in part due to the discovery that Lanarkshire’s blackband ironstone (iron ore mixed with coal) and raw splint coal could be used directly in their furnaces. More pig iron could then be produced from less coal and iron ore. But in addition to this cost saving, the Bairds and other ironmasters made sure that the labour costs involved in mining the coal and ironstone were also reduced. This was achieved by what can only be described as a class war directed against their employees.

The problem faced by the ironmasters was that, as Alan Campbell explained in ‘The Lanarkshire Miners’ (Edinburgh, 1979), between 1606 and 1799 Scottish coal miners had been legally bound to their place of employment. While this form of neo-feudal serfdom guaranteed mine-owners a dedicated workforce, it also deterred new entrants to the workforce. The bonded miners believed that their wages were linked to the price of coal, so when coal prices were high so were their wages. This encouraged them to limit the amount of coal they mined so its price remained high. Well into the nineteenth century, the early miners’ trade unions continued trying to keep their wages up by restricting how much coal they mined.

However, although the new hot-blast iron furnaces needed less coal, high coal prices risked losing the resulting cost-advantage. The furnaces also had to be kept going 24 hours a day, seven days a week, 52 weeks a year. The ironmasters needed a constant supply of cheap coal and as more hot-blast furnaces were built, they had to keep increasing the supply of coal and ironstone to the furnaces. To do so, the ironmasters opened their own coal and ironstone mines. At first these mines were close to the iron works but as production increased the ‘industrial frontier’ was pushed further out into the Lanarkshire and Ayrshire countryside.

To accommodate their workforce, the ironmasters built housing for them, as cheaply as possible. To feed their workers, they also opened company stores where the workers had to spend their wages. In theory the Truck Act passed in 1831 made this illegal, but as late as 1871 the House of Commons had to set up an inquiry into its effectiveness after a petition signed by 100 000 miners. In Lanarkshire it was found that there had been no criminal prosecutions under the Truck Act. This, it turned out, was because the ironmasters had effective control over the legal system in Lanarkshire.

Before Coatbridge became a centre for the new iron industry, the parishes of Old and New Monklands had been rural parishes with no need for a police force. By the 1840s this situation had changed but the Commissioners of Supply for Lanarkshire, who were mainly rural landowners, did not want to take on the expense of providing a police force. The Bairds of Gartsherrie and other local ironmasters then had the two parishes plus parts of Shotts and Bothwell made a into a special police district, paying for the new police force through the rates they paid on their extensive properties in the area.

By 1869, although there were 415 Commissioners of Supply owning property with an annual value of £100 in Lanarkshire, the smaller Finance Committee, dominated by the ironmasters and large landowners like the duke of Hamilton who was also a mine owner, controlled the purse strings of the Procurator Fiscal. Before proceeding with a potentially expensive legal case, the Procurator would have to have the approval of the Finance Committee. In 1871, the auditor of the accounts for Lanarkshire’s Committee of Supply said that he would not allow the expenses for a prosecution under the Truck Act because he believed the Commissioners ‘would not sanction it’.

James Baird’s account of a strike at Gartsherrie iron works.

In April 1837 the colliers were receiving five shillings a day, but as trade was looking rather unfavourable, they took it into their heads that they would be able to keep up their wages by working only three days in the week, and they continued to do this for some time. The other coal masters took no steps to resist it ; but we resolved that we would not, if we could help it, have our output limited in this way, and we accordingly gave every man notice to quit in fourteen days.
Thus we were left with eight furnaces, and not a single collier at Gartsherrie. We were not
obliged, however, to draw upon our reserve supplies. We had  now an " open cast " ready for work, and at Gartgill we had about twenty acres of the Pyotshaw coal hanging on the roof of the main coal, and it could be easily brought down. This we found could be accomplished by ordinary labourers, and we were soon able to procure a large output from the open cast and  from the Pyotshaw coal—a good many labourers who had been
working about the pits being now employed at the common coal faces. In the course of three weeks the output had been so much increased that we were able to carry on the whole of the furnaces. So stubborn, however, were the colliers, notwithstanding what they saw we were able to do, that they did not look near us for fifteen weeks.
This strike taught the poor men a lesson which they did not soon forget. It was as determined and prolonged a strike as any we have ever had at Gartsherrie. Many of the wives and children suffered greatly during the fifteen weeks of their foolish idleness. When they returned their condition was sadly changed. The best their furniture was gone. Most of the people who returned were in squalid wretchedness, and some of those who had left us had succumbed to their sufferings, and were in their graves. All the time I remained about Gartsherrie—down to 1851 or 1852—I never again saw the colliers up to the same mark of health and comfort as that in which they were before this strike.



Encyclopedia of Ecstasy 1 reviewed

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One inspiration for EOE 1

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I’ve hardly encountered a specimen from the postpunk years of the early 1980s that better exemplified how mixed up and stimulating all the categories were getting, than The Encyclopaedia of Ecstasy, Vol. 1, an utterly mind-boggling zine put out by Alistair Livingston in 1983. Livingston had/has associations with the anarchist collective/zine Kill Your Pet Puppy which ran from 1979 to 1984…. he references Crass and Bauhaus and Blood and Roses. While one wouldn’t necessarily expect that a “psychedelic goth punk fanzine,” as Livingston himself termed the project, would contain visions that might have emerged from Arthur Rimbaud‘s absinthe-drenched writings, the fact is that any movement led by Crass and Psychic TV was going to be awfully erudite and aestheticized, fueled by some pretty foreboding concerns over technology and culture. It’s so “political” that it fans out into almost pure (hyperverbal, psychedelic) sensation. In keeping with the absinthe feel, one page is titled “Vivé La Decadence, Paris 1893-London 199?”

The cover, complete with an all-seeing Masonic pyramid, reminds me a great deal ofGustav Klimt, which when you consider that it appears to have been executed purely with blocky magic markers, is awfully impressive. (The Klimt association is far from accidental—page 6 features a Xerox’d shout-out to Klimt’s “Jurisprudenz,” which was later destroyed by the Nazis.) At one juncture Livingston inquires, “why aren’t crass the psychedelic furs?” (Good question!) There are suggestive cut-and-paste headlines such as “whoops there goes another nuclear plant” or “man sees world saved by robots.” At the bottom of page 1 is an exuberant shout-out to the like-minded: “There is more… Like “Kill Your Pet Puppy” (a zine)…. The Anarchy Centres, the Black Sheep Co-op, punk lives (!), the people, the music, the squats, the whole beautiful chaoticness.”


When Darkness Dawns Encyclopaedia of ecstasy Vol 2

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‘When Darkness Dawns’ :The Encyclopaedia of Ecstasy Volume Two : November 1983

The last part of Volume Two was written on 11 November 1983,the same day that Operation Able Archer ended. During the ten days of Able Archer 83 the world came as close to nuclear annihilation as it had in the 1962 Cuban missile crisis.

The front and back cover were created by Paul Forder and the drawing on the last page by Val Drayton. The text was written by Alistair Livingston between 1979 and 1983. It is an extreme piece of writing.

Operation Able Archer 1983- from wikipedia 

Able Archer 83 was a ten-day North Atlantic Treaty Organisation (NATO) command post exercise starting on November 2, 1983, that spanned Western Europe, centered on the Supreme Headquarters Allied Powers Europe (SHAPE) Headquarters in Casteau, north of the city of Mons. Able Archer exercises simulated a period of conflict escalation, culminating in a simulated DEFCON 1 coordinated nuclear attack. The exercise also introduced a new, unique format of coded communication, radio silences, and the participation of heads of government.

The realistic nature of the 1983 exercise, coupled with deteriorating relations between the United States and the Soviet Union and the anticipated arrival of Pershing II nuclear missiles in Europe, led some members of the Soviet Politburo and military to believe that Able Archer 83 was a ruse of war, obscuring preparations for a genuine nuclear first strike. In other words, they were concerned that what was called by those staging it, a training exercise disguised as an attack, was instead an attack disguised as a training exercise. In response, the Soviets readied their nuclear forces and placed air units in East Germany and Poland on alert.

This is known as the 1983 war scare. The 1983 war scare is considered by many historians to be one of the closest times the world has come to nuclear war since the Cuban Missile Crisis of 1962. The only incident more severe was the Norwegian rocket incident of 1995. The threat of nuclear war ended with the conclusion of the exercise on November 11






















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