It is mostly composed of tracks credited to the Sex Pistols: There are the new recordings with vocals by Jones, Vicious, Cook, and Ronnie Biggs, as well as Edward Tudor-Pole, who recorded a scene for the Sex Pistols' film. McLaren himself takes the mic for a couple of numbers.
The most famous (and infamous) band of the late 70s punk scene. Their rebellious image combined with a commercial sound (partly thanks to producer Chris Thomas) created some of the most memorable moments of the 70s - both musical and otherwise. Line-up: Johnny Rotten (John Lydon, b. January 31, 1956 - vocals), Steve Jones (b. September 3, 1955 - guitar), Sid Vicious (John Ritchie aka John Beverley, b. May 10, 1957 - bass, kind of; replaced original bassist Glen Matlock) and Paul Cook (b. July 20, 1956 - drums).Inducted into Rock And Roll Hall of Fame in 2006 (Performer).
Let's get one thing straight: the Sex Pistols did not 'invent' Punk - in fact, they were modeled after New York rockers the Heartbreakers. Piddling technicality aside, not since Elvis had a single act caused such a ruckus. Though their career was extremely short-lived (lasting from November 1976 to January 1978), their impact on rock 'n' roll - and popular culture as a whole - is absolutely immeasurable. By now the story of their birth is legend.
Manager Malcolm McLaren owned a small boutique, original bassist Glenn Matlock (later replaced by Sid Vicious) was an employee. Guitarist Steve Jones, drummer Paul Cook and vocalist Johnny Rotten were regulars. Soon the simple coupling of Jones' aggressive guitar work and Rotten's total irreverence for authority had galvanized a growing legion of disgruntled, lower class youth and earned them an official ban across their home country. More than that (and at risk of aligning them with Situationism, Marcus-style), the Pistols were an assault on the norm by its outcasts, a powerful force that made kids around the world (and, paradoxically, the corporate music establishment) feel OK about rebellion. To not understand the importance of the Sex Pistols as both a definitive and universally understood statement that change was here is to deny history. The change had already come in the United States where it had been brewing for years but the Sex Pistols really reached further then anyone had before. One can waste time on the 'story' of the and or the mythology and come away with nothing but an entertaining romp.
The Pistols are one of the bands that caused thousands of kids to pick up instruments and play, that in its self is an undeniable realty. The fact that their music remains a fresh reminder of not just a moment but an overall feeling is testament. Hmm, Sex Pistols are a funny one for me.
I do like them a lot, and I think that Nevermind. Is a very good album with some excellent songs (adding to that John Lydon/Johnny Rotten has one of my favorite voices in rock music), but for me they'll always be second best to The Clash.
I fully appreciate their importance in music history/pop culture at large, and their legendary status but I can't help but feel that The Clash were light years ahead of them if you were to concentrate only on music. Maybe my opinions would be different if I had have lived through the times, but as I was born years after the whole punk scene the controversy the Sex Pistols generated means nothing to me, I can only base my opinions on their music they created. For me they cared more about shock value than the actual music, although that was probably the entire point to begin with.
![Download Download](/uploads/1/2/4/2/124213004/644594149.jpg)
For me the music should always be an artist's priority however. Not to mention Sex Pistols had Sid Vicious and I can't think of anyone more undeserving of being mythologized than he is. Don't get me wrong, they were a good band, but I can't say I view them as one of the all time greats.
ReleasedSeptember or October 1977Recorded13–30 July 1976, 10–12 October 1976, 17–28 January 1977Length40: 56Professional ratingsReview scoresSourceRating(3.8/10)Spunk is a demo album by the English band The. It was originally released in the United Kingdom during September or October 1977.The album comprises and talking recorded with during 1976 and early 1977, while original bass player was still a member of the band.
Most of the songs would later be re-recorded and officially released on the group's album,. Contents.The alternative debut album Several parties, including some journalists in the British music press, immediately suspected that the band's manager, was responsible for the original Spunk bootleg. This would have been in breach of the band's record contract with, which was readying the release of Never Mind the Bollocks when Spunk appeared. An October 1977 article by Chas de Whalley discussed Spunk and made reference to this conveniently coincidental timing. In the Sounds article, Chas de Whalley makes reference to buying a copy in a record store on the Portobello Road. It was in fact a tiny little record store (ACME Records) in the back of the now famous ACME Attractions.
The shop assistant who dealt with de Whalley, identified in his article simply as 'The Punk,' was Doug McArthur, bassist for Killerhertz and Kid Rogers and the Henchmen. McArthur maintained the bootleg was a better quality record and claims to have sold many copies through that little record store.The evidence for McLaren's involvement is speculative, although it can be noted that his company, Glitterbest, retained the rights to the demo recordings as well as the master tapes – and the demos appearing on Spunk were presented in excellent quality. Also, as evidenced by the original album's 'LYN-' prefix, the record had clearly been pressed in the UK by Lyntone, a legitimate independent pressing plant that would presumably not handle anything that appeared to be a bootleg, and would certainly allow the bootlegger in question to be traced if enquiries had ever been made by the genuine copyright owner.
McLaren always publicly denied responsibility for Spunk, but said that he preferred it to Never Mind the Bollocks.During a BBC Radio 1 interview with rock journalist shortly after the release of Never Mind The Bollocks, when asked about the bootleg, both Johnny Rotten and Sid Vicious claimed that they hadn't received a free copy, and criticized the bootleg. Rotten in particular criticized the idea of someone else making money out of one's efforts and that the material on it was 'substandard, and it should be kept unreleased'.
When asked about if he knew who did it, Rotten replied: 'Yes.I'm not going to say.' Some Sex Pistols fans concur with McLaren – and producer Goodman – that the raw versions of the songs on Spunk are superior to the officially released ones, particularly since Spunk approximates a faithful reproduction of the original Sex Pistols line-up's live sound. The album also features the bass-lines of Glen Matlock, which were not reproduced when guitarist took over bass duties for the recording of Never Mind the Bollocks.Spunk is therefore often cited as the Sex Pistols' de facto alternative debut album. Certainly a tape of part or all of Spunk had been played to as early as March 1977, and became the subject of his article, 'Blank Nuggets in the UK', which described the recordings as if they represented an imminent debut album release. Reissues The original Spunk was itself copied and bootlegged immediately upon release.