Friday, 2 October 2026

The Girl Of Our Dreams

One of the wheels set in motion by The Sex Pistols and the birth of punk in the UK in 1976 was the appearance of regional scenes where creative people suddenly saw a route to making music in a different way and didn't feel the need to go to London to do it. Don't ask for permission, don't wait for someone to offer you a contract, just get up and do it. In Manchester, Liverpool, Sheffield, Leeds, Glasgow, Edinburgh and Bristol bands began to act. Another of the wheels was the realisation by some that you didn't need to sound like The Sex Pistols, you could funnel all sorts of other influences into your DIY sound. 

This was as true in Bristol as anywhere else. The Pop Group gave themselves the most generic name they could think of (only A Pop Group could have been a little more generic), a name dripping in irony. They took their influences- punk but also jazz and free, dub, funk- and fused them with radical politics to come up with some of the most uncompromising, intense and intuitive post- punk records. 

She Is Beyond Good And Evil was their debut single, released in March 1979. Mark Stewart was a didactic and intense frontman and lyricist. The song is about love as an unconditional force, a force where according to Mark, 'idealism and energy mix poetic, existential, and political yearnings with the romantic idea of passing through nihilism and emerging on the other side with something positive, something beyond'. 

She Is Beyond Good And Evil

The Pop Group were not making pop music, certainly not the chart bothering stuff. The guitars are vicious and trebly, similar to the scratchy sound ACR were brewing up in Manchester. The bass is from dub. The drums too. There is dub space and FX and Mark delivering with lines like, 'Western values mean nothing to her', and, 'She is the one thing you can't buy/ With zero reasons for living'. 

On We Are All Prostitutes, their second single, also released in 1979, the band sound angry, disturbed, raging, alienated and violent, the band hewing around, the sound veering from left to right, never settling for a moment with a skronking sax solo interrupting the middle of the song. 

We Are All Prostitutes

The B-side was titled Amnesty International Report On British Army Torture Of Irish Prisoners. 

The Pop Group released two albums, Y and For How Much Longer Do We Tolerate Mass Murder? and then split in 1981. The members went on to influence pop music further in all sorts of ways- between them they were instrumental in Rip Rig And Panic (and beyond that in Neneh Cherry's solo career), Pigbag, Maximum Joy, The Slits and with Adrian Sherwood and On U Sound. They reformed in 2010 at the instigation of Matt Groening, creator of The Simpsons. Mark died in 2023 bringing the reunion to an end. Guitarist John Waddington died in the same year. 

Thursday, 1 October 2026

Live In October

October already. I was going to welcome in the tenth month of the year with a post of songs with October in the title but on checking lat year's 1st October post I did that a year ago- Chris and Cosey's October Love Song, Pet Shop Boys' October Symphony, The Gentle Waves' October Sky and Maria Somerville's October Moon. It doesn't seem like a year since I wrote that post but tempus does bloody fugit these days. 

Instead here are some songs by a pair of Manchester bands recorded live in Octobers past, both at Polytechnics in Yorkshire, a decade apart.

First in October 1990 (the 25th to be precise, my wife's birthday although we hadn't met at that point) and The High caught live at Sheffield Polytechnic, part of a tour to promote their debut album Somewhere Soon. Four days earlier they played Liverpool Poly, a gig I was at. The song below shows what a good live band The High were, Andy Couzens guitar playing sparkling and John Matthews soft voice sounding really good, the rhythm section (Chris Goodwin on drums and Simon Davies on bass) punchy and dynamic especially during the end section of the album's title track where they take off.  

Somewhere Soon (Live at Sheffield Polytechnic 25th October 1990)

Ten years and two weeks earlier The Durutti Column played at Leeds Polytechnic, Vini introducing the calling card from his debut album, The Return Of The Durutti Column, the always majestic sounding Sketch For Summer...

Sketch For Summer (Live at Leeds Polytechnic 7th October 1980)

Also from the first Durutti Column album is this live version of Requiem For A Father, Vini's fingers running up and down the fretboard in tribute to his dad who died when Vini was just 16, a man he admitted later he did not nearly well enough. This song seems to suggest a lot went unsaid. 

Requiem For A Father (Live At Leeds Polytechnic 7th October 1980)