New York’s Tragedy is the world’s greatest all-metal tribute to the “Bee Gees and beyond.” They’ve been doing this for awhile, but man this oozing slab of Grease is particularly meta metallicious.
Band members Barry Glibb, Mo’Royce Peterson, Disco Mountain Man, Andy Gibbous Waning and The Lord Gibbeth are masters of their own Universe - a place where hair metal meets disco and dance floors are roiling in blood, polyester, Aqua Net and the ungodly essence of teen spirit!
Tragedy has released three critically acclaimed albums: We Rock Sweet Balls And Can Do No Wrong, Humbled By Our Greatness and their latest, Death to False Disco-Metal.
“You’re The One That I Want” is not a Bee Gees’ song. It was written by John Farrar for the movie version of Grease and performed by John Travolta and Olivia Newton-John. So this enters into the “beyond” part of Tragedy’s repertoire.
What’s next boys? Farrar/Newton’s other big hit? “Have You Ever Been Mellow?” Yes!
Death to false disco-metal. Count me in!
The video was shot at “Our Lady of Perpetual Decimation High School” in Manhattan - the original school of extremely hard knocks. And as the video begins, I think I detect the beach where I surfed the swells of Montauk before the gremmie hipster invasion fucked the scene up.
Serge Gainsbourg died on this date 24 years ago. Which is a good enough reason, not that one is required, to share this close to three-hour video compilation of Gainsbourg performing his songs between the years of 1973 and 1991.
The compilation includes songs sung with Jane Birkin, Charlotte Gainsbourg and Catherine Deneuve. Plus footage from the infamous night a thoroughly drunk Gainsbourg appeared with Whitney Houston on French TV talk show Champs-Elysées and said, in his best slurred English, that he wanted to “fook her.” This was the occasion on which the French public at large was first introduced to Whitney Houston. Gainsbourg made it particularly memorable.
There are segments in French. If you don’t speak the language be patient, they’re brief.
These delightful scans of the Playboy Club Bunny Manual of 1968 come from “Bunny Regina,” who worked at the Detroit Playboy Club from July 1968 (if her inscription is any indication) to sometime in 1969. Maybe Debbie Harry can dig hers out as well? After all, she was a Bunny at New York City’s Playboy Club from 1968 to 1973. (If you’d like more information about that weird institution of the Playboy Club that was so culturally iconic in the 1960s and 1970s, check out The Bunny Years: The Inside Story of the Playboy Clubs and the Women Who Worked as Bunnies by Kathryn Leigh Scott.)
“The Bunny has become what the Ziegfeld girl was to another generation,” burbles the introduction with evident pride. Here are some of the rules and so forth Bunnies had to master:
No fraternization, either with “other employees of the Club” or with “Keyholders.” ... “She is also not permitted to give her last name, home address or phone number.” No chewing gum or eating while on duty, no alcohol consumption while “in the Club.” No drinking of “soft drinks, lemonade or even water” while one is “in view of keyholders and guests.” (Backstage is OK.) Bunnies get one free meal per day worked.
There’s a whole merit/demerit system that smacks a lot of the military, or at least a military school. You earn merits by working on your day off when the club needs a replacement, working a private party, or transferring to another club when management needs it. (These merits do turn into hard cash, by the way.) There are lots of actions that bring one demerits, including tardiness, failure to attend a “Bunny Meeting,” poor service, untidy lockers, and so forth. The most eye-popping reason for a demerit is “repeated costume offenses,” which include improper positioning of bunny ears (yes, this is totally in there) and “unkept tail,” which while suggestive in that spelling almost certainly was supposed to say “unkempt.”
Then there’s smoking. The rule about smoking is so important that it is set in ALLCAPS: “IN ALL CASES WHEN A BUNNY IS SMOKING WHILE ON DUTY, SHE IS TO ‘TAKE A PUFF’ AND SET THE CIGARETTE IN AN ASHTRAY. BUNNIES ARE NOT TO STAND OR SIT HOLDING A CIGARETTE.”
If you’re a Bunny, all sorts of things are tax-deductible, so keep your receipts! Legitimate tax deductions include “bunny hose,” wigs, cuff links, and cosmetics.
The news release heralding Superior Viaduct’s reissue of the Residents’ deeply messed-up “(I Can’t Get No) Satisfaction” b/w “Loser = Weed” single contains a quotation that rang oddly familiar to me:
The Residents’ 1976 version of The Stones’ Satisfaction is nearly everything the better known version by Devo from a year later is not: Loose, belligerant, violent, truly fucked up. A real stick in the eye of everything conventionally tasteful in 1976 America. Delightfully painful to listen to thanks to Philip “Snakefinger” Lithman’s completely unhinged lead guitar and mystery Resident member’s menacing vocal, this is a timeless piece of yellow plastic.
That blurb is from Brad Laner, a member of not one but two of myfavorite bands and a former Dangerous Minds contributor, and in fact, it was a DM post about five years ago—a post I happen to agree with. The Residents’ “Satisfaction” IS pretty admirably unhinged, genuinely frightening, and a righteous fuck-you to a rock canon classic that, in some circles, remains beyond sacrosanct. Contemporary with their second album, the unfuckwithable Third Reich ‘n’ Roll, which, like the single, is an unsparing deconstruction of classic radio hits, many of which were still fairly new songs at the time. “Satisfaction” isn’t on the album—the Rolling Stones are represented there by a half-reverent, half-funereal take on “Sympathy for the Devil” in the album’s coda. While it did appear on the 1988 CD reissue as an extra, along with “Loser=Weed” and a couple of Beatles travesties, the wax itself is a rare collectible, fetching in the neighborhood of $35. Superior Viaduct’s colored vinyl repress, at $9, still feels a tad spendy for a 7”, but that’s way more manageable than procuring an original. It can also be had as part of a five-record bundle with reissues by Flipper, X, the Dils and the Germs, at $40 for the whole set. (I totally want the Flipper one, too, but that’s another post.)
The Residents, “(I Can’t Get No) Satisfaction)”
Of course, DEVO’s version of the song is the one that most aggressively vies with the Rolling Stones’ original for definitive status, and how could it not? Obviously, the original is indisputably classic in every sense of the word, and after five decades, it’s still one of the most widely covered ‘60s songs this side of “Stepping Stone.” But who can really believe that song from Mick Jagger? By the song’s mid-1965 single release, he was already a gazillionaire rockstar heartthrob who probably had illegitimate children in all 48 contiguous US states, so did anyone seriously believe there was anything unsatisfying about that man’s life? For all its musical timelessness—good LORD, that riff!—the Stones’ version edges out Britney Spears’ cover for plausibility (neither singer was particularly “on a losing streak” at the time their version was released), but that’s about it. None of that does all that much to dull its effectiveness as an anthem, but I buy a song about sexual frustration and contempt for commercialism much more readily in the anxiety-ridden version by the brainy midwestern dorks in DEVO. Unlike the Residents, DEVO aren’t shooting for a takedown or a deconstruction; their version feels more like a successful effort to finally put the song in a proper context. Alan Myers’ freakishly asymmetric drum beat and Gerald Casale’s rubber-band bass line are every bit as capable of inducing existential dread in a socially insecure geek as Keith Richards’ ingenious three-note intro riff is of inducing “fuck yeahs” in a classicist, and doesn’t that speak more closely to the intent of the lyrics—not a single word of which DEVO changed?
Three aspiring musicians: Richard Hell, Tom Verlaine and Richard Lloyd were looking for a place “where nothing was happening” for their band Television to play. If nothing was happening then the bar owner had nothing to lose. One day, down in the Bowery, Verlaine and Lloyd spotted a place initialed CBGB-OMFUG. They sidled across, went inside and talked to the owner a former singer and musician Hilly Krystal. As Lloyd recalled in Legs McNeil and Gillian McCain’s essential oral history of punk Please Kill Me, Hilly wanted to know what kinda music they played. They answered with a question:
‘Well, what does ‘CBGB-OMFUG’ stand for?’
He said, ‘Country, Bluegrass, Blues and Other Music for Uplifting Gourmandizers.’
So we said, ‘Oh yeah, we play a little of that, a little rock, a little country, a little blues, a little bluegrass…’
And Hilly said, ‘Oh, okay, maybe…’
In fact, the only real stipulation for appearing at CBGB’s was to play new music, and although Suicide and Wayne County had already appeared at CBGB’s (after the demise of the Mercer Arts Center), it was not until Television, Patti Smith, The Ramones, Blondie, Talking Heads and The Dead Boys started taking up residency that CBGB’s changed from something where nothing happened to somewhere it all happened.
If you were disappointed by the shitty CBGB’s movie made a couple of years back starring Alan Rickman, then you will get a better sense of the energy, talent and musical revolution that took place at CBGB’s in the mid-1970s with this hour-long TV documentary Blitzkrieg Bop . Focussing on The Ramones, Blondie and the The Dead Boys, Blitzkrieg Bop mixes live performance with short interview clips and a racy newscast voiceover. It’s recommended viewing.
Richard Stanley’s one of the most fascinating human beings I’ve ever met. He’s a divinely demented film maker, necromancer, and pop culture provocateur with a rock & roll heart that beats time to a cosmic rhythm machine redeemed from some post-apocalyptic pawn shop located at the outer edges of absolute reality. He’s got the widescreen stare of a gunslinger in a spaghetti western and more than a few metaphorical bullet holes in his serape. Stanley’s been through some tribulation, the kind that can pulverize a man’s soul into a million little shards of crystallized dogshit. In the mid-90s, while still only in his twenties, this precocious and audacious filmmaker was given the opportunity to make a movie based on his visionary adaption of H. G. Well’s The Island of Dr. Moreau. What followed was a classic example of a young director’s rebel spirit bumping up against old school Hollywood politics and power games. Stanley was not only fucked over by the heads of New Line Cinema, he was also mentally brutalized by the epically malevolent ego of Val Kilmer who he had cast, along with Marlon Brando, in a leading role. Only days after the start of filming, Stanley was fired and banished from the set of his ambitious and potentially ground-breaking movie.
The whole sordid saga of Richard Stanley’s cinematic trial by fire has been documented in the riveting Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau. Directed by David Gregory and released by Severin Films, Lost Soul shares much of the same dark humor, heartbreak and intrigue of Alejandro Jodorowsky’s ill-fated Dune project, as seen in that recent documentary. Stanley, like Jodorowsky, saw his concept appropriated by Hollywood and twisted into something that was to his original vision what rape is to love.
Lost Soul is as entertaining as it is sad and infuriating. Watching studio heads blathering idiotically about a film they didn’t understand and hearing the crew and cast’s disgusted take on Kilmer’s ego-driven subversion of Stanley’s efforts to make the movie his way is a far more dramatic and engaging experience than the Hollywood bomb that was ultimately released.
Eventually, Stanley’s project was handed over to the long past-his-prime director, John Frankenheimer, a hired gun with a dictatorial attitude and almost zero interest in Stanley’s vision for the film. With nothing at stake, Frankenheimer essentially took the money and ran. The film he delivered to the studio was cinematic road kill, dead on arrival. The Island of Dr. Moreau debuted in 1996 to critical jeers and promptly crashed and burned at the box office. I actually went to see it the day it opened in New York City, mostly because of the presence of Brando and David Thewlis in the film. Overall, I hated the movie but loved Brando’s over-the-top, don’t-give-a-fuck performance. You could tell he was intent on enjoying himself despite appearing in what he clearly thought was a steaming pile of shit. I think Brando was also slyly editorializing about the way Stanley’s ideas had been altered and corrupted. He liked Stanley and in my opinion was demonstrating solidarity with the young director who had been exiled from his own film. As far as Kilmer goes, that motherfucker had blown his cred ever since appearing as Jim Morrison in Oliver Stone’s hate letter to rock and roll The Doors. Frankenheimer made no attempt to reel in Kilmer’s narcissism and the end result ain’t pretty. Kilmer spends most of his screen time doing a silly imitation of Brando which is both unfunny and insulting. I’m sure Brando didn’t even notice.
I met with Richard Stanley after a screening of Lost Soul during last year’s Fantastic Fest in Austin. A commanding figure with a delicate grace about him, Stanley was easy to talk to and extremely open about the passion and pain involved in creating a work of art that, had it been realized true to his vision, could have been a glorious thing.
Photo of Richard Stanley by Mirgun Akyavas.
I’m not easily impressed by most human beings these days. Few walk it like they talk it and fewer still are genuinely fearless in pursuit of their dreams, willing to take risks that could end disastrously or triumphantly or a little of both. Richard Stanley is truly an artist/warrior and he’s in the midst of a remarkable and well-deserved return to the public eye. Last week, he was the subject of an Entertainment Weekly cover story (good for you EW). The wheel of karma is spinning back in Stanley’s direction and it’s good.
In the few short hours that I spent talking with and videotaping Richard I felt like I was with a dear old friend. Before he left Austin, we met on the patio of the Alamo Drafthouse where I gave him a copy of Geoff Dyer’s book on Tarkovsky, Zona: A Book About a Film About a Journey to a Room and a small bag of medicinal herb from Northern California. These were not rare or expensive gifts, they were very modest. But Richard responded as though I’d given him precious feathers of an ancient mythological bird. His reaction was so heartfelt, so sweet and unfettered, that I was somewhat taken aback as he tilted his head down and gave me a huge kiss on the cheek. This was a kiss I would have expected from my born again mother after telling her I had gotten engaged to Jesus. Richard clearly liked my gifts. “Shall we smoke it” he asked, referring to the packet of herb in his hand, all the while grinning hugely. In that moment, I saw the face of a man whose spirit is impossible to contain, who will live to his fullest no matter what gets in his way. And that’s the ultimate “fuck you” to the assholes who tried to take him down. I love it when the truly hep cat gets the last laugh.
I started the camera rolling and let Richard do his thing. His life story is quite marvelous and he’s practically breathless in the telling of it. Among many things, he touches upon his early videos for Fields of the Nephilim, Public Image Limited, his feature-length cult classics Hardware and Dust Devil, Lemmy and Iggy, fighting with rebels in Afghanistan, his abiding love for Fairuza Balk and his home in southern France where he has a magical relationship to the mysterious Château de Montségur.
During my stretch as a student at the University of South Carolina (Go Cocks!), I attended classes with six individuals who would, for better or worse, go on to have a profound influence on the way we as a culture experience music.
Four of those dudes formed Hootie and the Blowfish:
The other two were the think tank behind Advanced Genius Theory.
The theory, developed by Jason Hartley and Britt Bergman, maintains that seemingly bad and confusing artists are actually still producing excellent works today, despite critic and fan belief. The hypothesis is based around a few key musicians (only individuals), namely Bob Dylan, Sting, David Bowie and (most-critically) Lou Reed. At one time, these musicians wore sunglasses, leather jackets and mullets when it was un-ironic to do so. Musical artists must at least have a self-portrait on one of their album covers, displaying their sunglasses or hairstyle (e.g. Street Hassle, Infidels, Aladdin Sane). The basic tenets are:
You must have done great work for more than 15 years.
You must have alienated your original fans.
You must be completely unironic.
You must be unpredictable.
You must “lose it.” Spectacularly.
Advanced Genius Theory essentially boils down to the notion that truly cutting edge work by great artists is typically misunderstood at the origin of creation, and that when those artists eventually attain public acceptance and later produce seemingly terrible material it is not so much that the new material is in actuality bad - but that the artist has advanced to the next level and it’s the audience who has yet to catch up.
Britt was more than a contributor to the Advanced Genius Theory, he was the reason it exists. He and I had known each other as children through a basketball league, but we went to different schools. In tenth grade, we reconnected in French class because he listened to Bauhaus and I listened to Black Flag. One day I went over to his house to listen to music, and he played The Velvet Underground & Nico. I knew Lou Reed a bit, but I didn’t know anything about VU because I had grown up on classic rock. After that day with Britt, The Doors just didn’t seem so mysterious anymore, though I still liked them and didn’t see why I shouldn’t just because another band was better. So while he exposed me to music most people had never heard, I made it a little easier for him to admit that he liked classic rock (including The Doors). Our high school years were a mix of Sisters of Mercy and Foghat, Captain Beefheart and Steely Dan, the Circle Jerks and Lynyrd Skynyrd. We were cool with all of it.
But one thing we could not understand: how did Lou Reed get so terrible in the 1980s? In particular, where did the slick, drum-machine powered, antiseptic Mistrial come from? One day in college at a Pizza Hut, we figured it out. If Lou Reed was ahead of his time when he was in the Velvet Underground, he must be still ahead of his time now and we were just like all the people who didn’t understand VU. Everything clicked into place. He didn’t suddenly start sucking, he was just beyond our comprehension. One of us said, “it seems like he has lost it, but really he has advanced.” We started listening to his solo stuff, including Mistrial, and loving it. Jokingly at first, but then completely sincerely. This opened up a whole world of music we had rejected before without truly listening to it. Who were we not to give Bob Dylan the benefit of the doubt? If David Bowie wants to do a duet with Mick Jagger, isn’t it possible that he knows a bit more about what is good than we do?
Over the years we developed what became the Advanced Theory, and so when I started freelancing at Spin Magazine, I brought it up one night. Everyone dismissed it, but then over the next few days, someone would come up to me and say, “is Prince Advanced? What about Elvis Costello?” I would patiently explain to them why or why not, but they were usually unsatisfied with the explanation because they didn’t understand the rules. At the time Chuck Klosterman was a contributor to Spin, and someone told him about the Advanced Theory (I wasn’t working there anymore). A bit later, he was talking to his editor at Esquire about possible column ideas, when Sting came on. I believe Chuck said, “oh, he’s Advanced,” then explained what that was. The editor thought it would make a great column, so Chuck called me up to ask if it was okay, then interviewed me. His article mentioned Val Kilmer as the most Advanced actor, which earned Chuck an invitation to visit Val in New Mexico. I’m told David Lee Roth wanted to know if he was Advanced. Eventually I wrote The Advanced Genius Theory, which expanded the theory to include actors, scientists, writers, and anyone else who was great for a while, then (seemingly) embarrassingly bad. All of this is thanks to Britt Bergman, who as I wrote in the book’s dedication, invented Lou Reed for me.
Read more about Advanced Genius Theoryhere. And in the meantime enjoy some “Advanced” Lou Reed in memory of Britt Bergman…
From 1957 to 2001, Mad magazine ran no outside ads—a highly noteworthy feat. Ideally, advertising income should finance 100% of a magazine’s operating costs, materials, payroll, profit, everything, leaving actual newsstand and subscription revenues as mere icing on the cake (that’s how alt weeklies can pull off free-of-charge distribution—well, that and criminally underpaying their art directors BUT I’M NOT BITTER). Mad‘s model was such a drastic inversion of the usual magazine industry business template that, off the top of my head, I can think of few other long-running rags to pull that off—Cooks Illustrated and Consumer Reports, both of which, if I recall correctly, survive on at least some institutional support, and the horrifying Reader’s Digest, which finally began taking ads in the ‘70s, probably realizing via the success of the era’s televangelists what a goldmine of suckers their elderly right-wing audience could be.
Mad‘s late founding publisher and giant among beautiful freaks William Gaines refused ads for so long because he felt it would compromise the publication’s satirical bent. In this amusing TV segment, Gaines spelled out his rejection of advertising bluntly and succinctly:
We don’t believe in merchandising. We make FUN of people who suck every last dime out of a product, and so we won’t do it.
It made sense—if for example Marlboro was paying the bills, writers might feel abashed to target Marlboro, and as it happens, Madabsolutely savaged the cigarette industry, even going so far, as you’ll see below, as to compare its death toll to Hitler’s. But so if all the revenue came from the readers alone, it was the readers alone who’d be served by the publication, and the writers and artists could freely satirize any entity they wanted to. And so they did—their advertising parodies are legendary, and a Flickr user by the handle of Jasperdo has amassed an excellent collection of them. Most of them are from the late ‘50s to mid-‘60s, coinciding with the advertising industry’s so-called “creative revolution,” so naturally they all appropriate the distinctive feel of that era.
Before Steve Strange became known as a club host at Blitz and a New Romantic pop star with Visage, he was in a punk band with Chrissie Hynde called The Moors Murderers. It’s fair to say, there was a tacit understanding with some elements of punk that to cause offense was an acceptable way to achieve notoriety. Having a band called The Moors Murderers was certain to bring considerable opprobrium and cause offense to the Great British public as the band’s name referred to the notorious serial killers Ian Brady and Myra Hindley who had raped and murdered five children in Manchester, England, between 1963 and 1965, burying their bodies on Saddleworth Moor. To this day the body of one victim Keith Bennett has never been recovered.
Brady and Hindley were a dark stain on the colorful psychedelia of the swinging sixties. Their evil deeds had a troubling influence on many writers and artists, perhaps most notably Morrissey who used the brutal killings as material for songs and may have even named his band after the Brady/Hindley associates and in-laws David and Maureen Smith—or as they were called by the press at the time, “the Smiths.”
Steve Strange’s involvement with punk came when he saw the Sex Pistols perform at the Castle Cinema in Caerphilly, Wales, in December 1976. The gig changed the teenager’s life and he became friends with the band’s bass player Glen Matlock. Strange was then known by his real name Steven John Harrington, and inspired by the Pistols he started booking punk bands to play gigs at his home town. He then moved to London and became part of the revenue of punks that orbited around Vivienne Westwood and Malcolm McLaren’s shop SEX on the King’s Road. Here he met the iconic Soo Catwoman, who first suggested forming a punk band called The Moors Murderers. As Soo later recalled:
“The Moors Murderers thing was a big joke to be honest. I was joking about getting a band together called the Moors Murderers and doing sleazy love songs, I had no idea he [Steve Strange] would actually go out and do it. …”
Strange certainly ran with the idea and approached Chrissie Hynde telling her about the band and singing her the song “Free Hindley.”
They say it started in 64
Myra Hindley was nothing more
Than a woman who fell for a man
Why shouldn’t she be free
Brady was her lover
Who told her what to do
Psychopathic killer-nothing new
Free Hindley Free
What she did was for love
The torture scenes the boys and girls
Hindley knew but couldn’t say
She was trapped by her love
What mother in her right mind
Would allow a girl at the age of nine
Be out on her own
Don’t blame Hindley
Brady was her lover
Who told her what to do
Psychopathic killer-nothing new
Why shouldn’t she be free?
Free Hindley Free
Strange claimed to be part of a band called the Moors Murderers in order to do a photo shoot for German magazine Bravo. Catwoman says she was also present but left the shoot. Steve Strange may have played a gig with The Photons under the Moors Murderers monicker supporting The Slits at an NSPCC benefit concert at Ari Up’s school in Holland Park circa Christmas 1977.
At The Slits gig was musician and producer Dave Goodman, who had worked with the Pistols and Eater:
There was a support band who I assumed were friends of the Slits. They had this singer dressed in black leather calling himself ‘Steve Strange’. I also remember at least one female musician, who turned out to be Chrissie Hynde. They had a certain ‘first gig’ quality about them, their sound being somewhat chaotic and the lyrics virtually unintelligible.
I couldn’t believe it when they announced themselves as ‘The Moors Murderers’. It really was controversial. I had lived through that gruesome event and the darkness it brought to my childhood still felt gloomy. To protect me, my mum would remove any ‘Moors Murderers’ tabloid sensationalism from the papers, after first reading it herself.
After the show Steve Strange came up to me at the mixing desk and confirmed the band’s name. I’d heard right - it was as I thought. We got talking. It turned out that they had this song called ‘Free Hindley’. They had just performed it, but I hadn’t noticed. He had my interest - what was his motive behind it? Steve explained. He felt that it was hypocritical of the government to automatically consider other child murderers for parole after a certain length of time, while ignoring Hindley. Being a high profile case, I believe he felt they were just pandering to public demand. We also discussed change and to what level people can achieve it.
Strange told Goodman that he wanted to record a single “Free Hindley,” but Goodman suggested “two main things to Steve”:
1. To show he is not condoning murderers he should create a balance. Why not record the Ten Commandments to music for the B-side? You know, get out of it in the studio and really get into it man! He liked the idea.
2. Talk to Lord Longford, he’s been visiting Hindley in prison and is campaigning for her release. He liked that idea as well.
Strange arranged a hasty press shoot where the members of The Moors Murderers kept their anonymity by covering their heads with pillow cases. According to Goodman three of the group in the photo are “Strange, Chrissie Hynde and Nick Holmes (Eater’s roadie who is believed to have played guitar on ‘Free Hindley’).” The fourth maybe Mal Hart, who played bass on the track.
Understandably, a band associating itself with the country’s most reviled child killers soon saw them damned by the press. On January 8th, 1978, the Sunday Mirror published an article on The Moors Murderers asking “Why Must They Be So Cruel?”
As Strange was mainly unknown, The Moors Murderers was labeled as Chrissie Hynde’s band, much to her chagrin, as she became the focus of the media’s ire.
In mid-January Sounds music paper ran an article on The Moors Murderers—now apparently three members, again with their heads covered though this time with black bin bags. The band played the Sounds journalist four of their tracks “Free Hindley,” “Caviar and Chips,” “Mary Bell” (about the child murderess) and “The Streets of the East End.”
According to Andrew Gallix, following the Sounds “showcase”
...the band played the Roxy on 13 January 1978, supporting Open Sore. Steve Strange was on vocals (calling himself Steve Brady) and Hynde was on guitar. Bob Kylie (Open Sore): “They were terrible! Absolutely dreadful!” On 28 January 1978, Strange told Sounds that he had left the band.
Whether “Free Hindley” was ever released as a single is debatable, but it was available on cassette as David Goodman recalls:
I remember hearing an acetate of the two recordings ‘Free Hindley’ and ‘The Ten Commandments’, possibly played to me by Nick Holmes the drummer. Not long after that, I saw an ad in the back of Melody Maker or NME for the sale of some ‘Moors Murderers’ acetates and cassettes @ £10 each I believe. I seem to remember Malcolm McLaren bringing that ad to my attention. Anyway, I didn’t buy one, I’d heard it once and that was enough.
Years later, when entering a record store in San Francisco, I saw a sign offering thousands of dollars for one. That was the only time I wished I’d grabbed one when I had the chance.
Chrissie Hynde went on to form the Pretenders in 1978, while Steve Strange eventually achieved success with electronic band Visage.
Below Chrissie Hynde talks about her involvement with The Moors Murderers.
London 1977: By day Phil Munnoch was a mild-mannered copywriter working for an ad agency in the heart of the city. He was neat, he was clean, he looked smart in his collar and tie, sharp pressed trousers and bright, shiny shoes. But Phil had a secret that he kept from his colleagues. At the end of each working day, like some postmodern superhero Phil would change out of his work clothes into tight fitting bondage trousers, studded dog collar and badge-covered plastic jacket to become his punk alter ego Captain Zip.
Captain Zip hung out with the other punks who idly wandered up and down the King’s Road every evening. He enjoyed the freedom, the camaraderie, the sense of adventure and the sound of punk music blaring out of shop radios. Zip was older than these young punk rock fans and was wise enough to know he was a part of something very, very important.
Being part of the gang allowed Munnoch access to film his friends and acquaintances and between 1978 and 1981, in the guise of Captain Zip, Munnoch documented the street life of punks on the King’s Road. In the 1980s, Munnoch collected the first eight of these Super-8 home movies together to make the short documentary film Death Is Their Destiny that captured the subculture of punks in London.
Background on Phil Munnoch and Captain Zip plus interviews, after the jump…