IT and Oz, the two underground magazines which did most to support the Deviants ( Farren wrote for both), were both publicly busted during the band’s lifespan, and that fear permeates this disc fear, and vicious defiance.” “ Ptooff! was conceived at a time when there genuinely was a generation gap, and hippies were a legitimate target for any right-wing bully boy with a policeman’s hat and a truncheon. Move on to ‘ Garbage ’, and though the Deviants ’ debt to both period Zappa and Fugs is unmistakable, still there’s a purity to the paranoia. “But the deranged psilocybic rewrite of ‘ Gloria ’ which opens the album, ‘ I’m Coming Home ’, still sets a frightening scene, a world in which Top 40 pop itself is horribly skewed, and the sound of the Deviants grinding out their misshapen R&B classics is the last sound you will hear. People have forgotten there was an underbelly as well, a seething mass of discontent and rancor which would eventually produce the likes of Hawkwind, the Pink Fairies, and the Edgar Broughton Band. Pepper, and ‘ My White Bicycle ’ which hog the headlines. The Allmusic entry on him by Chris True begins: “To say that Mick Farren was a ‘jack of all trades’ is putting it mildly.”Īllmusic states the musical and historical importance of Ptooff! well in their entry by Dave Thompson : “Talk today about Britain ’s psychedelic psyxties, and it’s the light whimsy of Syd Barrett ’s Pink Floyd, the gentle introspection of the Village Green Kinks, Sgt. Mick Farren was also a prolific writer on a host of subjects and published numerous science-fiction novels. One of Farren ’s long-time collaborators, Andy Colquhoun is a past UARA. Early on, Farren wrote lyrics for another of my long-time favorite bands, Hawkwind. He has released solo albums, and he has been in a number of amazing rock bands also: the Social Deviants, the Deviants, the Pink Fairies, and others.
įrom my first exposure to his remarkable body of work back in the late 1970’s, Mick Farren became one of my very favorite rock musicians. We’ve Got a Fuzzbox and We’re Gonna Use It includes mostly cool original songs but also a cover of the fuzz classic “ Spirit in the Sky ” the song was originally released by Norman Greenbaum in late 1969, reaching #1 on the British charts, and was a #1 hit in the UK by another British band Doctor and the Medics in 1986. Allmusic gripes that, if anything, they don’t use their fuzzbox enough but I was always satisfied. The flamboyant look of Fuzzbox and their savvy meld of new wave and punk a la the Go-Go’s with fuzztone made the British band indie rock darlings for a time.
Writing for Allmusic, Michael Sutton said that the band was “highlighted by Nicholls ’ powerhouse voice, which recalled Janis Joplin in its dirty intensity”. the name of the last song on the album, “ Girl on Girl Action ” gives it away if you hadn’t already figured it out.įetchin Bones formed in Charlotte, North Carolina in 1983 and released a total of six albums. Though neither their Allmusic write-up nor the Bomp! Records packaging mentions this. I believe I was in Indianapolis when I picked up a local tabloid newspaper and first read of a band called Sleater-Kinney – Allmusic says of them that they are the greatest punk rock band of the 1990’s and 2000’s – though I honestly don’t remember much about the article and interview except that they are an all-female rock band.īoyskout, this month’s Under-Appreciated Rock Band are pretty open about being a lesbian band – they used the term “rad queer band” in one interview. She publicly came out as a lesbian in 1993.
Janis Ian has continued to release albums Allmusic lists 21 studio albums. Smith says of this album: “If ever there was a perfect breakup album, this is it.”
#Broken social scene allmusic skin
Melissa Etheridge ’s 2001 album Skin was written after the breakup of her longtime relationship with filmmaker Julie Cypher that included two children fathered by David Crosby via artificial insemination writing for Allmusic, Kerry L. In all, Allmusic lists 50 people in the credits for The Changer and the Changed, with the vast majority being women.
#Broken social scene allmusic full
Allmusic gives the record its highest rating (five stars), and Stewart Mason has a rave review on the website: “The simple but rich arrangements set Williamson ’s glorious voice and piano against strings, flute, and Jacqueline Robbins ’ jazz -inflected fretless bass, giving the album a timeless sound and putting the focus entirely on the songs and Williamson ’s elegantly passionate performance of them.”īehind the scenes, Olivia Records started to put the full weight of its philosophy into place on this album: To the extent possible, their work was to be in women’s hands from start to finish. The Changer and the Changed ( 1975 ) was Olivia Records ’ second album release, and this album by Cris Williamson quickly became the biggest seller in women’s music, eventually selling 500,000 copies.
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