Buzzcocks Are Everything

I guess they were working with Martin Hannett at the very beginning and the very end.

That's right.

This is an awesome tune, part of their last 3 singles before they split - would've loved to have heard an entire album in this direction. I wonder if most Buzzcocks fans know the last 3 singles - I have them on the "Product" box.

I bought them when they came out and loved them. Would have liked to hear more, but it kind of felt like the end at the time.

Their last few included "Running Free" and "What Do You Know", right? Those are two of my favorite Buzzcocks

"What Do You Know" sounded like an easy radio hit, but I guess the radio weren't playing them by then...

I like these tracks but they are not close to their usual quality. One problem is the production which sounds cavernous and metallic with Pete sometimes sounding like he's straining to be heard. Also I'm not a big fan of Steve Diggle as a vocalist and he sings what, two of these six tracks? His performance on Airwaves Dream sounds like a demo. "What Do You Know" is probably the best one but even there it's too long and relentless from beginning to end with all that brass etc. Not their best stuff really.

I just realized that this was before Rushent learned that "silence is the most important element in music".

....which I now realize is irrelevant since he didn't produce these trax, did he?

Martin produced Running Free b/w What Do You Know.

rushent did homosapiens right? that record rules

Think on this thread you should refer to Martin R and Martin H

they were taking a lot of acid when they made the last singles, no? i read that somewhere.

Yeah, what is the story behind these tracks? I can't really find much online about the circumstances of what happened here. Apparently their label wanted to release the single comp and wouldn't fund another album till it came out. But somewhere else I read that there was drug issues like Scott says. I think that was in the sleevenotes for that ROIR cassette. BTW that's a cracker of a live album with a great version of "What Do You Know" on it.

Do you mean the "Lest We Forget" live album?

That's probably what he means. Forgot about that album, but that one, Precise Modern Lovers Order and Television's The Blow-Up were all great.

Martin produced Running Free b/w What Do You Know.

― Gerald McBoing-Boing, Wednesday, June 15, 2011 3:30 PM (3 hours ago) Bookmark Suggest Ban Permalink

now i'm imagining martin hannett producing dianno era iron maiden

man I totally forgot abt that ROIR cassette, a friend of mine used to have that.

I saw them once in like 1991? I-Beam in San Francisco. they were really really good!

Yes, "Lest We Forget" is the one. It's very good. There was a lot of great releases on that label. The Modern Lovers (didn't remember that was on ROIR actually - seems like it came out a lot later than the others) and Television for sure, but also the Dickies live one and Flipper's Blow'n Chunks. It seems like all those cassettes followed the same pattern where they started a bit ho-hum then you get into them and they build and build until it dawns on you that you areistening to an amazing album.

I think you are right, Precise Modern Lovers Order was on Rounder, not ROIR. Sorry for the confusion.

Yeah, what is the story behind these tracks? I can't really find much online about the circumstances of what happened here. Apparently their label wanted to release the single comp and wouldn't fund another album till it came out. But somewhere else I read that there was drug issues like Scott says.

They wanted to try something different by recording a series of ambitious singles instead of another album. Personal relationships were rough. Lots of drugs were being used - especially acid. Shelley was near a breakdown. The singles didn't do very well. Sessions progressed for what would have been at least one more single (one of the sides of what would have been the fourth single was eventually released on the NME's "C81" cassette, produced with Rough Trade. The song was "I Look Alone," and it's been anthologized multiple times since then.)

Shelley and Diggle worked on demos and tracks for the next album / singles separately. Shelley's demos ending up sounding complete to him and were worked into what became his debut solo album. A few of the Diggle songs recorded with Garvey and Maher for the Buzzcocks' 4th album leaked out later, under the Flag Of Convenience name. These were "Back Of The Mind" and "Drift Away." After the Buzzcocks split, everyone but Shelley continued as Flag Of Convenience for a stellar three-track EP, which did pretty well and was even released in America. A 4-song FOC EP followed (with Diggle and Maher, but without Garvey) and it too was released in America, but an album supposedly in the works was never issued (and maybe never recorded.)

Shelley blames a lot of the odd production on the "Parts" singles on heavy drug usage, specifically referencing LSD use during the mixing stage of "Strange Thing." Diggle's stuff sounds less messy than Shelley's because, I reckon, he was much more sober!

Whereas "I look alone" was fine, productionwise, and may well have put them backin the charts, I reckon.

Yeah, Mark, I've wondered about that. A pretty solid and catchy tune, nicely produced. Ironically, though, it was supposedly not *exactly* finished! Perhaps to its benefit. As Shelley seemed fine during the promotion of the "Homosapien" album, I chalk these final Buzzcocks tunes and their odd production up to a combination of stress and the sort of fumbling period an artist can have after breaking with a long-standing producer (Martin Rushent) in favor of someone different. Bear in mind that Rushent sang back-ups and even co-wrote a couple of tunes with Shelley (as Alan Dial) - he was pretty integral to the Buzzcocks' sound prior to this, and I like to think the "Parts" stuff with Hannett as a sort of transition to something that simply never occurred. I still like all 7 seven songs from this period just fine.

I wonder if most Buzzcocks fans know the last 3 singles

They are on remastered versions of Singles Going Steady these days. They were bonus tracks on A Different Kind Of Tension (which was OOP in the UK for years, dunno if it still is) as well.

I saw a 'deluxe' edition in Fopp the other day (full-price), it still has those.

i know it's not considered one of their best but "are everything" has been my favorite buzzcox since I got the single as part of somebody's reject-pile that also included such circa '81-'82 gems as "hit & run" by the bar-kays and nick straker's "little bit o jazz" so yeah nostalgia factor but it's also a great great bittersweet song

We're coming on the airwaves
Coming on the airwaves
Coming on the airwaves dream

Enjoyed this take: https://www.headheritage.co.uk/unsung/review/1651/

https://www.youtube.com/watch?v=LmqOnpVQVMY

Figured they'd be over it and rote when I saw them in LA ~2006 ... ha.

Never knew about Heaven 17 version of “Are Everything” until just now.

HI DERE!

Author Louie Shelley hosts the ‘Coffee and Cake with Pete Shelley’ event where you can hear recordings of Pete speaking about the creation of some of Buzzcocks’ biggest hits as well as enjoying live music and refreshments, which are included in the price of the ticket. pic.twitter.com/DoP7Cc7h0I

— The Pete Shelley Memorial Campaign (@PeteStatue) October 5, 2021

You're makin' out with school kids
Winos and heads of state
You've even made it with the lady
Who puts the little plastic Robbins
On the Christmas cakes