- Music
- 23 May 01
The Hothouse. That phrase has been used in this paper more than once since it’s inception, to describe the London scene.
The Hothouse. That phrase has been used in this paper more than once since it’s inception, to describe the London scene. whatever way you look at it, it is the centre of the music industry for this part of the globe – though its strength in relation to the European mainland is now seriously being called into question. Not only of the industry per se, but also of the media that concern themselves with that industry.
Without any doubt, that’s where the action is, most of the time. From a media angle, the interesting point is that being at the centre of the action – and therefore of attention – can create its own problems.
Sure, the British rock press are in a position to play a major role in initiating and encouraging new trends in rock. The developments of the last year are proof positive of that fact.
But the very extent to which a writer becomes involved in trend setting can impose a limitation on critical reliability.
Watching the way in which the British press threatened the New Wave, one thing became abundantly clear: that a prime motivation in their approach was competition between one another. To be the hippiest. To be the most in touch. To be the first … to champion a and, to put them on the front cover, maybe even to put the boot in.
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In the context, many of the finer things that have been happening outside of the Punk/New Wave axis have gone underacknowledged, thus being relegated, without sufficient consideration, into positions of secondary importance.
What’s currently emerging, however, is the importance of the continuity of the ‘New’ Wave, from what was going down previously. The burst of energy, while it precipitated a thoroughly necessary infusion of fresh blood at the highest level, in fact gave rise to little that was wholly original musically.
It’s a point that Bill Graham touched on in his recent Boomtown Rats piece and does again in one on Ultravox! in the present time.
The lack of recognition of the respective achievements of Graham Parker and Joan Armatrading in their latest vinyl outpourings, in the overall assessments offered by the British Rock Press of ’77’s music, was, for me, an accurate index of rock critics’ failure to retain a balanced perspective.
Neither Parker nor Armatrading is a fashionable artist. Neither do they particularly welcome the attention of te media – this being so of Armatrading especially. But I’d go with the argument that both are producing material capable of standing the test of time in a way that much rock’n’roll can’t – and doesn’t.
What either may lack in instant impact, they more than make up for in emotional depth and enduring insight – the truth of that statement having been powerfully underlined by Parker’s ‘Stick To Me’ and Joan Armatrading’s ‘Show Some Emotion’ during the year.
In the context, it was especially rewarding to see the pair emerge at the head of our internal album-of-the-ear polling.
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Just recognition – nothing more.
The one album which I feel may have suffered seriously from the particular limitations of our perspective is David Bowie’s ‘Heroes’. In his original review of the album, Bill Graham mentioned a suspicion of the whole glittery, showbizzy aspect of his original persons and presentation – which, for Bill, was now being eroded.
My own suspicion is that this factor will detract from many Irish people’s ability to see what Bowie is doing and to acknowledge its quality. ‘Heroes’ will almost certainly be the most influential album of ’77 and one of the most enduring, irrespective.
On the other hand, John Martyn’s ‘One World’ may have suffered simply because of its lateness or release. More time to listen, more time for it to be passed around and it might have breached the top ten.
More generally, the presence of Parker and the Rumour, Elvis costello and Dave Edmunds in the top four – and the production presence of Nick Lowe in each case – suggests that ’77 may have been the year when the promise of the pub rockers finally came to roost. Lowe’s achievement is certainly amazing.
Also important is the extremely strong Irish representation, with five albums in this top twenty – three of them having been recorded locally. It was undoubtedly the finest year even in irish recording history – a comment which is further analysed elsewhere in the present issue, so the point won’t be laboured here.
Finally, the almost total eclipse of the American West Coast connection during ’77 must rank as one of the year’s most important phenomena. Whereas last year’s contenders for the album-of-the-year accolade Jackson Browne (‘The Pretender’), Warren Zevon’s (eponymous – er, thanks Liam) and Emmylou Harris (‘Elite Hotel’) were literally supported by good things, this year only maverick Randy Newman and Fleetwood Mac (‘Rumours’) counted at all. Maybe the Coke really has gone to the collective Californian skull, after all.
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So these are the twenty albums which the Hot Press staff and contributors collectively feel will best stand the test of time.
It’s our viewpoint – and I think a uniquely Irish one to present, which is an intrinsic part of our function. Take it for what it’s worth …