We (or, more accurately, the blonde, beautiful leader of our group) declared Teenage Head “poseurs,” which, in terms of the never-ending Talmudic debates about punk “authenticity,” is the moral equivalent of “blasphemer.” Lead singer Frankie Venom looked like he was trying too hard, she decided. My friends and I preferred the Rebels because of what today would be called their “politically incorrect” lyrics about, er, topical subjects. There were two rival punk bands in my hometown: Maybe that’s because Jones was deemed the sexier and more dynamic of the two, all the better to sell the song on Top of the Pops or something: Only Cook’s version made the Swindle soundtrack, but bizarrely, Jones’ version was picked as a single. Jones and Pistols drummer Paul Cook recorded different versions of their song, taking turns on vocals. “Silly Thing” survives as a product of one of those post-breakup adventures, a best-forgotten movie curio called The Great Rock ‘n’ Roll Swindle. What happened after the band imploded is, understandably, of less interest to non-fans, and is mostly a series of stupid escapades anyhow. Not even the band’s members can keep their stories straight. The story of The Sex Pistols has been told countless times before, but there’s no definitive narrative. (It didn’t hurt that Jones had just stolen some guitars and amps from a David Bowie gig…) Undaunted, McLaren offered “Jonesy” a place in a “house band”/Situationist prank he was throwing together. Steve Jones hung out at Malcolm McLaren’s “Sex” boutique trying to shoplift pricey proto-punk clothing. You’ll have to settle for this performance of “Elephant’s Graveyard” later in the show, which wraps up a parody of To Sir, With Love: This means that if you’re an American, you’ve probably never seen it, and it is impossible to find on the web. Sadly, this rendition of “Never…” was cut when SCTV went into syndication. ( Not everyone shares my high opinion of this bit, which is fair enough since I’m working off a memory from my teens…) The Rats’ unpretentious performance of “Never in a Million Years” on a February 1982 episode of SCTV. So what accounts for my fond memory of this song? But the fact that it was selected out of all the other songs on that record means that at least one other person on this planet heard then what I still hear: the sound of almost-greatness. “Never in a Million Years” was the first single from the Irish band’s fifth album (!) and – no surprise – it bombed. I’m pretty sure The Boomtown Rats were semi-serious and/or stoned when they shot it. I guess Geldof is trying to sound bereft, screaming on the edge of a cliff into the abyss, but he should’ve left that particular brand of wailing to Ashes to Ashes-era David Bowie. Delicious.This song contains the kernel of a hit: an insinuating chorus which, alas, sounds like it was tacked on to the vastly inferior verses of another, deservedly unfinished song the Rats found while cleaning out the tour bus. And still, it retains the crunch of the bass and the seedy vibe of the city. What a treat.Īnd in keeping with Kyd's ability to match his sound on this game to anything, he adds more techno to this one to match the final showdown against a high-tech detective vs. Not often, cause this game is harder than a horny diamond's nipples, but still. I cannot believe I heard this from my TV as a child. It's absurdly fast-paced, and yet it retains that dark, moody sound. Speaking of journeys, Psycho Section goes places. This is the first boss theme, facing off against Harley Quinn in a giant robot (yeah, that's how we start.) It's got the heavy synth but a little faster-paced to match the intensity of a boss fight. The intro in particular is such a journey. I implore you to listen to the whole OST, but I'll stick to a couple choices to entice you. Kyd used the grit and crunch that the Genesis sound setup could pump out to his advantage and it is phenomenal.ĭoes the game need a nine and a half minute intro theme? No. the gutter-level makeup of Gotham City's underworld. It's a filthy, dark techno-noir sound that fits the theme of a high-tech vigilante detective vs. even without using any themes from the show, he made a soundscape that truly emphasizes the grimy back alleys of Gotham better than almost anyone else. Can I just post the entire OST for The Adventures of Batman & Robin, specifically the Genesis version? It was one of legendary composer Jesper Kyd's first works, and man.
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