The Sounds

Why not mail your own terrace top ten? Your Top10.

The seventies was to exhaust the entire musical range available. The decade had begun with reggae/ska and was quickly followed by a renewed interest in soul music. Re-issued rock 'n' roll anthem "Rock Around The Clock" made an impact on the charts. Progressive/Heavy rock was firmly in place and pop was to surpass itself, as the glam era dawned. While titles such as "All The Young Dudes", "Starman" and "Life On Mars" had certain credibility, the majority of the more popular British music scene had little to offer. In 1976 all this was to change. The origins of punk are debatable, one thing for sure was that it was needed. The whole facade of the seventies music scene was about to be blown apart. The system of music school graduates dominating the music world was about to be seriously shaken. There may well have been middle class kids along for the ride, and even shaping it, it didn't matter. It was new! It had little to do with the so-called American punk scene of the mid 60s, except for that "garage" inspiration. It certainly had something in common with the American 70s proto-punk movement. Bands were not particularly musicians to the first degree. They did, however, have attitude, youth and a longing for change.

It is important to take into account the punk scene in order to understand how the musical taste of the terraces developed.

Malcolm McLaren had spent some time in the US prior to the British punk scene. He was manager to The New York Dolls for a short period. The Dolls came from the same genre as The Stooges and The Ramones, and later success story Blondie, the so-called "proto punk" movement coming out of New York legendary "CBGB's" club. On returning to England he was bursting with inspiration and was soon to launch a band that would have the musical press in a complete frenzy. The Sex Pistols made their debut at St Martin's college in late 1975 and the gig ended with the plugs being pulled. This particular climax to the gig did little to damage the bands publicity, and has since been emulated by the likes of The Farm, amongst others, at a Liverpool student union bar some ten years later. Many of the new punk bands had been around for some time prior to the so-called "explosion". The Pistols brought inspiration and soon bands such as The Clash, Siouxsie And The Banshees, The Jam and Generation X, were playing to the same crowds. This was not to mention the many other bands who would follow this lead in a less commercial manner.

The Clash.		The Jam.

By 1978 The Buzzcocks, The Undertones, The Stranglers, X-Ray Spex, Sham 69, Blondie, The Skids, Elvis Costello And The Attractions and The Police were grabbing headlines. "New wave" was the favoured term for many of the new emerging bands. A term , apparently, to describe a new breed of musical scene superior to punk. The new talent developed their sound from various influences. The likes of The Police taking much of their influence from reggae. My recollection of "New wave" is usually some music school graduate type harpin' on about Nick Lowe all night.

It has been said by many a music journalist that Liverpool "had" punk rather late. This is, somewhat, true. Although, there was the likes of Deaf School, many of the future Scouse musicians spent 76/77 following bands like The Clash around. The punk thing was well recieved in Liverpool, but there were no local bands sharing centre-stage within the national movement. All the major bands visited Liverpool and made their appearance at Eric's. With Liverpool not developing a very successful punk scene of its own, around this period, it meant that people like Pete Wylie were using the time to nurture the development of the unique Liverpool sound that was to follow. All this was to come together in 1978.

It was around 1978 that the Liverpool terrace movement took shape. The bohemian types who led the Liverpool music scene, at this time, were not particularly fond of the young urchins who were to frequent their environment. The casual dress of this breed did not identify with the overcoat wearing art set, it was not the kind of gear you could be seen wearing in "xstremes" arcade on a Saturday afternoon. None the less, the new bands were appreciated by the terrace types. They were different and with a venue like Eric's it ment a place to go and live music.

The Buzzcocks.		Joy Division.

Eric's played an important part within the Merseyside scene as a whole. Its closure in 1980 led to a demo made up of club devotees. The Warehouse replaced Eric's as a major venue. There were other clubs that the terrace crowd gathered at, such as Checkmate, The Swinging Apple and The Harrington Bar.

The likes of The Crusaders, Rose Royce, Sister Sledge and Chic provided a lighter side in contrast to the more serious bands. Usually as a vehicle for "baggin' off", via the dance floor.

1980 saw a qualitive opening for the music scene. The Clash had experimented a lot with their fourth album offering "Sandinista" and there was a mish mash of influence on the triple album. Reggae icon Mikey Dread had mixed some of the tracks for the band. Despite the bands efforts, and Dread's excellent contribution, the critics slammed the album and poor sales followed. No matter, their No.12 single "Bank Robber" was to prove their experiment in musical direction would eventually pay off.

Throughout the whole scally thing it was bands like The Clash, The Jam and The Undertones that were held dear. Despite this fact, there was a general change of direction in the wags musical preferences. This change being the advent of the "retro-scally".

In 1981 there was great social unrest in many of Britain's inner cities. Liverpool was to see some of the worse. "Ghost Town" was at the top of the charts on the weekend following the 4th of July, this being the weekend that civil unrest peaked on the streets of Liverpool. Shortly afterwards, Liverpool was flooded by drugs such as "smack". This was similar to what had happened in many black communities in the USA, after the unrest associated with the Panther movement. As pacification spread throughout the city, as a result of the new drug blitz, the taste in music became obscure and rather "numb". Despite the smack epidemic, it was cannabis that was to be the most commonly used substance.

Local club "Gatsby's" had its own retro corner, where life was to become one big purple haze. Suddenly, Genesis, Pink Floyd, Hendrix and Frank Zappa were big news. Everyone was chillin' out and even the radical lyrics of many Bob Marley, UB40 and Dylan numbers went well over the heads of a great number of listeners, partial to a smoke. It was about getting stoned, not getting educated. Even if the lyrics did register who could have been arsed. The only hint of radicalism in the lives of many younger wags was the various politically motivated pieces in The End. As time went on, many younger kids took it to silly extremes with bands such as ZZ Top and Meat loaf. Later, local bands like Grounpig, dejA vu, and Drama were to become very popular with the retro-crowd. These bands playing the same genre of music associated with Genesis etc.

In 1982, The Mayflower pub was another wag haunt. Here you could hear all the latest sounds, mixed with Floyd and Genesis, and the doormen doubled as DJ. It was popular, especially with me, and after a while you were getting played almost anything you wanted. The Big House (The Vines) was also popular. Sadly, the windows were not so popular on derby day. Still, there was always "Alfie" the DJ to spin your requests at the weekend. Standing outside The Star And Garter on match days, staring towards Lime St station and the arrival of the away fans, drink in hand was a sad situation.

Even though Liverpool was opting out of the major league, regarding terrace fashions, around this period, it still housed its own unique scene. This was to continue. Despite the retro thing, the older crowd still fostered elitist attitudes. The scruff-look had the same self appointed leaders who had been around three years before in the more vibrant days. Some avoided a total, if any, relationship to the retro-scene.

It was in 1983 that you could hang out in the Harrington Bar listening to The Clash and The Smiths as well as, if you were interested, the likes of Manparrish. In Manchester there was a passion for funk and Luther Vandross was king. Liverpool club "The State" would soon rise to fame, the following year, as Frankie Goes To Hollywood were to shoot their infamous "Relax" video at the venue. The State was to be popular with the "high energy" and trendy crowd.

The Farm came into being in 1983. The name had come from the location that the band had rehearsed at, and not a reference to the "Cantril Farm" suburb of Liverpool where The End was put together. Its front person was Peter Hooton, coeditor of the aforementioned rag. I first caught the band on board "The Royal Iris", a famous Mersey ferry. From that point on, to me, the whole terrace thing was complete. Now there was a complete scene, thanks to the bands terrace influence. The band was to play down these terrace connections, especially after they had achieved national, and international status, at the opening of the 90s. The band was to have a number of indie success prior to 1990. The original line-up consisted of Peter Hooton, Steve Grimes, Phil Strongman and Andy McVann. Soon a brass section was added; Tony Evans, Steve Levy, John Melvin and George Maher. Tracks like "Hearts And Minds", "Information Man", "Some People" and the haunting "Somewhere" proved to be popular. "No Man's Land" was to be re-worked later as "All Together Now" and became the bands anthem. The band took its appearance seriously and bass player Strongman was to be kicked out of the band for his bistro leaning look, being replaced with Carl Hunter. Before recieving its dance recognition The Farm was to lose its originial drummer, with the tragic death of Andy McVann in 1986, and soon after face a near parting of the waves. The band had by now dropped its brass fusion sound. The arrival of a new drummer in Roy Boulter and guitar man Keith Mullin saw the band continue. Ray Toohey joined on keyboards, but was set to leave soon afterwards as a result of being made a scapegoat for the Heysel tragedy. Ben Leach replaced Ray Toohey and soon the band was big news. The so-called baggy invasion of 1990 was to see The Farm grace numerous magazine covers and have their opinions aired on various music/tv channels. Kevin Sampson and Suggs managed the band, while the likes of Terry Farley provided the essential mixes. "Produce Records" became Liverpool's own "Factory" or "Heavenly". Local bands like The Real People, The Hoovers, 16 Tambourines, 35 Summers and Rain packed venues and presented a whole new Merseysound.

Around the period that The Farm first cut their teeth, a well known casual outfit called "The Accent" were big news on the London scene. This band, sadly, smacked of a produced look catering for the casual crowd. A sort of "The Who" for the 80s. Sadly, the band faded into obscurity. Whether or not they were tempted to jump on the terrace bandwagon of 1990, we will never know.

The Farm.		The Happy Mondays.		Northside.

It was indie band "The Shamen" who had the idea of fusing indie and the rapidly popular house music together. Soon, many bands who had enjoyed relatively small cult status were to be exposed to the wider public of popular culture. The meteoric rise to fame of Manchester band "The Happy Mondays" was to open the door of opportunity for many bands, many of whom had been around for some time before. Bands like Northside, The Inspiral Carpets, The Mock Turtles, an early Blur and Flowered Up. This was to include The Farm. The Stone Roses were a band that never totally associated themselves with the baggy scene, as a result they attracted a more cultish following. None the less, many who were into mainstream indie/dance did follow the band. Ibiza was the capital and dance was king, times were good. "Balearic" was a much slower beat that became popular down south and with the more established crowd up north, this as an alternative to the crass hardcore techno sound that was being viewed as an influence for the slightly less cool. However, the dance was soon to fragment. Techno overpowered the dwindling indie/dance crossover. Raw sounds replaced sunburst, and up and coming bands like "Oasis" proved to be very popular. There were to be indie orientated dance outfits like The Chemical Brothers and The Prodigy, these appealing to those who had favoured the manic dance period of the early 90s.

The Underground was to be THE club for Liverpool youth during the indie/dance period. The demise of indie/dance saw Liverpool clubs such as "techno heaven" Quadrant Park and Cream reach the attention of the international dance community, this being very much the case with Cream.

The music scene was important to the terrace movement, as to any youth sub-culture. From the early days to the indie/dance crossover Scouser's took their taste in sounds, almost, as serious as their clothes.

Here is my terrace top ten

1. Straight To Hell. The Clash.

2. Strange Town. The Jam.

3. Colonels And Heroes. The Farm.

4. Wednesday Week. The Undertones.

5. Do Nothing. The Specials.

6. Hateful. The Clash.

7. Ever Fallen In Love. The Buzzcocks.

8. Mind. The Farm.

9. Kinky Afro. The Happy Mondays.

10. Love Will Tear Us Apart. Joy Division.

Why not mail your own terrace top ten? Your Top10.

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