Avon Calling: The Bristol Compilation

Editorial Reviews

All Music Guide - Stewart Mason
The post-punk scene of the late '70s and early '80s is to contemporary indie rock fans what the mid-'60s garage rock scene was to the post-punk scene of the late '70s and early '80s: both a source of musical inspiration and a seemingly inexhaustible resource for obscure, often weird, but sometimes magical 45s. One of the golden ages of D.I.Y. indie rock, rare post-punk from this era is still being uncovered over a quarter-century later. The two-disc Avon Calling: The Bristol Compilation has a handful of tracks by bands not entirely unknown -- the Glaxo Babies are represented with six tracks, including their career high point "Christine Keeler," and the Art Objects later ...
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Editorial Reviews

All Music Guide - Stewart Mason
The post-punk scene of the late '70s and early '80s is to contemporary indie rock fans what the mid-'60s garage rock scene was to the post-punk scene of the late '70s and early '80s: both a source of musical inspiration and a seemingly inexhaustible resource for obscure, often weird, but sometimes magical 45s. One of the golden ages of D.I.Y. indie rock, rare post-punk from this era is still being uncovered over a quarter-century later. The two-disc Avon Calling: The Bristol Compilation has a handful of tracks by bands not entirely unknown -- the Glaxo Babies are represented with six tracks, including their career high point "Christine Keeler," and the Art Objects later to become Brit-pop stars as the Blue Aeroplanes have their excellent "Showing Off to Impress the Girls" dusted off -- but nearly all of these bands and songs will be all but unknown to all but the most hardcore collector geeks. What's most illuminating about Avon Calling for those who weren't there the first time around is that it puts the lie to the narrow definition of post-punk that has grown in the popular imagination since the turn of the millennium, when it seems that this era in British pop music consisted solely of bands that sounded sort of like either Joy Division or the Human League. As a matter of fact, there's little Manchester gloom or straight synth pop among these 46 songs. Instead, the Private Dicks' "Green Is in the Red" and the Stingrays' "Sound" are brisk, sunny power pop with tuneful choruses and great guitar riffs. Some songs are simply re-purposed '70s art rock with the proggy noodling and flashy solos cut out; the Europeans' "On the Continent" and Moskow's "Too Much Information" don't really sound all that different from contemporaneous singles by the likes of 10cc or Manfred Mann's Earth Band. Other songs keep the second-wave punk flag flying, the like X-Certs' "Anthem" and the female-fronted Vice Squad's appealingly bratty "Nothing." Other songs come off as weak carbon copies: the mod pop of Vitus Dance's "Down at the Park" is a little too close to the sound of All Mod Cons-era Jam. Ditto the Slits-like dub reggae of Double Vision's "My Dead Mother" and "List 99." On the other hand, the lo-fi D.I.Y. rush of the quirky but accessible "Desire" by Sneak Preview and the Skodas' shrieky minimalism of "Everybody Thinks Everybody Else Is Dead Bad" and "Mouth" does sounds quite a bit like what most people think of when they think of U.K. post-punk these days. Touches like a bit of John Peel introducing the Glaxo Babies' "It's Irrational" and an interesting, scene-setting radio interview by DJ Simon Edwards set the social context. This might seem like the sort of compilation that's mostly for boffins, but there is enough solid material on Avon Calling: The Bristol Compilation to make it worth recommending to even the casual fan of the style.
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Product Details

  • Release Date: 12/6/2005
  • Label: Cherry Red Uk
  • EAN: 5013929129221
  • Catalog Number: 292

Tracks

Disc 1
  1. 1 It's Irrational - Gl*xo Babies (4:47)
  2. 2 On the Continent - Europeans (3:26)
  3. 3 Green Is in the Red - Private Dicks (2:51)
  4. 4 Too Much Commotion - Moskow (4:28)
  5. 5 Chronicle - Essential Bop (3:18)
  6. 6 What You've Got - Directors (3:00)
  7. 7 Own Up - Various Artists (2:27)
  8. 8 Slugweird - Sneak Preview (4:02)
  9. 9 Sound - The Stingrays (3:17)
  10. 10 Anthem - The Xcerts (2:38)
  11. 11 The Alternative - Apartment (3:18)
  12. 12 Cross-Slide - Numbers (2:20)
  13. 13 Nothing - Vice Squad (1:58)
  14. 14 Move Fast-Stay Ahead - Stereo Models (2:32)
  15. 15 My Dead Mother - Double Vision (3:43)
  16. 16 Poison - Apartment (4:09)
  17. 17 Desire - Sneak Preview (2:15)
  18. 18 Don't Follow My Lead - Private Dicks (3:12)
  19. 19 List '99' - Double Vision (3:35)
  20. 20 Down at the Park - Vitus Dance (3:17)
  21. 21 You Have Been Warned - The Xcerts (4:17)
  22. 22 [Untitled Track] (2:32)
Disc 2
  1. 1 I Don't Want My Heart to Rule My Head - Social Security (2:59)
  2. 2 Choc Ice - Social Security (3:20)
  3. 3 Europeans - Europeans (3:51)
  4. 4 Voices - Europeans (3:36)
  5. 5 This Is Your Life - Gl*xo Babies (3:06)
  6. 6 Who Killed Bruce Lee? - Gl*xo Babies (3:13)
  7. 7 Alternative Suicide - Numbers (2:52)
  8. 8 Blue Movies - The Xcerts (3:25)
  9. 9 Hotel Rooms - Joe Public (2:07)
  10. 10 Back to Ireland - 48 Hours (3:53)
  11. 11 Christine Keeler - Gl*xo Babies (3:41)
  12. 12 Nova Bossa Nova - Gl*xo Babies (3:50)
  13. 13 She Said Go - Private Dicks (2:38)
  14. 14 Private Dicks - Private Dicks (4:51)
  15. 15 The Car - Apartment (2:10)
  16. 16 Winter - Apartment (4:52)
  17. 17 Shake - Gl*xo Babies (3:55)
  18. 18 Nobody Loves Me - The Letters (2:12)
  19. 19 Don't Want You Back - The Letters (2:04)
  20. 20 Showing Off to Impress the Girls - Art Objects (2:44)
  21. 21 Birdsong - Final Eclipse (3:28)
  22. 22 New Dawn - Final Eclipse (3:34)
  23. 23 Everybody Thinks Everybody Else Is Dead Bad - Skodas (2:23)
  24. 24 Mouth - Skodas (1:23)
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Album Credits

Performance Credits
Richard White Bass
Geoff Alsopp Drums
Chris Bostock Guitar
Angelo Bruschini Guitar
Mark Byrne Guitar, Background Vocals
Dan Catsis Guitar, Vocals
Rob Chapman Vocals
David Cole Guitar
Danny Guitar
Hugh Davies Bass
Alan Griffiths Guitar, Vocals
Phil Harrison Vocals
Jan Kalicki Drums
Jon Klein Guitar
Gerard Langley Vocals
John Langley Drums
Steve Marsh Guitar, Vocals
Sean McLusky Drums
John Alexander Simpson Drums
Stephen Street Bass, Vocals
Tony Wrafter Saxophone
Malcolm Young Bass
Sean Harvey Guitar
Beki Bondage Vocals
Tom Nichols Bass, Vocals
Kevin McFadden Guitar, Vocals
Bill Sargent Drums
Bill Stair Bass
Steve Bush Vocals
Robin Key Guitar
Mark Hambly Bass
Shane Baldwin Drums
Dave Bateman Guitar
Kevin Reed Drums
James Cole & His Washboard Band Drums
Dane Stevens Guitar
David Ashmore Vocals
Neil Mackie Drums
Mike Lodge Bass, Vocals
Gavin King Vocals
Clive Arnold Guitar, Vocals
Hilda Ash Bass
Simon Blackmore Guitar
Blue Drums
Simon Cartledge Bass
Melanie Dicks Vocals
Embrain Keyboards
Trevor Flynn Bass
Lee Gardener Drums
Paddy Gigg Drums
Paul Guiver Guitar
Marc Hatwood Drums
Ian Hewes Percussion, Background Vocals
Richard Jacobs Guitar, Vocals
Jonjo Guitar, Vocals
Simon Justice Guitar, Vocals
Wayne Kingston Bass
John Landley Drums
Kevin Leadbetter Vocals
Simon Lewis Bass
Phil Lovering Bass
Jim "JR" Low Guitar, Vocals
Russ Mainwaring Guitar, Vocals
Michael Matthews Keyboards
Nick McAwley Guitar, Vocals
Neil McDougall Percussion
Shaun McLuskey Drums
Eugene McMullan Acoustic Guitar, Electric Guitar, Vocals
Silence OGolden Guitar
Lyndon Parry Bass, Vocals
Mike Peakman Organ, Synthesizer Strings
Mark Roberts Bass
Snake Robinson Bass
Mark Seabright Drums
Mike Smith Bass
William Kelly Stair Bass
Russell Thomas Guitar, Vocals
Woody Tinder Keyboards
Dominic White Guitar
Neil Taylor Guitar, Vocals
Technical Credits
Art Objects Composer
Geoff Alsopp Composer
Dan Catsis Composer
Wojtek Dmochowski Contributor
David Lord Engineer
Richard Nelson beats
Colin Richardson Engineer
Glenn Tommey Engineer
John Sparrow Producer
Robert Mainwaring Composer
Alan Wilson Remastering
Sam Giles CD Package Design
Simon Edwards Engineer, Liner Notes, Cover Design
John Landley Contributor
Jason Pitchers Frequencies
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