What’s up land-lubbers! Picks is back, here to inspire you with an absolute treat of a trip, a tumble through the memories of legendary UK DJ and I Love Acid resident Jon Dasilva, a scene veteran who cut his teeth as a resident at Manchester’s esteemed Haçienda. All spotify-able tunes are gathered here, take it away Jon….
Tunes from back when your Granny had a pantry. Not a euphemism. Tunes from your yout’. There’s nothing more personal. Tracks that shaped you, got you to somewhere special.
So, me, one minute I was heckling Joy Division for requests (yup I was one of those kind o’ c*nts), next minute I’m playing acid house in their frickin’ club. 1980 - 1988. I know time doesn’t fly when you’re a kid but wow, looking back, it was just a breath away.
This was one of, if not the worst gig they ever played, and they more often than not teetered on the edge of chaos. Their manager, Rob Gretton, with his usual perversity, decided this was the gig recording to release. Warsaw works regardless and stands as a reminder of how punk they were. If you get to listen to the rest of the album you might hear a 16 year old kid shouting out requests between dodging the nutters pushing for a fight on the Warehouse’s stainless steel dance floor (it was easy to clean the blood off). I’m a (Preston) Warehouse survivor.
Sci-Fi Punk rock from their first album. Here, Barry Adamson’s bass line rocks the party, if your party is in the kitchen getting whacked on hot knifes and cheap ‘phet.
We are still in Manchester. No apologies for that. What a time to be alive. Met Mark E. sometime in 1978, in a pub in Warrington, just near the station, just before their gig. I think I’d just done a postal (yep, I know) interview with him for a local fanzine, so I had a reason to introduce myself. He was very nice, very wise, very Mark. He was maybe 19. I love the Peel Sessions most as pretty much this was where we first heard the new stuff and there’s an energy I felt was missing from the album versions. Any song with a chorus like “yeah yeah industrial estate” is a winner in my book.
First heard this on limited edition cassette The Taverner Tape my mate leant me - claiming there was only 27 copies produced by the label Fast Product. I made the mistake of lending it to my English teacher, who promptly lost it. Happy Days. The recordings of early demos were interlaced with interludes based on Philip K. Dick’s Flow My Tears, The Policeman Said. Genius.
“We don’t practice with the age, we have a lot of bills to pay…we go Nazi, shagged out” Nuff said.
Probably not to hard to imagine the excitement this Bristol band produced when they arrived fully formed, utterly fucking fresh and totally meaning it. I was blown away. Still am.
A collection of their 7” releases was reissued around 1979, with this opening the first side. Like Joy Division they took apart the engine of rock and re-purposed it for their own ends. The late Allen Ravenstine’s synth playing, more manicuring noise than anything else, although not obvious on this track, was so ahead of its time and still an influence for me now.
I must have practiced the intro drums to this a million times in the back room of our old house, much to the annoyance of my long suffering Mum. I remember seeing them supporting Talking Heads with their army shorts and fake tan, like a cross between It Aint Half Hot Mum and the strangest studio session band Lalo Schifrin ever had.
Get your samplers at the ready. Obsessive, hypnotizing drumming not too far from Jaki Leibziet’s style, processed to fuck by the Eventide Harmoniser made famous by Tony Visconti on Bowie’s Low. Hints of free jazz but don’t worry too much, it’s all kept in check!
Obvious choice for Suicide but I love all the Velvets-referencing and lustful vocals. I went to see them supporting The Clash on the White Riot Tour and nearly got my head kicked in for clapping them when the majority of the crowd covered them in spit and beer cans. Suicide had balls of brass.