Since the beginning of the band’s existence, in both songwriting and appearance, it was clear that the Jam owed an incredible amount of debt to the My Generation era of the Who. From their impeccable covers of “Disguises” and to their preference for to appear in stylish Mod dress at all times, the Jam could very much have been considered the most authentic representation of true British punk in the late 1970’s, especially when considering their relative lack of success in the States. Where the Sex Pistols and the Clash (among others) became well-known ambassadors of the UK’s version of the genre, it was the Jam’s well-honed mixture of stylistic complexity and Weller’s witty, satirical lyrics a la Ray Davies, that the Jam were perhaps too smart to be the kind of punk that people expected.
But where they didn’t quite fit in with the rest, they excelled as a class of their own. But in one song in particular, the band shows that they’re perfectly fine being aligned with the older guard of British rockers, by being able to build upon their concepts and techniques and create something for the young gobbers to ponder to while they pogo.
After the Jump: Addressing an tired old theme for a new generation of mods and rockers alike.
Before they were Pink Floyd, they were. . . Ah. . . The Tea Set.
Name aside (which, honestly, would have been perfect if the band strictly existed between 1965-1968, then petered out into obscurity), they were still a talented group of art students working toward that Pink Floyd sound.
Beware of the Blog, the blog channel for the legendary WFMU, was kind enough to post this ’65-era track recorded by the band, featuring a line-up of Syd Barrett, Nick Mason, Roger Waters, and then-guitarist Bob Klose, called “Lucy Leave.” The track merely hints at the sort of space-rock that Pink Floyd would become known for on Piper at the Gates of Dawn, and instead sounds like the perfect crossroads between Stones’-styled rock and roll, and the Mods’ appreciation for R&B structures. It was a part of a demo tape that included their cover of “I’m a King Bee,” plus two other Syd originals, “Butterfly,” and “Double O Bo,” which Nick Mason described as “Bo Diddley meets the James Bond theme.”
EMI records have been losing clients — including the Rolling Stones, Paul McCartney, and Radiohead — since being taken over by private equity firm Terra Firma in 2007. As of Tuesday, January 4th, EMI is happy to announce they’ve retained a relationship with Pink Floyd, who has battled with EMI to ‘unbundle’ their digital discography in order to sell individual songs on services like iTunes. Though details have yet to be released, aside from being held to a five-year interim, they assure that a new arrangement has been reached when approaching the digital sale of Pink Floyd music.
Given the length of the deal, and the recent better-tidings among the surviving members of the Floyd, does this mean a full-on deal might be in the works? Post your thoughts below.