Damned Damned Damned
Damned Damned Damned is the debut studio album by English punk rock band the Damned. It was released on 18 February 1977 by Stiff Records. Produced by Nick Lowe, Damned Damned Damned was the first full-length album released by a UK punk group. After the success of "New Rose" and a tour with the Sex Pistols, the Heartbreakers and the Clash, the band went into Pathway Studios to record the album Damned Damned Damned with producer Nick Lowe, who had recorded "New Rose" with them. Following 10 days of recording, the mix was completed on 15 January 1977, the day the master tapes were compiled; the album cover features the four members of the band. Guitarist Brian James recalled: "That was organised by this photographer called Peter Kodick, Stiff had assigned him to do the thing, they thought it was a jolly wheeze to surprise us with a few cream cakes, little knowing that we would relish it, get into to it and enjoy the whole experience". After the photo session, Damned bassist Captain Sensible noted: "...
I had more pie on my face than any of the other buggers and on the back of the sleeve I had my back to the picture, so I went down a photo booth and got some pictures, cut one out and said'put that on there' so I would have something to show my relatives, because I didn't think we'd be invited to make another album". Stiff deliberately printed a limited number of initial copies of the LP with a photo of Eddie and the Hot Rods on the back of the album cover, rather than the Damned playing at The Roxy. An "erratum" sticker was put on the back cover, on the front of the LP - on top of the original shrink wrap - was a red "food-fight" sticker that said "Damned Damned", thus completing the LP title when read underneath the band's name. Stiff was known for such unusual promotional activity; as of 2009, a copy of this rare print which still had both stickers and the shrink wrap intact fetched £200-500, depending on condition. The album design was credited to a pseudonym of Barney Bubbles. Damned Damned Damned was issued by Stiff Records on 18 February 1977, James' 22nd birthday.
In a contemporary review, NME praised the group's musical ability, opining that the Damned have "all the residual skills needed for the actual performance of exhausting modern music", stating that James was the most effective powerhouse guitarist since Pete Townshend and concluding that the album as a whole was "a professional production and is much more convincing than some other new wave bands I've heard on record."BBC's retrospective review praised the album's energy, pop satire and general humour, commenting, "Each track featured the hammering toms of Rat Scabies and Captain Sensible's bass-as-guitar propelling Brian James' exhilarating machine gun axe into your living room". The American press has favored the album. Ned Raggett of AllMusic gave it their highest rating of 5 stars, calling it "a stone classic of rock & roll fire" and declaring that "Damned Damned Damned is and remains rock at its messy, wonderful best." Pitchfork positively assessed the album in a negative review of the Damned's 2001 album Grave Disorder, stating, "I won't lie to you: the Damned's new album isn't good.
In fact, the Damned have only recorded a few albums that were—for instance, their debut or 1979's Machine Gun Etiquette". All tracks written except where noted. Adapted from the album's liner notes; the first disc contains the twelve tracks from the original album. NoteDisc 3 was recorded at the Damned's live debut at the 100 Club on 6 July 1976 supporting the Sex Pistols. Recorded on a Sony cassette recorder, hidden in a sports bag, onto a Scotch 120 tape. Dave Vanian – vocals Brian James – guitar, vocals Captain Sensible – bass, vocals Rat Scabies – drums, vocals Nick Lowe – producer Barry "Bazza" Farmer – engineer Peter "Kodick" Gravelle - cover photographyAdditional production Disc 2Matt Dangerfield – producer, engineer Jeff Griffin – producer Shel Talmy – producer Mike Robinson – engineer Damned Damned Damned at Discogs
Compact disc is a digital optical disc data storage format, co-developed by Philips and Sony and released in 1982. The format was developed to store and play only sound recordings but was adapted for storage of data. Several other formats were further derived from these, including write-once audio and data storage, rewritable media, Video Compact Disc, Super Video Compact Disc, Photo CD, PictureCD, CD-i, Enhanced Music CD; the first commercially available audio CD player, the Sony CDP-101, was released October 1982 in Japan. Standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data; the Mini CD has various diameters ranging from 60 to 80 millimetres. At the time of the technology's introduction in 1982, a CD could store much more data than a personal computer hard drive, which would hold 10 MB. By 2010, hard drives offered as much storage space as a thousand CDs, while their prices had plummeted to commodity level. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs.
By 2007, 200 billion CDs had been sold worldwide. From the early 2000s CDs were being replaced by other forms of digital storage and distribution, with the result that by 2010 the number of audio CDs being sold in the U. S. had dropped about 50% from their peak. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record digital information on an optical transparent foil, lit from behind by a high-power halogen lamp. Russell's patent application was filed in 1966, he was granted a patent in 1970. Following litigation and Philips licensed Russell's patents in the 1980s; the compact disc is an evolution of LaserDisc technology, where a focused laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Sony independently in the late 1970s. Although dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled.
In 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980. After their commercial release in 1982, compact discs and their players were popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984. By 1988, CD sales in the United States surpassed those of vinyl LPs, by 1992 CD sales surpassed those of prerecorded music cassette tapes; the success of the compact disc has been credited to the cooperation between Philips and Sony, which together agreed upon and developed compatible hardware. The unified design of the compact disc allowed consumers to purchase any disc or player from any company, allowed the CD to dominate the at-home music market unchallenged. In 1974, Lou Ottens, director of the audio division of Philips, started a small group with the aim to develop an analog optical audio disc with a diameter of 20 cm and a sound quality superior to that of the vinyl record.
However, due to the unsatisfactory performance of the analog format, two Philips research engineers recommended a digital format in March 1974. In 1977, Philips established a laboratory with the mission of creating a digital audio disc; the diameter of Philips's prototype compact disc was set at 11.5 cm, the diagonal of an audio cassette. Heitaro Nakajima, who developed an early digital audio recorder within Japan's national public broadcasting organization NHK in 1970, became general manager of Sony's audio department in 1971, his team developed a digital PCM adaptor audio tape recorder using a Betamax video recorder in 1973. After this, in 1974 the leap to storing digital audio on an optical disc was made. Sony first publicly demonstrated an optical digital audio disc in September 1976. A year in September 1977, Sony showed the press a 30 cm disc that could play 60 minutes of digital audio using MFM modulation. In September 1978, the company demonstrated an optical digital audio disc with a 150-minute playing time, 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code—specifications similar to those settled upon for the standard compact disc format in 1980.
Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on 13–16 March 1979, in Brussels. Sony's AES technical paper was published on 1 March 1979. A week on 8 March, Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, Netherlands. Sony executive Norio Ohga CEO and chairman of Sony, Heitaro Nakajima were convinced of the format's commercial potential and pushed further development despite widespread skepticism; as a result, in 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. Led by engineers Kees Schouhamer Immink and Toshitada Doi, the research pushed forward laser and optical disc technology. After a year of experimentation and discussion, the task force produced the Red Book CD-DA standard. First published in 1980, the stand
Strawberries is the fifth studio album by English punk rock band the Damned. It was released in October 1982 by record label Bronze; the record was released as the Damned were enjoying a higher public profile, thanks to the solo success of Captain Sensible. Sensible Don't Bother Me, he introduced new instruments to the band, including sitar, cello played by his then-girlfriend, Rachael Bor of the pop group Dolly Mixture. While Strawberries was praised for its positive, up-beat melodies, the album marked a time of conflict and division within the band. During the recording, bassist Paul Gray fought with drummer Rat Scabies over management and song-writing responsibilities. Gray would leave the band in February 1983, Bryn Merrick took over on bass. Keyboard player Roman Jugg became the Damned's fifth band member, his arrival led to further experiments including loops and sampling. Jugg would move to guitar, replacing Sensible, who left the band after the Strawberries concert tour; the album's working title was Strawberries for Pigs, a name inspired by the reception the band's newer music received from some of their older fans.
As Vanian explained, "we were playing a lot of new material, we had an audience that didn't want to hear about anything, they just wanted to hear "Neat Neat Neat" and "New Rose," nothing else. And they wanted to just smash everything, and they weren't interested in hearing music at all. So at one point, I turned around and said,'It's like giving strawberries to a fucking pig, this gig, you know?' And that stuck in our minds, we used it". Strawberries was released in October 1982. Limited editions included a strawberry-scented lyric insert; the album reached No. 15 in the Official UK Album chart. Critics praised the album’s musicianship and 60s influences. Writing in Smash Hits, Fred Dellar gave the album 9 out of 10: "The Damned go melodic, offer harmony vocals, employ cellos and brass sections, remember to include a lyric sheet This is the kind of pop album Paul McCartney would be pleased to have his moniker on". In Sounds, Steve Keaton wrote that "Strawberries is the Damned at their most melodic and subversive".
He added that the album "manages to indulge both Dave Vanian’s darkly obsessive Gothic vision and the good Captain's psychedelic whims without sacrificing any hard rock sensibilities.'Strawberries' should be the LP to grant the Damned the recognition they've courted for so long". Trouser Press described the album as "eclectic and inconsistent but well-produced and boasting some fine tunes, shows Sensible's increasing pop prominence and Vanian's willingness to explore a stylistic pallette with no debt to punk". Other critics have noted the album's embrace of psychedelic pop, as well as gothic rock. In a negative contemporary review, NME called Strawberries "a miserable retch of a record, spewing fourth enough nauseous'nostalgia' to fill a book entitled'Why The Damned Never Made It', without once touching any spirit, it seems they're doomed to regurgitating their history'til the aftertaste becomes too bad to bear". AllMusic's retrospective review was favourable: "Recuperating a bit from The Black Album's uneven impact while still aiming to try whatever they want in studio, by turns sprightly and cheerful and dramatic, energetic and snarling, or all that and more at once, defies usual expectations to be yet another good rock album from the band".
On 7 January 2005, Castle Records re-released Strawberries in the United Kingdom on CD. Credits adapted from the album's liner notes. All tracks written except as noted. NoteSome versions of Strawberries have altered songwriting credits; the DamnedDave Vanian – lead vocals Captain Sensible – guitar and lead vocals, sitar Paul Gray – bass Rat Scabies – drums, synthesizer Roman Jugg – keyboard solosAdditional personnelSimon Lloyd – brass Rachel Bor – cello ProductionThe Damned – production Hugh Jones – production Dave Vanian – album cover design Linda Roast – album cover design Martin Poole – album cover design Nigel Greerson – sleeve photographyDeluxe editionVivian Stanshall – voice-over The Damned – production Hugh Jones – production Tony Mansfield – production Rat Scabies – remastering Tim Debney – remastering Debbie de Villiers – graphic design Kieron Tyler – liner notes Strawberries at Discogs
Dave Vanian is a rock musician and lead singer of the punk rock band The Damned. Formed in 1976 in London, The Damned were the first British punk band to release a single, an album, have a record hit the UK charts, tour the United States. With a fluid line-up since their founding, Vanian has been the only ever-present member, his rich baritone voice has been described as "impressively sonorous". Born in Hemel Hempstead, Vanian changed his name from Lett to Vanian in early life after a stint as a gravedigger – Vanian being a play on "Transylvanian", he remains one of the early influencers of gothic fashion, wearing dark and otherworldly clothing both on stage and off. He is known to be a fan of renaissance art, film noir and horror movies, all of which manifest in his stage appearance. In November 1976, the British music magazine NME stated that Vanian "resembles a runaway from the Addams Family". In 1978, he was guest in the song "Don't Panic England", from the band Doctors of Madness. In 2004, he and Captain Sensible turned on the Christmas lights in Cambridge, causing some controversy.
Vanian sang with the MC5 for their 40th anniversary singing "Looking at You", released as part of Revolution: A Celebration of the MC5. In 2008, with the band the Throb, played "Let's Get Lost" to the compilation The Original Sailor Jerry Rum – Music To........... To. Outside of the Damned he has led the rockabilly band David Vanian & the Phantom Chords, hosted Dave Vanian's Dark Screen on the UK-based television channel Rockworld TV and composed the soundtrack for the 2009 film, The Perfect Sleep. Vanian has kept his personal life out of the limelight opting out of any input into The Damned biography The Light at the End of the Tunnel by Carol Clerk. Vanian joined The Damned in 1976 He married his first wife Laurie in 1977, but they separated in the mid-1990s, he married Patricia Morrison in Las Vegas in 1996, after The Damned had performed an Australian tour. The couple have one child and live in Islington in London Dave Vanian and the Phantom Chords The Damned: Dave Vanian section Interview, November 1993
John Robert Parker Ravenscroft, known professionally as John Peel, was an English disc jockey, radio presenter, record producer and journalist. He was the longest serving of the original BBC Radio 1 DJs, broadcasting from 1967 until his death in 2004, he was one of the first broadcasters to play psychedelic rock and progressive rock records on British radio, he is acknowledged for promoting artists working in a multitude of genres including pop, dub reggae, punk rock and post-punk, electronic music and dance music, indie rock, extreme metal, British hip hop. Fellow DJ Paul Gambaccini described Peel as "the most important man in music for about a dozen years". In 2012 he was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover. Peel's Radio 1 shows were notable for the regular "Peel sessions", which consisted of four songs recorded by an artist live in the BBC's studios, which provided the first major national coverage to bands that would achieve great fame.
Another popular feature of his shows was the annual Festive Fifty countdown of his listeners' favourite records of the year. Peel appeared on British television as one of the presenters of Top of the Pops in the 1980s, he provided voice-over commentary for a number of BBC programmes, he became popular with the audience of BBC Radio 4 for his Home Truths programme, which ran from the 1990s, featuring unusual stories from listeners' domestic lives. John Peel was born in Heswall Cottage Hospital in Heswall near Liverpool, his father was an upper middle-class cotton merchant, he grew up in the nearby village of Burton. He was educated as a boarder at Shrewsbury School, where one of his contemporaries was future Monty Python member Michael Palin; the solitary Peel was an avid radio listener and record collector from an early age, cutting his teeth on fare offered by the American Forces Network and Radio Luxembourg. He recalled an early desire to host a radio programme of his own "so that I could play music that I heard and wanted others to hear."His housemaster, R. H. J. Brooke, whom Peel described as "extraordinarily eccentric" and "amazingly perceptive", wrote on one of his school reports, "Perhaps it's possible that John can form some kind of nightmarish career out of his enthusiasm for unlistenable records and his delight in writing long and facetious essays."In his posthumously published autobiography, Peel said that he had been raped by an older pupil while at Shrewsbury.
After finishing his National Service in 1959 in the Royal Artillery as a B2 radar operator, he worked as a mill operative at Townhead Mill in Rochdale and travelled home each weekend to Heswall on a scooter borrowed from his sister. Whilst in Rochdale during the week, he stayed in a bed-and-breakfast in the area of Milkstone Road and Drake Street and would develop long-term associations with the town as the years progressed. In 1960, aged 21, he went to the United States to work for a cotton producer who had business dealings with his father. Once this job finished, he took a number of others, including working as a travelling insurance salesman. While in Dallas, where the insurance company he worked for was based, he conversed with the presidential candidate John F. Kennedy, his running mate Lyndon B. Johnson, who were touring the city during the 1960 election campaign, took photographs of them. Following Kennedy's assassination in November 1963, Peel passed himself off as a reporter for the Liverpool Echo in order to attend the arraignment of Lee Harvey Oswald, he and a friend can be seen in the footage of the 22/23 November midnight press conference at Dallas Police Department when Oswald was paraded before the media.
He phoned in the story to the Liverpool Echo. While working for the insurance company, Peel wrote programs for punched card entry for an IBM 1410 computer, he got his first radio job, albeit unpaid, working for WRR in Dallas. There, he presented the second hour of the Monday night programme Kat's Karavan, hosted by the American singer and radio personality Jim Lowe. Following this, as Beatlemania hit the United States, Peel got a job with the Dallas radio station KLIF as the official Beatles correspondent on the strength of his connection to Liverpool, he worked for KOMA in Oklahoma City, until 1965 when he moved to KMEN in San Bernardino, using the name John Ravencroft to present the breakfast show. While in Dallas, in 1965, he married his first wife, Shirley Anne Milburn aged 15, in what Peel described as a "mutual defence pact"; the marriage was never happy and although she accompanied Peel back to Britain in 1967, they were soon separated. The divorce became final in 1973. Milburn took her own life.
Peel returned to England in early 1967 and found work with the offshore pirate radio station Radio London. He was offered the midnight-to-two shift, which developed into a programme called The Perfumed Garden, it was on "Big L" that he first adopted the name "John Peel" and established himself as a distinctive radio voice. Peel's show was an outlet for the music of the UK underground scene, he played classic blues, folk music and psychedelic rock, with an emphasis on the new music emerging from Los Angeles and San Francisco. As important as the musical content of the programme was the personal – sometimes confessional – tone of Peel's pres
The British Broadcasting Corporation is a British public service broadcaster. Its headquarters are at Broadcasting House in Westminster, it is the world's oldest national broadcasting organisation and the largest broadcaster in the world by number of employees, it employs over 20,950 staff in total. The total number of staff is 35,402 when part-time and fixed-contract staff are included; the BBC is established under a Royal Charter and operates under its Agreement with the Secretary of State for Digital, Culture and Sport. Its work is funded principally by an annual television licence fee, charged to all British households and organisations using any type of equipment to receive or record live television broadcasts and iPlayer catch-up; the fee is set by the British Government, agreed by Parliament, used to fund the BBC's radio, TV, online services covering the nations and regions of the UK. Since 1 April 2014, it has funded the BBC World Service, which broadcasts in 28 languages and provides comprehensive TV, online services in Arabic and Persian.
Around a quarter of BBC revenues come from its commercial arm BBC Studios Ltd, which sells BBC programmes and services internationally and distributes the BBC's international 24-hour English-language news services BBC World News, from BBC.com, provided by BBC Global News Ltd. From its inception, through the Second World War, to the 21st century, the BBC has played a prominent role in British culture, it is known colloquially as "The Beeb", "Auntie", or a combination of both. Britain's first live public broadcast from the Marconi factory in Chelmsford took place in June 1920, it was sponsored by the Daily Mail's Lord Northcliffe and featured the famous Australian soprano Dame Nellie Melba. The Melba broadcast caught the people's imagination and marked a turning point in the British public's attitude to radio. However, this public enthusiasm was not shared in official circles where such broadcasts were held to interfere with important military and civil communications. By late 1920, pressure from these quarters and uneasiness among the staff of the licensing authority, the General Post Office, was sufficient to lead to a ban on further Chelmsford broadcasts.
But by 1922, the GPO had received nearly 100 broadcast licence requests and moved to rescind its ban in the wake of a petition by 63 wireless societies with over 3,000 members. Anxious to avoid the same chaotic expansion experienced in the United States, the GPO proposed that it would issue a single broadcasting licence to a company jointly owned by a consortium of leading wireless receiver manufactures, to be known as the British Broadcasting Company Ltd. John Reith, a Scottish Calvinist, was appointed its General Manager in December 1922 a few weeks after the company made its first official broadcast; the company was to be financed by a royalty on the sale of BBC wireless receiving sets from approved domestic manufacturers. To this day, the BBC aims to follow the Reithian directive to "inform and entertain"; the financial arrangements soon proved inadequate. Set sales were disappointing as amateurs made their own receivers and listeners bought rival unlicensed sets. By mid-1923, discussions between the GPO and the BBC had become deadlocked and the Postmaster-General commissioned a review of broadcasting by the Sykes Committee.
The Committee recommended a short term reorganisation of licence fees with improved enforcement in order to address the BBC's immediate financial distress, an increased share of the licence revenue split between it and the GPO. This was to be followed by a simple 10 shillings licence fee with no royalty once the wireless manufactures protection expired; the BBC's broadcasting monopoly was made explicit for the duration of its current broadcast licence, as was the prohibition on advertising. The BBC was banned from presenting news bulletins before 19.00 and was required to source all news from external wire services. Mid-1925 found the future of broadcasting under further consideration, this time by the Crawford committee. By now, the BBC, under Reith's leadership, had forged a consensus favouring a continuation of the unified broadcasting service, but more money was still required to finance rapid expansion. Wireless manufacturers were anxious to exit the loss making consortium with Reith keen that the BBC be seen as a public service rather than a commercial enterprise.
The recommendations of the Crawford Committee were published in March the following year and were still under consideration by the GPO when the 1926 general strike broke out in May. The strike temporarily interrupted newspaper production, with restrictions on news bulletins waived, the BBC became the primary source of news for the duration of the crisis; the crisis placed the BBC in a delicate position. On one hand Reith was acutely aware that the Government might exercise its right to commandeer the BBC at any time as a mouthpiece of the Government if the BBC were to step out of line, but on the other he was anxious to maintain public trust by appearing to be acting independently; the Government was divided on how to handle the BBC but ended up trusting Reith, whose opposition to the strike mirrored the PM's own. Thus the BBC was granted sufficient leeway to pursue the Government's objectives in a manner of its own choosing; the resulting coverage of both striker and government viewpoints impressed millions of listeners who were unaware that the PM had broadcast to the nation from Reith's home, using one of Reith's sound bites inserted at the last moment
Patricia Morrison is an American bass guitarist and songwriter. She worked with The Gun Club, Fur Bible, The Sisters of Mercy and The Damned, she was active in the Los Angeles, California punk rock scene in her mid-teens, was a founding member of The Bags in 1976. She left that band after a fallout with Alice Bag, she began Legal Weapon in 1981. Morrison joined The Gun Club in 1982, she formed the band Fur Bible with Kid Congo Powers, performing as the opening act for Siouxsie and the Banshees. It was during this time Morrison was contacted by Andrew Eldritch, asking her to join The Sisters of Mercy, she performed on The Sisters of Mercy's 1987 album Floodland. According to Jennifer Park: The Sisters of Mercy song "Lucretia My Reflection" was written by Eldritch about Morrison; the lyrics compare her to the historical figure of Lucrezia Borgia. She left the band in the early 1990s, claiming money, owed by Eldritch was not paid. In 1994, Morrison released Reflect on This. In 1996, she joined The Damned.
That same year Morrison married the Damned's lead singer Dave Vanian. After giving birth to Emily Vanian in 2004, Morrison retired from the Damned. Http://www.artifixrecords.com/bagsbio.htm 13. Artifixrecords.com March 15, 2003