{"id":9358,"date":"2018-03-13T15:14:15","date_gmt":"2018-03-13T15:14:15","guid":{"rendered":"http:\/\/killyourpetpuppy.co.uk\/news\/?p=9358"},"modified":"2018-04-19T16:30:45","modified_gmt":"2018-04-19T15:30:45","slug":"annie-anxiety-cyanide-tears-alternative-mixes-1981-rema-rema-1978-1979-inflammable-material-records-2014-2015-the-snipers-crass-records-1981-colin-conflict-and-steve-ignorant","status":"publish","type":"post","link":"https:\/\/killyourpetpuppy.co.uk\/news\/annie-anxiety-cyanide-tears-alternative-mixes-1981-rema-rema-1978-1979-inflammable-material-records-2014-2015-the-snipers-crass-records-1981-colin-conflict-and-steve-ignorant\/","title":{"rendered":"Annie Anxiety &#8211; Cyanide Tears &#8211; Alternative Mixes &#8211; 1981 \/ Rema Rema &#8211; 1978 &#038; 1979 &#8211; Inflammable Material Records &#8211; 2014 &#038; 2015 \/ The Snipers &#8211; Crass Records &#8211; 1981 \/ Colin Conflict and Steve Ignorant Discuss The Brixton Academy Gig 1987 \/  Honey Bane &#8211; Sounds Weekly Music Paper Interview &#8211; 1983 \/ Nox Mortis &#8211; Demo Cassette Tape &#8211; 1987"},"content":{"rendered":"<p><iframe loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/uHBkU7GdEWI?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/5rkvy22g2qjopdz\/Crass_-_Annie_Anxiety_Cyanide.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Annie Anxiety \u2013 Cyanide Tears \u2013 Mix 1<\/span><\/strong><\/a><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/x898xakm2hsbx1d\/Crass_-_Annie_Anxiety_Cyanide_mix.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Annie Anxiety \u2013 Cyanide Tears \u2013 Mix 2<\/span><\/strong><\/a><\/p>\n<p>Presenting two mixes of Annie Anxiety\u2019s \u2018Cyanide Tears\u2019.<\/p>\n<p>Both mixes are from the original Southern Studio recordings.<\/p>\n<p>The song \u2018Cyanide Tears\u2019 is intense, and both mixes are altered enough to be worthy of inclusion on this YouTube post.<\/p>\n<p>The first mix is stripped down and tribal, the second mix with added effects overdubbed.<\/p>\n<p>I think the second mix was the mix that ended on the \u2018Barbed Wire Halo\u2019 7\u2033 record, released on Crass Records in 1981.<\/p>\n<p>PLAY LOUD.<\/p>\n<p>The message that is on the screen throughout the whole video:<\/p>\n<p>THE VISUALS THAT ACCOMPANY THE AUDIO OF THESE ANNIE ANXIETY ALTERNATIVE MIXES FOR \u2018CYANIDE TEARS\u2019 FEATURES ANNIE ANXIETY HERSELF WITH STEVE IGNORANT AND PHIL FREE FROM CRASS<\/p>\n<p>THE SCENE WAS SET UP AT DIAL HOUSE FOR A PHOTOGRAPHIC SHOOT \u00a0CONCEIVED AND CARRIED OUT BY ANDY T AND PENNY RIMBAUD FOR THE COVER ARTWORK OF\u00a0\u2018WEARY OF THE FLESH\u2019 7\u2033 SINGLE BY ANDY T RELEASED ON CRASS RECORDS IN 1982<\/p>\n<p>NO PERSON WAS HARMED DURING THIS PHOTOGRAPH SESSION<\/p>\n<p>I HOPE VIEWERS TO THIS YOUTUBE POST WILL NOT BE OFFENDED<\/p>\n<p>If anyone reading this is genuinely offended by those visuals please direct messages to me rather than to YouTube (the company) as I do not particularly want a first strike on my YouTube account for \u2018indecency\u2019.<\/p>\n<p>Words of Kurt B. Reighley:<\/p>\n<p>As befits a lady who once joked that her autobiography should be titled \u2018It Seemed Like A Good Idea at the Time\u2019, Little Annie always lives in the moment. As a result, her art feels both fresh and timeless, no matter where, when, or with whom she makes it.<\/p>\n<p>Annie Anxiety born Ann Robie Bandes O\u2019Connor, grew up in Yonkers, a New York City suburb two miles north and a world away from Manhattan. Movies and music\u2014Sinatra and the Supremes, West Side Story and Song of Bernadette\u2014stimulated her imagination and shaped her aesthetic.<\/p>\n<p>At sixteen, Annie bid \u201cadieu\u201d to \u2018the Sixth Borough\u2019 and dived headfirst into downtown New York\u2019s music scene.<\/p>\n<p>She lived at the Chelsea Hotel and went to the opening of Studio 54. A late 1970s Suicide performance at CBGB\u2019s blew her rapidly-expanding little mind and taught her to never settle for mediocrity.<\/p>\n<p>After seeing her early outfit the Asexuals at Max\u2019s Kansas City in the late \u201970s, Frank Zappa raved about Annie to Songwriter magazine: \u201cThis girl was wearing winter underwear with a black leather coat on top of that, and she had a paper bag with a bottle of vodka in it \u2026 She was screaming about Thorazine and being in a mental hospital and it was real!\u201d<\/p>\n<p>There\u2019s a lot more to that Zappa quote. Google it, please.<\/p>\n<p>That\u2019s the great thing about Little Annie: every time you read about her, or see her one of her paintings, or listen to her sing, you discover something new.<br \/>\n\u200b<br \/>\nFollowing a chance meeting with Crass vocalist Steve Ignorant, Annie accepted his invitation to visit England, where two weeks became a month and eventually thirteen years.<\/p>\n<p>Whilst living at Crass\u2019 commune in Epping Forest, she became the vocalist of an early line up of Rubella Ballet as well as cutting her first single as Annie Anxiety.<\/p>\n<p>Created with Penny Rimbaud, \u2018Barbed Wire Halo\u2019 boasts a pair of claustrophobic tape-loop collages interlaced with Annie\u2019s unnerving vocals.<br \/>\n\u200b<br \/>\nFrom there she entered the orbit of UK dub innovator and On-U Sound label boss Adrian Sherwood. \u201cI kept hearing about this madman who was doing sixty hour sessions,\u201d Annie later recalled. \u201cAdrian and I met, and within half an hour, I was doing sixty hour sessions with him, too.\u201d<\/p>\n<p>She soon moved in his converted garden shed becoming \u2018Auntie\u2019 Annie to his children.<br \/>\n\u200b<br \/>\nWorking with Sherwood, his wife Kishi Yamamoto, members of Tackhead, and the extended On-U Sound family, Annie crafted three remarkable albums, Soul Possession (1984), Jackamo (1987) and Short and Sweet (1992) that stir deep reggae grooves, leftfield electronics, and Annie\u2019s acute lyrics into post-punk\u2019s sonic sea of possibilities.<\/p>\n<p>Her towering Rastafarian cohorts re-christened their diminutive colleague \u201cLittle Annie.\u201d<\/p>\n<p>A number of collaborations around this time showcased her versatile talent, including spots with Coil, the Wolfgang Press, Bim Sherman, Lee \u201cScratch\u201d Perry, Missing Brazilians, and Current 93.<\/p>\n<p>Alas, the rumoured track she cut with Paul Oakenfold and Primal Scream\u2019s Bobby Gillespie still remains unreleased.<\/p>\n<p>Reba Maybury asks:<\/p>\n<p>One of my favourite records of yours is when you were under the name Annie Anxiety and you were living with Crass at Dial House in Essex. What was it like being there as a young woman from New York and making such progressive music?<\/p>\n<p>Annie replies:<\/p>\n<p>It was exhilarating and it felt like a honest place to be. It aligned with everything I already knew I believed in. You know what? When me and Penny Rimbaud were making Barbed Wire Halo, we thought that we were making a disco record! Honestly, I know it might not sound like that but we loved listening to disco together!<\/p>\n<p>Indebted to Penny and Gordon.<\/p>\n<p><iframe loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/nRgD8jTfPXc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/3cpqbcxtawtif9c\/Rema_Rema_-_Inflammable_Material_0001.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Rema Rema Track 1<\/span><\/strong><\/a><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/55afdf3hmzns4j8\/Rema_Rema_-_Inflammable_Material_0002.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Rema Rema Track 2<\/span><\/strong><\/a><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/k8irohuhbcia46u\/Rema_Rema_-_Inflammable_Material_0003.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Rema Rema Track 3<\/span><\/strong><\/a><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/755i4u7oq3pvy9a\/Rema_Rema_-_Inflammable_Material_0004.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Rema Rema Track 4<\/span><\/strong><\/a><\/p>\n<p>I love a nice surprise and today (18th April 2014) I get home to find Defiant Pose fanzine volume 8 on my doorstep out of the blue.<\/p>\n<p>Included within the package are two copies of \u2018International Scale\u2019, an incredible 7\u2033 single by Rema Rema, and a 7\u2033 record pressed up on the heaviest vinyl I have had the pleasure of holding!<\/p>\n<p>Along with the normal version of the record, I was also sent (of which I am greatly indebted to Mike) the limited edition sleeve version of the record.<\/p>\n<p>The record is exactly the same but the artwork for the limited edition is a different design and colour.<\/p>\n<p>The quantity of the limited sleeve edition is 30 copies.<\/p>\n<p>I was sent number 6 \/ 30.<\/p>\n<p>The record been on the record player over and over since the opening of the package.<\/p>\n<p>Inside the Defiant Pose fanzine there is an informative ten pages on Rema Rema, three pages on The Stench (from 1976), eight pages on The Heretics and three pages on Blood And Roses.<\/p>\n<p>Thanks to Mike Clarke (Defiant Pose head honcho and also the guitarist from Decadent Few) for sending me this wonderful fanzine and record\u2026<\/p>\n<p>Every like minded soul should get a copy of this fanzine and record package.<\/p>\n<p>*** FAST FORWARD ***<\/p>\n<p>For the second time in just over a year (19th July 2015) I get a totally unexpected box of goodies from Mike Clarke, Defiant Pose fanzine editor and owner of Inflammable Material records.<\/p>\n<p>This time the box contained two Rema Rema 12\u2033 singles.<\/p>\n<p>Two different sleeve versions of the track \u2018Entry \/ Exit\u2019, a track that Charisma Records rejected during the bands lifetime for \u201cBlasphemous Content\u201d.<\/p>\n<p>The track itself is a six minute slow bass led plodder with some great feedback guitar work from Marco, and a call and response vocal style.<\/p>\n<p>And yes, the lyrics might be labelled blasphemous.<\/p>\n<p>The B \u2013 side of \u2018Entry \/ Exit\u2019 is a stripped down instrumental version.<\/p>\n<p>I was also sent (of which I am greatly indebted to Mike) the limited edition sleeve version of \u2018Entry \/ Exit\u2019.<\/p>\n<p>The record is the same but the artwork for the limited edition is a different design which is screen printed.<\/p>\n<p>The quantity of the limited sleeve edition is 50 copies.<\/p>\n<p>I was sent number 50 \/ 50.<\/p>\n<p>*** Text below by Mike Defiant Pose fanzine and Inflammable Material Records ***<\/p>\n<p>I started a fanzine in 1978 called Love And Romance, we planned to interview the Slits, Subway Sect and Siouxsie, but it fell apart in the planning stage.<\/p>\n<p>The singer of They Must Be Russians found out Siouxsie\u2019s real surname and rang her mum\u2019s phone number in Chislehurst, Kent and kept ringing it. I think Siouxsie herself was having her Sunday dinner there one day and gave him a mouthful when he called for the umpteenth time.<\/p>\n<p>I managed to almost interview Tessa from the Slits down the Portobello Road but we drank too much and smoked too many of the joints piled inside her handbag and both gradually lost the ability to form sentences.<\/p>\n<p>The other guy helping me met the Subway Sect at their rehearsal place, but they just stared at him catatonically whilst picking at their Oxfam jumpers and he forgot to turn the cassette recorder on, so that was that.<\/p>\n<p>I got Defiant Pose going in 1980, did three scrappy issues by 1981, nothing important; a mate used to print them at his work after everyone went home.<\/p>\n<p>We would sell them to people in the street, deliberately not always to punks. The only positive thing was I moaned how nothing was happening locally and a month later two new fanzines started in Slough and sent me copies so it does work sometimes!<\/p>\n<p>The fanzine came back in 2001 because I\u2019d written a lot of stuff in the intervening years so had some friends, and suddenly we had the time to do it again.<\/p>\n<p>We thought most fanzines were stuck in the same dull blueprint they\u2019d followed since the mid-80\u2019s and lost that attitude.<\/p>\n<p>It\u2019s also a conscious alternative to the interminable array of UK fanzines that simply follow the US format of columns\/reviews.<\/p>\n<p>After X amount of years of doing a label we rarely got an order based on a good `zine review, especially compared to the impact of seeing a band live.<\/p>\n<p>People have called Defiant Pose nostalgic, but we wrote so much stuff that it\u2019ll take a few issues to get up to date with it all!<\/p>\n<p>For details of how to get in touch with Defiant Pose fanzine or Inflammable Material Records please check the flyers toward the end of this YouTube video.<\/p>\n<p><iframe loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/1ISQ959mmcY?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/qg7vqmphzv1jlio\/The_Snipers_-_Crass_Records_-_19810001.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">The Snipers Side 1<\/span><\/strong><\/a><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/5fl8p37fbvt8b66\/The_Snipers_-_Crass_Records_-_19810002.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">The Snipers Side 2<\/span><\/strong><\/a><\/p>\n<p>The Snipers, who I know next to nothing about except that they were on \u2018Bullshit Detector\u2019, and had this one 7\u2033 single entitled \u2018Three Piece Suite\u2019, both released on Crass Records, which I liked and all my mates hated!<\/p>\n<p>One of my gripes about the Crass record label, or perhaps more specifically some peoples views on the Crass record label, is that lazy remark; \u201cAll those records on that record label are just noisy thrash\u201d or varying versions of those words, perhaps with an added: \u201cAll sound the same\u201d remark for good measure. .<\/p>\n<p>The Crass record label released a heap of records of many differing styles.<\/p>\n<p>I reckon Annie Anxiety would have a hard time (on any record label not just Crass Records) sounding anything like any other artist or band. Lack Of Knowledge, M.D.C, Poison Girls, Zounds, D & V, Andy T or The Mob, neither Rudimentary Peni or K.U.K.L and many others on that label.<\/p>\n<p>This record by The Snipers, is one of my favourite 7\u2033 singles on the Crass record label and is often overlooked. Criminally overlooked in my opinion!<\/p>\n<p>Starting off with \u2018Parents Of God\u2019, a slow tom tom drum v bass guitar drone workout, followed by a guitar sound so sharp that Keith Levine from P.I.L should have sued Crass Records AND The Snipers, just as \u2018Flowers Of Romance\u2019 was being recorded. Wolfgang Press were also recording music similar to this \u2018Parents Of God\u2019 track around this time. Certainly The Snipers finding themselves in good company. This is a startling track.<\/p>\n<p>The other side starts with \u20183 Piece Bores\u2019 and the drummer finds a snare drum from somewhere and batters that about, while blissfully unaware that when the record would finally be released, hundreds of Crasstafarians would jump up and down in their parents homes for a little over two minutes while praising the Lord (Penny Rimbaud) that at least one track on this bloody record sounds a\u2019 bit like\u2019 Crass \/ D.I.R.T \/ Conflict \/ ENTER NAME OF BAND HERE. *** It doesn\u2019t by the way ***<\/p>\n<p>The third track \u2018Nothing New\u2019 concludes this 7\u2033 single on a high. A \u2018call and response\u2019 battle between the bass and guitar, well written lyrics with the words \u2018sung\u2019 in such a \u2018bored matter of fact way\u2019, for the casual listener to think that perhaps he was reading the lyrics from a school notebook in a dark studio in Wood Green squinting at the words. But it all works. Wonderfully. For the last few seconds as the final bar chords make a pleasantly loud crescendo, it makes you wonder where the hell were all those bar chords hiding before that moment!<\/p>\n<p>This record is classic, and it never sold!!!<\/p>\n<p>Perhaps the band should have just sounded like Crass after all huh?<\/p>\n<p>For the record my favourite 7\u2033 single on the Crass record label is \u2018Bloody Revolutions \/ Persons Unknown\u2019 a split Crass and Poison Girls record, closely followed by \u2018No Doves Fly Here\u2019 by The Mob.<\/p>\n<p>The text below ripped from Listen And Understand blog.<\/p>\n<p>The Snipers formed in late 1979 in Oxfordshire. The band compromised of Russell Bowers on vocals, Dave \u2018Bungi\u2019 Hounslow on guitar, Steve \u2018Wacker\u2019 Harris on bass and Mark Taplin on drums.<\/p>\n<p>They were inspired by Crass to start a band, even though none of them could play and none of them had any equipment (what they did find was crap, such as a Colombus bass, homemade guitar, half a drum set and a 15 watt practice amp).<\/p>\n<p>They were going to originally be called The Sinyx, but changed it to The Snipers upon finding out that it had already been taken.<\/p>\n<p>Early practices were done at Russell\u2019s parents garage.<\/p>\n<p>It took at least ten months of writing songs and practicing before they played their first gig at a Christmas party in the Victory Hut, a community centre from Brize Norton (a leftover hut from World War II).<\/p>\n<p>The Snipers then recorded their first demo in Bourten, Gloucestershire possible around 1980.<\/p>\n<p>They shared it with their friends and sent one to Crass.<\/p>\n<p>Crass pulled their track \u2018War Song\u2019 for Bullshit Detector 1.<\/p>\n<p>A second Demo was recorded, three of those tracks ended up on their 1981 7\u2033 single \u2018Three Piece Suite\u2019 for Crass Records, and the other three tracks on a compilation, \u2018Spirit of an Old Age Anthem\u2019 cassette tape was released in 1982, and was the last thing the band released.<\/p>\n<p>They played their last gig at the Wapping Anarchy Centre with Failing Parachutes in support, a band that is included in their compilation tape.<\/p>\n<p>Mark eventually moved to Telford, and this led to the band becoming less active, and ultimately, their demise.<\/p>\n<p>They had no interest in replacing Mark, since the band was made out of friendship.<\/p>\n<p><iframe loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/Dop6-_wQFIc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><\/p>\n<p>All The Madmen Records had laid out a stall in the foyer at this gig, along with many other small companies and direct action folks.<\/p>\n<p>Sean \u2018Gummidge\u2019, Rob C and myself pretty much took it in turns to go up the stairs to the balcony (it was easier than squeezing through the ground floor crowds) to watch bits of the bands. I caught bits of Benjamin Zephaniah, Thatcher On Acid, and quite a bit of Conflict.<\/p>\n<p>I did not see the final twenty or so minutes, so I missed the aggro on the stage, but I did get word of trouble, and I did see hordes of people exiting, some with the help of a bouncer\u2019s boot. I witnessed the trouble outside through the relative safety of the foyer, packing up the All The Madmen Records stall.<\/p>\n<p>Myself and Sean walked through the riot, burdened with unsold records and cassette tapes, and after a while of general aggravation, made it up Brixton Hill to the Elm Park squat, to sleep and a chance to dream!<\/p>\n<p>Woke up, and wandered around Brixton. Sean\u2019s favourite shop, Spud U Like, had been trashed, as well as Dr Barnardos on the corner. Not the highest ranking organisations to have been pulled apart that\u2019s for sure!<\/p>\n<p>Part of an interview with Colin Conflict below courtesy of Art Of The State blog.<\/p>\n<p>So, what happened to all the money at Brixton?<\/p>\n<p>\u201cWe didn\u2019t get a penny. We got a \u00a31000 bill for damages and we\u2019d really like people to ring up the Academy and give them hassle as they ripped everyone off. They tried telling us there was only two thousand people there but before that they\u2019d told us that downstairs held four thousand and then they\u2019d open upstairs and as far as I was concerned downstairs looked pretty packed. London Greenpeace rang up today and said where\u2019s all our money and I had to say there wasn\u2019t any, just what you took on the stall. I don\u2019t think the Academy made a lot of money as these damages might have occurred. I\u2019ve got a big list, a complete toilet, two toilet seats, a sink, a mirror, marble upstairs and graffiti removal was \u00a3150. At the end there was about \u00a31000 profit and they just happened to hit us for that\u201d.<\/p>\n<p>Are they trying to get money off you now?<\/p>\n<p>\u201cNo, they won\u2019t be able to there was no contract or anything\u201d.<\/p>\n<p>What was all that stuff in Sounds about Brixton Police?<\/p>\n<p>\u201cWe went for a meeting with them last week because first of all they wanted to do us for incitement to riot charges because although we didn\u2019t know at the time they had uniformed officers on the balcony watching the gig who the Academy had let in so they saw everything. We\u2019ve got the CRASS lawyers who look at lyrics to make sure we can\u2019t get done for sedition etc. and they reckon we\u2019ll get off it. There were a few handouts going round at the gig inciting the trouble which we knew nothing about\u201d.<\/p>\n<p>What happened with the security?<\/p>\n<p>\u201cThey all got tooled up to beat the band up afterwards because during \u2018Mighty and Superior\u2019 they dragged some bloke up on stage and were beating the shit out of him so Paco (drummer) just stopped and had a go at them. They were heavy, they had dogs at the back of the stage. They were really over the top, the Academy hired seventy five extra security as the police tried to call the gig off on the Monday because a traffic warden found a hand out in the street which was one we done, the map. The police took it to the Academy and they wanted the gig off but by then the Academy had already spent money and we\u2019d paid for the press adverts so they decided to go through with it but they did tell us it would be a strict security operation which is why we asked them if we could have our own security at the front of the stage and when we started playing people clambered over and the said take \u2019em out now or don\u2019t play. Despite this I think the whole thing was good\u201d.<\/p>\n<p>Do you think it achieved anything?<\/p>\n<p>\u201cI\u2019m not sure if it actually achieved anything, it was good to pull so many people together. We all felt that but at the same time we felt it was too vast to cope with. Just the sheer size of the stage meant I couldn\u2019t control it whereas normally I can persuade people to get off. Steve got shook up because in the second song he did, someone got up and flattened him. A lot of people have said when we have done big gigs before that they\u2019re good as they see people they haven\u2019t seen for ages or meet people they write to. It worked well in that way. We did an interview with some bloke from the News of the World and what we\u2019re doing is winding everybody up and one idea we\u2019ve had is to announce a tour of the country in all the trouble spots like Broadwater Farm estate etc. We found out through the National Council For Civil Liberties they can only ban us from playing for six months anyway. We were going to play under a different name like the \u201cUngovernable Force\u201d but that would have been too obvious. Like, when we went down Brixton police Station they had all our records out on the table as we walked in\u201d.<\/p>\n<p>Indebted to Penny and Gordon.<\/p>\n<p><iframe loading=\"lazy\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/R-9PN88AP1Q?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><\/p>\n<p>This unedited audio of the interview between Honey Bane and Gary Bushell recorded in either a caf\u00e9 or a pub is a complete and utter train-wreck.<\/p>\n<p>This train-wreck is not Garry Bushell\u2019s fault, far from it, as he only has a very small part to play, and is mainly silent throughout the one and a quarter hours of raw audio.<\/p>\n<p>On the face of it there seems to be \u2018issues\u2019 between Honey Bane and her EMI publicist.<\/p>\n<p>\u2018Issues\u2019 that last for the entire period of this interview.<\/p>\n<p>Remember\u2026 One and a quarter hours of raw audio!<\/p>\n<p>The same anti-EMI (her record label) gripes are thrown by Honey Bane towards the EMI publicist, who is consistently placed on the defensive trying to defend the company he works for, while also trying to salvage a music paper interview, gripes seemingly on a loop.<\/p>\n<p>A certain deja vu is experienced as issues of money, image, EMI involvement in weapons and commercialisation, EMI making her a pop commodity etc etc, come up again and again.<\/p>\n<p>The listener will perhaps sympathise with the EMI publicist as he is put upon, after all, later on in the interview he reveals that he has only been looking after Honey Banes affairs for \u2018three weeks\u2019.<\/p>\n<p>This interview is quite hard listening, Bushell asking a question when he can during this complete verbal breakdown between two people sitting on the same table, much of which, presumably, making Gary Bushell scratch his balding head!<\/p>\n<p>BUT, and there is always a BUT.<\/p>\n<p>The EMI publicist was FAKE.<\/p>\n<p>Honey Bane was real.<\/p>\n<p>Garry Bushell was real.<\/p>\n<p>There are no doubt many reasons why Crass thought that they would find it worthy to scam Garry Bushell, and some reasons perhaps justified.<\/p>\n<p>But in this example, the scam seems to be totally unnecessary, and with no end point, relevant to Bushell, Crass, Honey Bane or the Sounds weekly music paper.<\/p>\n<p>Why Honey Bane decided to act her part of the \u2018good cop bad cop\u2019 performance with a member of Crass is a mystery to me.<\/p>\n<p>From what I understand the Sounds interview was not published perhaps partly as barely a question could be fitted in by Bushell during the prolonged bickering!<\/p>\n<p>Gary Bushell was never told about the scam wherever it was recorded at the time, which might have seemed a likely end point<br \/>\n(although I doubt he would have cared if all was revealed after the drinks bill was paid, nor I doubt he would been that impressed with wasting over an hour of his own time).<\/p>\n<p>Crass never really pushed the media on this \u2018high jacked Sounds interview\u2019, as they had done with the covert \u2018Our Wedding\u2019 flexi, the \u2018Falklands\u2019 flexi or the \u2018Thatchergate Tapes\u2019, perhaps in part due to the pointlessness of the scam, and perhaps due to a little bit of embarrassment in putting Honey Bane into that situation, for reasons that elude me at least.<\/p>\n<p>The scam certainly never ignited her music career in any case!<\/p>\n<p>Perhaps, paradoxically, it was good \u2018acting\u2019 experience for her film role in \u2018Scrubbers\u2019, a \u2018Scum\u2019 style film set in a female borstal, or her theatre work involvement with Richard Jobson of Skids!<\/p>\n<p>For the visuals I have scanned in a REAL Honey Bane interview that was published in the October 1980 issue of the Zig Zag magazine!<\/p>\n<p>Very much indebted to Penny and Gordon\u2026<\/p>\n<p><iframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/_qhxzRETOL8?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/4cols2t1giriqsu\/Nox_Mortis_0001.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Nox Mortis Track 1<\/span><\/strong><\/a><\/p>\n<p><a href=\"http:\/\/www.mediafire.com\/file\/e7x4sawcp44erdf\/Nox_Mortis_0002.mp3\" target=\"_blank\" rel=\"noopener\"><strong><span style=\"color: #800000;\">Nox Mortis Track 2<\/span><\/strong><\/a><\/p>\n<p>Nox Mortis were a band from Southampton, starting life as Suicide Pact around 1985. The line up consisted of Simon on the vocals and bass guitar, Paul on guitar, and Andy on the drums.<\/p>\n<p>The band did not gig often although I saw them maybe two or three times, the band only had one appearance on vinyl, the \u2018Shall We Dance\u2019 album on Meantime Records.<\/p>\n<p>This record was meant to be a split album with Crow People, but ended up as a four band compilation featuring Nox Mortis, Joyce McKinney Experience, Decadence Within and the Incest Brothers.<\/p>\n<p>The sound of Nox Mortis, could be compared (and everyone loves comparisons) to Thatcher On Acid, a band that were on All The Madmen Records but soon to have a record released on Meantime Records in their own right\u2026<\/p>\n<p>Nox Mortis arranged several World War 1 poems to their music, the results of those arrangements feature on this cassette demo.<\/p>\n<p>Along with the strong anti-war sentiments, Nox Mortis were also sincere animal rights activists.<\/p>\n<p>The band were very pleasant to talk to, and I did talk to them on several occasions at gigs (not just their own) but with great sadness Simon, the vocalist and bassist, tall, blonde and beautiful who\u2019s health was frail enough already, passed away very young, a few years after this cassette tape was released.<\/p>\n<p>Simon needed regular blood transfusions, and was injected at the hospital with blood contaminated with H.I.V and became ill very quickly.<\/p>\n<p>R.I.P. Simon<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Annie Anxiety \u2013 Cyanide Tears \u2013 Mix 1 Annie Anxiety \u2013 Cyanide Tears \u2013 Mix 2 Presenting two mixes of Annie Anxiety\u2019s \u2018Cyanide Tears\u2019. Both mixes are from the original Southern Studio recordings. The song \u2018Cyanide Tears\u2019 is intense, and both mixes are altered enough to be worthy of inclusion on this YouTube post. The [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-9358","post","type-post","status-publish","format-standard","hentry","category-links-downloads"],"_links":{"self":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/9358","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/comments?post=9358"}],"version-history":[{"count":13,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/9358\/revisions"}],"predecessor-version":[{"id":9377,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/9358\/revisions\/9377"}],"wp:attachment":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/media?parent=9358"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/categories?post=9358"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/tags?post=9358"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}