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Product details
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Track Listings
| 1. Dish It Out - James Chance |
| 2. Flip Your Face - James Chance |
| 3. Jaded - James Chance |
| 4. I Can't Stand Myself - James Chance |
| 5. Burning Rubber - Teenage Jesus And the Jerks |
| 6. The Closet - Teenage Jesus And the Jerks |
| 7. Red Alert - Teenage Jesus And the Jerks |
| 8. I Woke Up Dreaming - Teenage Jesus And the Jerks |
| 9. Helen Fordsdale - Mars |
| 10. Hairwaves - Mars |
| 11. Tunnel - Mars |
| 12. Puerto Rican Ghost - Mars |
| 13. Egomaniac's Kiss - D.N.A. |
| 14. Lionel - D.N.A. |
| 15. Not Moving - D.N.A. |
| 16. Size - D.N.A. |
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Customer Reviews
Most Helpful Customer Reviews
9 of 12 people found the following review helpful
Format:Audio CD
The late 1970s saw an art-rock inspired scene develop in New York, 'No New York' is Brian Eno's selection of four of the bands at the time - Contortions, Teenage Jesus & the Jerks, Mars & DNA - each act contributing four tracks apiece (only Mars worked directly with Eno - those four tracks should be considered alongside Eno's collaborative work with Talking Heads, Devo, & Bowie at the time). This album became very hip in the late 1970s/early 1980s and was seen as an indicator of cool, a now-Nuggets for the late 70s - it's even ironically namechecked by Lester Bangs in an article collected in book form - itself quite hip these days...Perhaps this works as a historical document like the book 'Please Kill Me' which focuses on some of the acts here (as does a chapter in the excellent 'Rip It Up & Start Again')
The four acts found here weren't the sum of the No Wave scene - the 2003 compilation 'N.Y. No Wave' (released on ZE records) is more balanced - adding names like Rosa Yemen, Arto/Neto, the legendary Suicide, Lizzie Mercier Descloux- as well as the performers here and in slightly different contortions (Lydia Lunch solo, the shifts Contortions took). That collection is probably a better primer and paved the way for the whole Ze-scene that followed (Kid Creole, Was (Not Was)) and the harsher NY sounds a few years later (Sonic Youth, Swans). The Lydia Lunch track on 'N.Y. No Wave' is proof she got better as an artist and that Teenage Jesus & the Jerks might he historically significant or good for a track or two, aren't necessarily more listenable than acts such as Minor Threat, The Germs & Nation of Ulysses. Her 'Queen of Siam' LP is excellent, as is the material collected on 'Stinkfist' and the fantastic LP she recorded with the former Birthday Party member Rowland S. Howard, 'Shotgun Wedding.'
'No New York' is a key record of the era and a record of historical significance - the 'N.Y. No Wave'-compilation is more obligatory and an ideal companion...
Format:Audio CD
Stuck this on the speaker system at Chelmsford Art College when I went to visit a friend back in 1980. It lasted about 5 tracks before someone came up and politely asked me if it could be removed.
It is angular, difficult, primitive angst, no choppy Chic Moroder we are a happy family harmonies here. It is the sound of a group of new New Yorkers coalescing around the bad times, recreating their surroundings and personal histories with screams of therapeutic release. Unlike most other avant forms of rock there were a great deal of women involved.
Yoko Ono emerges through the cracks, the howls of suffocating imprisonment finding a release through some form of catharsis. It was no wonder the Essex art students found it "difficult", it deals essentially with taboo, the hidden emotions nominally, depression. Usually everyone is swathed in a bonhomie about struggle and overcoming. This music was about engulfing yourself in angst combinging Yoko with Curtis.
It is a blue print for the slabs of granite that emerged later. Not the type of album they will recreate a West End musical from, that requires a certain bottom squelching sense of rawk spiritual. Neither is it the type of music you can party to, although James Chance makes a nod to black funk. His Sax always reminde me of Sooty screaming his anger onto Sweep. This brims with ideas of angst and vitriol, stripped down ideologicaly, providing another byway for popular music to travel down. The sheer anger needed balance and Helen Forsdale jumps out, as the animus to the anima. Eno brought out the clash of metal an antithesis to his pitter patter sounds of ambience.
If you want to discover the roots to noise, were there at the time, looking for ideas to play in a non boogie woogie way then this is for you. If you are looking for something to sway your body then try the later Contortions, punk funk. Lydia's opus veers over 5 decades and 13/13 is the devil's favorite. Mars and DNA also have full length features available.
The best was yet to come as Sonic Youth, Swans and eventually all left field music incorporated elements of these sounds.
I wonder how many of those art students discovered non linear art? Grayson Perry at least.
It is angular, difficult, primitive angst, no choppy Chic Moroder we are a happy family harmonies here. It is the sound of a group of new New Yorkers coalescing around the bad times, recreating their surroundings and personal histories with screams of therapeutic release. Unlike most other avant forms of rock there were a great deal of women involved.
Yoko Ono emerges through the cracks, the howls of suffocating imprisonment finding a release through some form of catharsis. It was no wonder the Essex art students found it "difficult", it deals essentially with taboo, the hidden emotions nominally, depression. Usually everyone is swathed in a bonhomie about struggle and overcoming. This music was about engulfing yourself in angst combinging Yoko with Curtis.
It is a blue print for the slabs of granite that emerged later. Not the type of album they will recreate a West End musical from, that requires a certain bottom squelching sense of rawk spiritual. Neither is it the type of music you can party to, although James Chance makes a nod to black funk. His Sax always reminde me of Sooty screaming his anger onto Sweep. This brims with ideas of angst and vitriol, stripped down ideologicaly, providing another byway for popular music to travel down. The sheer anger needed balance and Helen Forsdale jumps out, as the animus to the anima. Eno brought out the clash of metal an antithesis to his pitter patter sounds of ambience.
If you want to discover the roots to noise, were there at the time, looking for ideas to play in a non boogie woogie way then this is for you. If you are looking for something to sway your body then try the later Contortions, punk funk. Lydia's opus veers over 5 decades and 13/13 is the devil's favorite. Mars and DNA also have full length features available.
The best was yet to come as Sonic Youth, Swans and eventually all left field music incorporated elements of these sounds.
I wonder how many of those art students discovered non linear art? Grayson Perry at least.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
7 reviews
21 of 25 people found the following review helpful
The finest album of its kind, 4 NY No Wave bands' finest
13 Jan 2006
Format:Audio CD
This album is legendary. So much so there was a Yes L.A. album about 1981 with X and some other bands on nice clear vinyl. Somehow when Eno produced the music here of all 4 bands he was able to have them make clearly their own music, ie, a good producer who enhances the band's qualities rather than try to contort them for mass consumption or to the producer's musical style.
As with all great punk compilations this is really the equivilent of 4 great eps. There is not a weak song on this comp. If you listen to the entire catalogs of each band I think it's fair to say this is the best stuff each band ever did, although I'm not gonna make a big deal about it particularly because each band also did marvelous other releases. TEENAGE JESUS and the JERKS, DNA and Mars each ended up only doing another half hour to an hour's worth of music, all together on some 12"s and 7"s and, come to think of it, none of the three of them even did one album (not counting the reissue albums of recent years that are a collection of their 7"s, eps, 12"s and compilation trax).
Of course, JAMES CHANCE and the CONTORTIONS/JAMES WHITE and the BLACKS did a number of albums over the years, mainly in the 80's and, if you ask me, the earliest ones were the best.
Sure, this isn't hardcore punk. It's not anything I ever heard come out of England or any other punk producing country either (Spain, Finland, Italy, Brasil, Japan, Australia, Canada and, of course, the U.S. among others). This album is filled with that high falutin' high class, sophisticated attitude. It's a New York thing baby. In punk, as in rock 'n roll before big corporate music companies homogonized the U.S. scene, that is, say the 50's and earlier 60's, individual regions, sometimes even certain big cities, had their own scene and their own sound. In punk Boston had a big straight edge scene, D.C. flowed out of and around the Dischord label, S.F. had the DK's and bands that pushed the artistic envelop of punk, Austin! had a thriving scene that actually ended up sending a number of bands to S.F. - if I'm not mistaken MDC, DRI and some other big punk band. L.A., of course, and, really, even sections of Southern California with it's own little scenes like San Diego and Riverside and so on, had it's own sense and type of bands like BAD RELIGION, CHINA WHITE, X, CIRCLE JERKS, BLACK FLAG and so on. Some cities just produced say one big punk band like Phoenix had, well, JFA and the MEAT PUPPETS, SIN 34 from Tucson right? RHYTHM PIGS from El Paso, the BATTALION OF SAINTS from San Diego, and so on.
Well, I could go on. The point is, New York had this distinct scene that was all big city and these 4 bands got the spirit of the city right and they got their own name for their thing, No Wave.
If you haven't heard these bands it's:
JAMES CHANCE sax and sorta homage to JAMES BROWN time.
TEENAGE JESUS Lydia Lunch's intense vocals and defining grating guitar with tight band.
DNA trio with intense minimalism, harsh guitar and
MARS outdoing DNA and TEENAGE JESUS as the most harsh yet somehow usually riviting nearly industrial piledriving punk ever heard this side of THROBBING GRISTLE without really being industrial, sorta emotional industrial?
Go get it kids. This is a gotta have if you follow what I'm sayin' here. chrisbct@hotmail.com
As with all great punk compilations this is really the equivilent of 4 great eps. There is not a weak song on this comp. If you listen to the entire catalogs of each band I think it's fair to say this is the best stuff each band ever did, although I'm not gonna make a big deal about it particularly because each band also did marvelous other releases. TEENAGE JESUS and the JERKS, DNA and Mars each ended up only doing another half hour to an hour's worth of music, all together on some 12"s and 7"s and, come to think of it, none of the three of them even did one album (not counting the reissue albums of recent years that are a collection of their 7"s, eps, 12"s and compilation trax).
Of course, JAMES CHANCE and the CONTORTIONS/JAMES WHITE and the BLACKS did a number of albums over the years, mainly in the 80's and, if you ask me, the earliest ones were the best.
Sure, this isn't hardcore punk. It's not anything I ever heard come out of England or any other punk producing country either (Spain, Finland, Italy, Brasil, Japan, Australia, Canada and, of course, the U.S. among others). This album is filled with that high falutin' high class, sophisticated attitude. It's a New York thing baby. In punk, as in rock 'n roll before big corporate music companies homogonized the U.S. scene, that is, say the 50's and earlier 60's, individual regions, sometimes even certain big cities, had their own scene and their own sound. In punk Boston had a big straight edge scene, D.C. flowed out of and around the Dischord label, S.F. had the DK's and bands that pushed the artistic envelop of punk, Austin! had a thriving scene that actually ended up sending a number of bands to S.F. - if I'm not mistaken MDC, DRI and some other big punk band. L.A., of course, and, really, even sections of Southern California with it's own little scenes like San Diego and Riverside and so on, had it's own sense and type of bands like BAD RELIGION, CHINA WHITE, X, CIRCLE JERKS, BLACK FLAG and so on. Some cities just produced say one big punk band like Phoenix had, well, JFA and the MEAT PUPPETS, SIN 34 from Tucson right? RHYTHM PIGS from El Paso, the BATTALION OF SAINTS from San Diego, and so on.
Well, I could go on. The point is, New York had this distinct scene that was all big city and these 4 bands got the spirit of the city right and they got their own name for their thing, No Wave.
If you haven't heard these bands it's:
JAMES CHANCE sax and sorta homage to JAMES BROWN time.
TEENAGE JESUS Lydia Lunch's intense vocals and defining grating guitar with tight band.
DNA trio with intense minimalism, harsh guitar and
MARS outdoing DNA and TEENAGE JESUS as the most harsh yet somehow usually riviting nearly industrial piledriving punk ever heard this side of THROBBING GRISTLE without really being industrial, sorta emotional industrial?
Go get it kids. This is a gotta have if you follow what I'm sayin' here. chrisbct@hotmail.com
1 of 1 people found the following review helpful
Challenging But Very Rewarding
27 May 2008
Format:Audio CD
No New York is the famous compilation produced by endlessly talented Brian Eno which documents the New York post-punk/noise movement known as "No Wave". "No Wave" of course is an artistic rejection of the glam-rock inspired new wave movement at the time. That Eno's early career was considered glam-rock only helps to show how board his artistic appreciation of all music is, it's so different from what he usually works with yet makes perfect sense.
The album is composed of four sets of four songs, each set by a different artist. The first set is James Chance and the Contortions, the second Teenage Jesus & The Jerks, third Mars, and the final four songs are by D.N.A.
What all the artists share is a penchant for noisy, dissonant, confrontational post-punk informed music. However the artists are all quite different in their approaches and personalities.
James Chance and the Contortions' set is a lot of fun. Loud completely out of tune saxes skronk endlessly as Chance spews forth a relentless vocal assault over heavy loopy bass lines. The complete disregard for convention in every sense is what makes this group so captivating; Chance clearly doesn't care what you think.
For me Teenage Jesus and the Jerks is the odd one out in this collection. Their sound is more unrefined than other artists on this disc. To me they sound like a sloppy goth post-punk group. They lack the strong rhythms and high activity of other artists on this disc, instead relying on caustic-creepiness, a stripped-down sound, and singer Lydia Lunch's truly jarring vocal delivery. Not my cup of tea, but I can see why Eno included them from a historical perspective.
Mars is an interesting act. For me the standout from their set is the instrumental/ambient experimentalism displayed on "Hairwaves". Other tracks like "Puerto Rican Ghost" feature attacks of noisy feedback and dissonant male/female vocals which succeed by being as interesting and propulsive as they are strange and off-putting.
D.N.A.'s use of electronics along with the signature No Wave dissonance and feedback makes them unique in this collection. "Not Moving" is so weird, everything sounds wrong (in a good way), guitars are abused and the whole thing is just fascinating.
I'm making plans to investigate the Contortions and D.N.A. further. Overall the collection succeeds as it is billed, as the official go-to document of the New York No Wave scene circa late `70s, recommended for fans of RIO, experimental music, punk or noise rock. Careful with those ears.
The album is composed of four sets of four songs, each set by a different artist. The first set is James Chance and the Contortions, the second Teenage Jesus & The Jerks, third Mars, and the final four songs are by D.N.A.
What all the artists share is a penchant for noisy, dissonant, confrontational post-punk informed music. However the artists are all quite different in their approaches and personalities.
James Chance and the Contortions' set is a lot of fun. Loud completely out of tune saxes skronk endlessly as Chance spews forth a relentless vocal assault over heavy loopy bass lines. The complete disregard for convention in every sense is what makes this group so captivating; Chance clearly doesn't care what you think.
For me Teenage Jesus and the Jerks is the odd one out in this collection. Their sound is more unrefined than other artists on this disc. To me they sound like a sloppy goth post-punk group. They lack the strong rhythms and high activity of other artists on this disc, instead relying on caustic-creepiness, a stripped-down sound, and singer Lydia Lunch's truly jarring vocal delivery. Not my cup of tea, but I can see why Eno included them from a historical perspective.
Mars is an interesting act. For me the standout from their set is the instrumental/ambient experimentalism displayed on "Hairwaves". Other tracks like "Puerto Rican Ghost" feature attacks of noisy feedback and dissonant male/female vocals which succeed by being as interesting and propulsive as they are strange and off-putting.
D.N.A.'s use of electronics along with the signature No Wave dissonance and feedback makes them unique in this collection. "Not Moving" is so weird, everything sounds wrong (in a good way), guitars are abused and the whole thing is just fascinating.
I'm making plans to investigate the Contortions and D.N.A. further. Overall the collection succeeds as it is billed, as the official go-to document of the New York No Wave scene circa late `70s, recommended for fans of RIO, experimental music, punk or noise rock. Careful with those ears.
1 of 1 people found the following review helpful
This record is legendary cuz it's brilliant.
21 Dec 2004
Format:Audio CD
Let's review. If Eno hadn't produced this album, would it have sounded this good? Dunno, but gotta guess, not. One can assume that he was able to detect the heart of their best sound and get it in the studio onto this record. Thanks man.
DNA is the classic trio with Arto Lindsay who went on to Brasilian Bosa Nova, beautiful male voiced twinge of crazy git-dom, enough to keep making records every 2 years or so. But in DNA he battered his guitar, the Asian gal on bass sang her guts out and R.L. Crutchfield (right?) played drums and did a mean album or so of his own back in the day. Worth finding and hearing. But as a band, DNA only did like two 7"s and a 12". They've recently released a best of CD and had a Japanese CD release of their last CBGB's gig. Almost painful guitar sound but any fan of TEENAGE JESUS and the JERKS would love it. I still do.
Speakin' of which, Lydia Lunch did her best (only?) guitar work with TJatJ's on every song they ever released. They're famed for only doing like five minute gigs. They lived fast and died young (as a band). I've always considered her guitar work with this band to be the ultimate punk guitar sound. Really quite grating but enjoyable, if, well, yer a bit of a nut and like yer music hard but don't have to have it be hardcore.
JAMES CHANCE and the CONTORTIONS (or is he JAMES WHITE and the BLACKS on this album? I forget) does some of his tighest stuff ever on this album and his band is known for bein' super tight. Funk/sax/attitude with Lydia Lunch in the band which only helps (I assume she's in it on this album).
The album is worth it strictly for these three bands. You could stop there. They'd be three perfect 7" releases. But, no, there's more. MARS. Now, talk about a band that's too much to take. These guys go over an edge, they go to a place that you don't realize is a place a band can reside at. Maybe spiritual cousins to THROBBING GRISTLE but NY version. Less industrial, more, what? just maniac.
Together, this album apparently inspired the Yes L.A. response comp with X and other bands, a very nice LP on clear vinyl, one sided. Yup. This thing though, should not be overlooked. It's a total 5 star release if you like adventursome music that's very NY, the definition of No Wave, a moment in time frozen (I guess every album is) but of a time, late 70's and a place, NY, that came together to give us this gem. Of course, an fiend would want the LP. Who wouldn't? Ok, cracks, pops, skips, inevitably soil the darn thing but it's got the size that CD will always lack. And the photo work and graphics are quite nice on this release. Tired of average music, of music that the radio will play. Jump into this. Feet first. You'll be glad you did, assuming you are out on the edge. If yer in the mainstream, pass on this, don't even listen to the web site samples. It might spoil your appetite for predicatable, polite and middle of the road music. It only whets mine... chrisbct@hotmail.com
DNA is the classic trio with Arto Lindsay who went on to Brasilian Bosa Nova, beautiful male voiced twinge of crazy git-dom, enough to keep making records every 2 years or so. But in DNA he battered his guitar, the Asian gal on bass sang her guts out and R.L. Crutchfield (right?) played drums and did a mean album or so of his own back in the day. Worth finding and hearing. But as a band, DNA only did like two 7"s and a 12". They've recently released a best of CD and had a Japanese CD release of their last CBGB's gig. Almost painful guitar sound but any fan of TEENAGE JESUS and the JERKS would love it. I still do.
Speakin' of which, Lydia Lunch did her best (only?) guitar work with TJatJ's on every song they ever released. They're famed for only doing like five minute gigs. They lived fast and died young (as a band). I've always considered her guitar work with this band to be the ultimate punk guitar sound. Really quite grating but enjoyable, if, well, yer a bit of a nut and like yer music hard but don't have to have it be hardcore.
JAMES CHANCE and the CONTORTIONS (or is he JAMES WHITE and the BLACKS on this album? I forget) does some of his tighest stuff ever on this album and his band is known for bein' super tight. Funk/sax/attitude with Lydia Lunch in the band which only helps (I assume she's in it on this album).
The album is worth it strictly for these three bands. You could stop there. They'd be three perfect 7" releases. But, no, there's more. MARS. Now, talk about a band that's too much to take. These guys go over an edge, they go to a place that you don't realize is a place a band can reside at. Maybe spiritual cousins to THROBBING GRISTLE but NY version. Less industrial, more, what? just maniac.
Together, this album apparently inspired the Yes L.A. response comp with X and other bands, a very nice LP on clear vinyl, one sided. Yup. This thing though, should not be overlooked. It's a total 5 star release if you like adventursome music that's very NY, the definition of No Wave, a moment in time frozen (I guess every album is) but of a time, late 70's and a place, NY, that came together to give us this gem. Of course, an fiend would want the LP. Who wouldn't? Ok, cracks, pops, skips, inevitably soil the darn thing but it's got the size that CD will always lack. And the photo work and graphics are quite nice on this release. Tired of average music, of music that the radio will play. Jump into this. Feet first. You'll be glad you did, assuming you are out on the edge. If yer in the mainstream, pass on this, don't even listen to the web site samples. It might spoil your appetite for predicatable, polite and middle of the road music. It only whets mine... chrisbct@hotmail.com
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