13 of 14 people found the following review helpful
on 1 September 2008
If you're after THE album to own as a Classic either of The Pistol's themselves, or Punk music as an era in our rock history, then look no further than this.
Down here in what many would regard as 'sleepy old Dorset,' we were as on the ball in 1977 as the rest of the UK with this album. Word went around about the bootleg record stall at Wimborne Market having copies of 'Spunk,' so nipping out from work 5 minutes early one lunch hour on market day to get one was the order of the day.
The sleeve notes in the booklet with this 'official' CD release say it was going for a fiver, but the stall-holder at the market sold his for a tenner, and with the buzz going around about it, it was the 'must-have' LP of the day and if he'd asked fifteen you'd have paid it. It was THE vinyl album to own and have as part of your collection, and when you hear it you will understand the reasons why. It blows the NMTBollocks album right out of the water, The Pistols were wired to the effing mains when they recorded these far superior and crunchy versions of the tracks you have come to know and love.
Now with 3 extra bonus tracks from the sessions and a slip cover fascimile of the original bootleg LP sleeve, the booklet gives an excellent account of the history behind the making of the tracks, which must see it as one of the few, or maybe THE only Classic Bootleg LP of all time!
Every serious rock and / or punk collector needs this one!
1 of 1 people found the following review helpful
The vitriol captured, bottled and then spat out with venom. The music blasts a New York Dolls groove, involving this time, the bass. The Virgin release has the wall of sound, fast and focused. Spunk is more ramshackle but with excess effort and energy.
The tracks still crawl up and down the spine leaving their indelible mark. All the forbidden fruits were let out of the hidden closets; Submission dealing with S/M sex, Bodies with abortion, God Save the Queen and Anarchy the odes to freedom, Liar a paen to authority/education, No Feelings=alienation, Seventeen, an anti hope song, New York anti drugs/America/Hippies/Dolls, Pretty Vacant, ironic understatement, I wanne be me, self evident, EMI attack on corporate rock. For alledged clothes horses, the Pistols had a unique intellectual legacy.
This was the looking glass mirage to the 60's/70's free love, disco and escapist Tolkein rock "loons in pants." Rooted in the hidden elements of everyday life, the vocal expression of concepts and emotions not previously named, now for the first time vocalised by white working class lads from London. Prior to this, everyone inhabited a partial world where detrimental events occured but were never questionned.
Pre 77 authority always knew best. Suddenly post 77 it became OK to admit to feeling nothing, having no connection to the world around, believing nothing you were being told was true, laughing at mass hysteria/belief and most importantly not wanting to join in.
The Pistols unleashed a tidal wave, no one could have predicted at the time. The initial problem was whether this energy would go for cultural reform or year zero eradication. Whilst eradicate of history was one option another Bowie influenced section wanted to emulate the Old Guard. The Pistols ended up on the losing side, for now, of this cultural struggle. Inferior Bowie clothes horses reinstated their brand of the Sound of Music. This eventually ushered in the meaningless 80's pop.
The Pistols stock has risen over 30 plus years as the architects of an era. This was one album of pure sonic platinum semtex. Malcolm's situationist idealism coupled with making money from rags, was crucial to the initial success. The music became linked to events detonating cultural explosions in an uptight rigid society. The boat trip during the Jubilee, signing on outside Buck Palace, swearing at Bill Grundy, the iconography of Jamie Reid, newspaper hysteria, having the guts to stand up and stick up a finger at untouchable icons, unleashed more than just music; it was psychological repression finding a voice. The clothes enshrined with Malcolm and Vivienne's slogans, overpriced, paraded a vision of the future; live within the present. The Pistols musical palette was relentlessly copied, whilst the Situationist genius of McClaren has been pushed aside. Mclaren squandered the money, but he was the catalyst for creating icons and fuelling a legacy with his joint vision.
The musical power is in its conduit to envisage another world. The Pistols marked a change in perception of the old order; affecting art, literature, music, fashion and politics. It was the starting flare, firing high into the sky, igniting young people's energy. The past was putsched into a bin.
The songs work best placed within a framework of unrest, as distortion, underming pomp and circumstance. There have been enough copies of the chords, 99% an inferior pastiche. What has been missing is the connection between the filth and the fury to make everything currently held sacred shudder within a human earthquake.
Nothing has ever remotely come close since to making the world judder.
7 of 8 people found the following review helpful
on 15 September 2007
I bought this on "Glitterbest" bootleg when it first came out for a Pound, I was 13 at the time, as then I still think it is the best thing they ever did, you can hear the difference Glen Matlock made.
This is the "Orginal" Sex Pistols and it does not get much better than this.
on 7 April 2011
This is an amazing album to have, albeit a bootleg originaly. This is far better than their offical studio album "Never mind the bollocks here's The Sex Pistols" it shows that they weren't as musically incompitant as they seemed, with of course Glen Matlock who was either fired or just left the band. The sound produced by Steve Jones is how it should have been in NMTB it sounds alot cleaner than in NMTB, even Lydon's voice is cleaner and sound alot better, I mean I know that sounding rough was the idea of 70's punk however how he sings in theis album is just amazing.
1 of 2 people found the following review helpful
on 8 June 2011
Almost as good as Never Mind The Bollocks Heres the Sex Pistols. Only let down by the sound quality which for it origins as studio demos is excellent. Steve Jones did a fantastic job on NMTB but Glenn Matlock is a much better Bass player and his Bass playing give the songs on spunk an extra edge that would have made NMTB an even better album that it is. Still well worth buying and 1000 times better than a lot of the junk out now days. A bargain at twice the price.