Sex Pistols |
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Never Mind The Bollocks/Spunk
releasing date : June 1996 |
| track listing | ||
| Holiday In The Sun | Seventeen | Problems |
| Bodies | Satelite | No Feelings |
| No Feelings | Feelings | Pretty Vacant |
| Liar | Just Me | Submission |
| God Save The Queen | Submission | No Feelings |
| Problems | Nookie | EMI |
| Seventeen | No Future | Satelite |
| Anarchy In The UK | Problems | Seventeen |
| Submission | Lots Of Fun | Anarchy In The UK |
| Pretty Vacant | Liar | |
| New York | Who Was It? | |
| EMI | New York | |
| musicians | |
| Johnny Rotten : | vocals |
| Steve Jones : | guitars |
| Glan Matlock : | bass |
| Paul Cook : | drums |
| produced by : | Chris Thomas three tracks produced by Chris Spedding |
| Spedding recording data |
| at Majestic Studios in May 1976 |
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and we don't care
German bootleg 7") rb 12 20 remixed by Dave Goodman |
| Spedding explains, They are not the same mixes that I did. Dave Goodman, the other producer besides Chris Thomas, went in and re-did them and added a lot of echo to them and added stuff to them. So they'd been marketed as the Spedding tapes, but they are not really my mixes. The mixes I did sound better. I'm quite proud of the Sex Pistols demos, especially when compared to their other later recordings. On my demos you can hear everything quite clearly - the bass and drums are really audible plus you can actually hear what the rhythm and lead guitars are doing. Part of why they (McLaren and the Pistols) didn't like my demo was that because I like R&B, I highlighted their rhythm tracks with a big bass drum and bass aound, particularly because Matlock had some intensely played bass runs. They wanted a guitar soup. I think that whenever you've got an interesting rhythm section like that, a band sounds like they can actually play, and since that was the whole point of my demo - to prove they could play - that's what I pushed. When you have a guitar soup, which is what the demo they recorded later sounds like, you have to face the fact that someone's trying to cover up the fact that they can't play. And that's what McLaren wanted people to think that they couldn't play, that was just an idea, a way of making all this anarchy stuff happen. The only overdubs are the two guitar solos (of course, by Steve Jones). The reason the first note is so long on the 'Problem' solo is that (I was watching his face when he played it) Steve Jones was so surprised at the sound and sustain he got out of my amp that he almost forgot to play! ('Problem' on Never Mind The Bollocks/Spunk is edited.) |
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session list
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