WIRE Pink Flag & Live at the Roxy 1977 ( plus outtakes and live at CBGB's) 4CD

Wire - Pink Flag (1977, Japanese CD, 17 extra tracks, 1995)



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Artist: Wire

Album: Pink Flag

Released: 1977 - 1995

Source: Japanese CD Toshiba-EMI - TOCP 8726 (1995)

Genre: Punk Rock

Artist site: http://www.pinkflag.com/index.php

Info: http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:kiftxqr5ldfe

Format: EAC 0.99 prebeta 4 - FLAC 1.2.1b (CUE with replaygain tagged within) - rar



N.B. If you don't want the replaygain feature for playback, please use the external cue file (Wire - Pink Flag.flac.cue).



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Biography by Wilson Neate @ AMG



Wire emerged out of the British punk explosion but, from the outset, maintained a distance from that scene and resisted easy categorization. While punk rapidly became a caricature of itself, Wire's musical identity -- focused on experimentation and process -- was constantly metamorphosing. Their first three albums alone attest to a startling evolution as the band repeatedly reinvented itself between 1977 and 1979. That capacity for self-reinvention, coupled with a willingness to stop recording indefinitely when ideas weren't forthcoming, has been crucial to Wire's longevity and continued relevance.



By the time of punk, British art schools had long been a hotbed of musical activity, spawning some of the nation's most innovative rock acts from the '60s onward. Like many punk contemporaries, Wire had roots in the art school tradition. At Watford Art College in 1976, guitarists Colin Newman and George Gill formed Overload with audiovisual technician Bruce Gilbert (also on guitar). Subsequently, the three recruited bassist Graham Lewis and drummer Robert Gotobed (aka Robert Grey), and the first Wire lineup was in place.



Wire began playing dates in London and, having ousted Gill, started from scratch, writing new material and taking a more pared-down, experimental approach. A gig at the Roxy in early 1977 proved auspicious. Wire met EMI's Mike Thorne, who was recording groups for a live punk album, The Roxy, London WC2. Thorne included two Wire tracks and was then instrumental in bringing the band to EMI in September. By then, with Newman writing most of the music, they were eager to record before they lost interest in material, abandoned it, and moved on; a pattern that would define the group.



Produced by Thorne, 1977's amphetamine-paced Pink Flag found Wire taking punk to extremes while also keeping an ironic distance from it by introducing elements of tension and abstraction. Pink Flag's 21 highly original tracks (each averaging just over a minute and a half) compressed and twisted rock into often jagged, taut shapes. The album met with critical acclaim and a follow-up was recorded in spring 1978.



Chairs Missing was a radical departure. Although the phrase "early Pink Floyd" was uttered dismissively in some quarters, it was well-received. With Thorne playing keyboards and producing, this was a more complex, multi-dimensional record that supplemented Pink Flag's harsh minimalism with dense, occasionally unsettling atmospherics. Wire albums usually feature one near-perfect pop song and Chairs Missing's "Outdoor Miner" almost became a hit, until it was scuppered by a payola scandal at EMI.



This was an enormously creative phase. Songs were being written and jettisoned at a considerable rate and the band was gigging relentlessly. In summer 1978, Wire played in the U.S. for the first time and, in March 1979, toured Europe with Roxy Music. Although Chairs Missing had been released only months before, live sets included a significant amount of material that would appear on 154. Indeed, Wire often tended to bewilder live audiences by playing new, unrecorded tracks rather than the numbers people expected to hear.



If Chairs Missing saw Wire exploring the possibilities offered by the recording studio, on 154 they took fuller advantage of that environment. With Lewis emerging as a vocalist alongside Newman, the result was an expansive, textured album with a more pronounced melodic orientation. 154 was Wire's most accomplished statement to date and the group seemed poised for success. The opposite happened. Wire's relationship with EMI unraveled and they were soon label-less. In February 1980 at London's Electric Ballroom, the band played an infamously chaotic show (captured on Document and Eyewitness) that was more like performance art than a rock performance. A five-year hiatus ensued.



Following a period of intense activity away from Wire, the members regrouped in 1985, referring to their new incarnation as a "beat combo" -- a no-nonsense, stripped-down unit. The 1986 "comeback" EP, Snakedrill, begat "Drill," a track built on a paradigmatic Wire rhythm, which bridged the gap between the group's past and its present. "Drill" would stand as an evolving metaphor for the band's shifting identity. It mutated through multiple versions, changing from performance to performance. (In 1991, Wire would release The Drill, an album composed entirely of versions of the track.)



The bandmembers' solo endeavors during the early '80s proved crucial to Wire's new direction: the avant-pop sensibility developed by Newman on his albums and the experimental inclinations of Lewis and Gilbert were channeled into the nascent digital context in which the band was now working. The Ideal Copy (1987), the first full-length example of Wire's new approach to the processes of composition and recording with sequencing technology, found the group's smart, state-of-the-art grooves skirting the dancefloor. While first-generation fans were glad to have Wire back, their new sound drew a new audience in the U.S. and an American tour followed. They continued in an electronically oriented direction with the more homogeneous A Bell Is a Cup...Until It Is Struck(1988), whose combination of hypnotic, melodic patterns and impenetrable yet catchy lyrics made for surreal, brainy pop.



Wire had already made one of rock's more unorthodox live records but they further deconstructed the clich  of the "live album" for 1989's It's Beginning to & Back Again. Performance recordings were stripped down in the studio, sometimes to a drumbeat or a baseline, which was then used as the starting point for rebuilding the track. Wire continued to experiment with ways of letting studio technologies affect their creative process on Manscape (1990), which forayed deeper into computer-based electronics and programming. Drummer Robert Gotobed was less enthusiastic about changing his role in the developing digital version of Wire and left the band just before a 1990 tour. Dropping the "e" from the group's name, Gilbert, Lewis, and Newman carried on as Wir, releasing The First Letter. In 1991, another hiatus began and the three returned to their diverse solo ventures.



In the '80s, American bands like R.E.M. and Big Black had covered Wire songs. By the mid-'90s, Wire's influence started to manifest itself among a younger generation of Britpop artists, most notoriously Elastica, whose appropriation of Pink Flag's "Three Girl Rhumba" resulted in a settlement between the groups' respective music publishing companies. Having briefly resurfaced with Robert Gotobed in 1996 for a performance of "Drill" to celebrate Bruce Gilbert's 50th birthday, Wire remained silent until 1999, when they began rehearsing again. In 2000, the band played live in the U.K. (including an event at London's Royal Festival Hall) and completed a U.S. tour; unpredictable as ever, Wire performed almost exclusively old numbers.



Although reworkings of older tracks taped during 1999 rehearsals appeared on The Third Day (2000), Wire soon initiated their next phase. Completely new material appeared in the form of 2002's Read & Burn 01, the first in a projected series of releases to be developed at Newman's Swim studios. While the fast, loud menace of Read & Burn 01 harked back to Pink Flag, Wire sounded more like they were stomping all over their roots than nostalgically returning to them. A second Read & Burn was out by the end of the year; Send, a full-length containing brand new songs and Read & Burn material, was released in May of 2003. Three years later, a number of Wire's early albums were re-released; in 2007, the group's seminal Pink Flag album hit shelves once again, as well as a third Read & Burn EP. Object 47, a full-length album of new material, debuted in 2008.



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Review by Steve Huey @ AMG



Perhaps the most original debut album to come out of the first wave of British punk, Wire's Pink Flag plays like The Ramones Go to Art School -- song after song careens past in a glorious, stripped-down rush. However, unlike the Ramones, Wire ultimately made their mark through unpredictability. Very few of the songs followed traditional verse/chorus structures -- if one or two riffs sufficed, no more were added; if a musical hook or lyric didn't need to be repeated, Wire immediately stopped playing, accounting for the album's brevity (21 songs in under 36 minutes on the original version). The sometimes dissonant, minimalist arrangements allow for space and interplay between the instruments; Colin Newman isn't always the most comprehensible singer, but he displays an acerbic wit and balances the occasional lyrical abstraction with plenty of bile in his delivery. Many punk bands aimed to strip rock & roll of its excess, but Wire took the concept a step further, cutting punk itself down to its essence and achieving an even more concentrated impact. Some of the tracks may seem at first like underdeveloped sketches or fragments, but further listening demonstrates that in most cases, the music is memorable even without the repetition and structure most ears have come to expect -- it simply requires a bit more concentration. And Wire are full of ideas; for such a fiercely minimalist band, they display quite a musical range, spanning slow, haunting texture exercises, warped power pop, punk anthems, and proto-hardcore rants -- it's recognizable, yet simultaneously quite unlike anything that preceded it. Pink Flag's enduring influence pops up in hardcore, post-punk, alternative rock, and even Britpop, and it still remains a fresh, invigorating listen today: a fascinating, highly inventive rethinking of punk rock and its freedom to make up your own rules.



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Group Members:

   * Colin Newman (front-man, rhythm guitarist and tunesmith)

   * Bruce Gilbert (guitarist and sometimes songwriter and lyricist)

   * Graham Lewis (bass guitarist and main lyricist)

   * Robert Gotobed (aka Robert Grey, drummer, known for his minimal, metronomic style)



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Tracks:

LP (Harvest - SHSP 4076 - November 1977)

01. Reuters

02. Field Day For The Sundays

03. Three Girl Rhumba

04. Ex-Lion Tamer

05. Lowdown

06. Start To Move

07. Brazil

08. It's So Obvious

09. Surgeon's Girl

10. Pink Flag

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11. The Commercial

12. Straight Line

13. 106 Beats That

14. Mr. Suit

15. Strange

16. Fragile

17. Mannequin

18. Different To Me!

19. Champs

20. Feeling Called Love

21. 12XU



Issued on CD (Harvest - CDGO 2063 - July 1994) with extra tracks:

22. Dot-Dash

23. Options R



Issued on Japanese CD (EMI-Toshiba - TOCP 8726 - 1995) with further extra tracks:

24. Love Ain't Polite

25. Oh No Not So

26. It's The Motive

27. Practice Makes Perfect

28. Sand In My Joints

29. Stablemate

30. I Feel Mysterious Today

31. Underwater Experiences

32. Mary Is A Dyke

33. Too True

34. Just Don't Care

35. TV

36. New York City

37. After Midnight

38. Pink Flag



N.B. All the extra tracks are taken from BEHIND THE CURTAIN CD.

Recorded live at The Roxy, London WC2, April 1977.

The remainder are unreleased demos for the 3 Harvest albums.





The lyrics (that are in the original booklet) can be found here:

http://www.pinkflag.com/read/discography/pink-flag.php

and here:

http://www.pinkflag.com/read/discography/behind-the-curtain.php





Released by ELecTRicRAinBoW for hqshare.net





Wire – Live At The Roxy 1977 / Live At CBGB 1978



Pinkflag – PF9-10

2 x CD

UK

2006



Live At The Roxy, London - Fri 1st April 1977



1-1 The Commercial 0:59

1-2 Mary Is A Dyke 1:08

1-3 Too True 1:05

1-4 Just Don’t Care 1:21

1-5 Strange 2:29

1-6 Brazil 0:49

1-7 It's So Obvious 0:56

1-8 Three Girl Rhumba 1:29

1-9 TV 1:26

1-10 Straight Line 0:53

1-11 Lowdown 2:23

1-12 Feeling Called Love 1:20

1-13 NYC 1:12

1-14 After Midnight 1:27

1.15 12XU 2:03

1-16 Mr. Suit 1:50

1-17 Glad All Over 1:42



Live At The Roxy, London - Sat 2nd April 1977



1-18 The Commercial 1:02

1-19 Mary Is A Dyke 1:39

1-20 Too True 1:08

1-21 Just Don't Care 1:27

1-22 Strange 2:40

1-23 Brazil 1:04

1-24 It's So Obvious 1:00

1-25 Three Girl Rhumba 1:39

1-26 TV 1:18

1-27 Straight Line 1:40

1-28 Lowdown 1:48

1-29 Feeling Called Love 1:21

1-30 NYC 1:10

1-31 After Midnight 1:08

1-32 12XU 2:01

1-33 Glad All Over 1:21

1-34 Mr. Suit 2:07

Live At CBGB Theatre, New York - July 18th 1978

2-1 Men 2nd 1:40

2-2 Reuters 2:34

2-3 106 Beats That 1:02

2-4 From The Nursery 2:38

2-5 Dot Dash 2:19

2-6 Another The Letter 1:07

2-7 Practice Makes Perfect 2:34

2-8 Marooned 2:19

2-9 I Am The Fly 3:12

2-10 Lowdown 2:10

2-11 Mercy 5:41

2-12 Outro 1:29



Recorded At – The Roxy Club

Recorded At – CBGB

Distributed By – Cargo Records

Distributed By – Revolver (3)

Phonographic Copyright ℗ – Pinkflag

Copyright © – Pinkflag

Recorded By – Manor Mobile

Produced At – Swim Studio

Mastered At – Skye Mastering

Published By – Carlin Music Corp.



Vocals – Colin Newman

Guitar – B.C. Gilbert*, Colin Newman (tracks: 2-1 to 2-12)

Bass, Backing Vocals – G. Lewis*

Drums – Robert Gotobed



Engineer [Recording] – Chris Hollebone (tracks: 1-1 to 1-34), Phil Newell (tracks: 1-1 to 1-34)

Mixed By [Theatre Mix] – Charles Martin* (tracks: 2-1 to 2-12)

Executive Producer – Hilly Kristal (tracks: 2-1 to 2-12)

Producer [Original Project Production] – Mike Thorne (tracks: 1-1 to 1-34)

Producer [Post Production] – Colin Newman

Mastered By – Denis Blackham



1-1 to 1-34

Recorded on the Manor Mobile.



2-1 to 2-12

Recorded for WPIX FM (NYC)

Presented by Jane Hamburger

Producer Joe from Chicago

All songs published by Carlin Music Corp.



Music By – Gilbert* (tracks: 1-9, 1-10, 1-26, 1-27), Newman* (tracks: 1-2 to 1-13, 1-15, 1-16, 1-19 to 1-30, 1-32, 1-34 to 2-11), Lewis* (tracks: 1-1, 1-18), JJ Cale* (tracks: 1-14, 1-31), M. Smith* (tracks: 1-17, 1-33)

Words By – Gilbert* (tracks: 1-5, 1-9, 1-10, 1-15, 1-22, 1-26, 1-27, 1-32, 2-6 to 2-8), Newman* (tracks: 1-3, 1-8, 1-12, 1-15, 1-16, 1-20, 1-25, 1-29, 1-32), D. Clark* (tracks: 1-17, 1-33), G. Gill* (tracks: 1-2, 1-19), Lewis* (tracks: 1-4, 1-6, 1-7, 1-11, 1-13, 1-15, 1-21, 1-23, 1-24, 1-28, 1-30, 1-32, 2-1 to 2-5, 2-8 to 2-11), JJ Cale* (tracks: 1-14, 1-31)

Arranged By – Gilbert* (tracks: 1-1 to 1-34), Newman* (tracks: 1-2 to 1-17, 1-19 to 1-34), Lewis* (tracks: 1-1 to 1-34), Grey* (tracks: 1-1 to 1-34)



Design – David Coppenhall

Liner Notes [Sleeve Notes] – Colin Newman

Photography By [Cover Photo] – Gus Stewart

Presenter – Jane Hamburger (tracks: 2-1 to 2-12)

Producer [Original Project Production] – Mike Thorne (tracks: 1-1 to 1-34)

Producer [Post Production] – Colin Newman

6-Panel digipak with 10-page booklet.