Public Image Ltd.

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Public Image Ltd.
Image:Pil logo.jpg
Origin England London, England
Years active 1978–1993
Genres Post-punk
Alternative dance
Labels Virgin
Warner Bros.
Past members John Lydon
Jah Wobble
Keith Levene

Public Image Ltd. (PiL) is an English rock band formed in 1978 by vocalist John Lydon (ex-Sex Pistols), guitarist Keith Levene (ex-The Clash), and bassist Jah Wobble. PiL is commonly regarded as one of the most challenging and innovative bands of the post-punk period.

Contents

[edit] History

[edit] Early career

Following the Sex Pistols' breakup in 1978, Lydon spent three weeks in Jamaica with Virgin Records head Richard Branson, in which Lydon assisted Branson in scouting for emerging reggae musicians. Branson also flew American band Devo to Jamaica, with an aim to installing Lydon as lead singer in the band, though Lydon declined.[1]

Upon returning to England, Lydon approached Jah Wobble (né John Wardle) about forming a band together. The pair had been friends since attending the same school in the early 1970s, and had sometimes played music together during the final days of the Sex Pistols. Both had similarly broad musical tastes, and were avid fans of reggae and world music. Lydon assumed, much as he had with Sid Vicious, that Wobble would learn to play bass guitar as he went. While that had proven a fatal assumption with Vicious (Lydon cites his musical inability as a prime reason for the Pistols' breakup), Wobble would prove to be a natural talent. Lydon also approached guitarist Keith Levene (né Julian Levene), with whom he had toured in mid-1976, while Levene was a member of The Clash. Lydon and Levene had both considered themselves outsiders even within their own bands. Jim Walker (né Donat Walker), a Canadian student newly arrived in the UK, was recruited on drums, after answering an ad placed in a weekly music magazine.

PiL debuted in October 1978 with "Public Image", a song written while Lydon was still a member of Sex Pistols.[2] The single was well received and reached number 9 in the UK charts, and performed well on import in the US.

[edit] First album

Music sample:

In preparing their debut album, Public Image, the band spent their recording budget well before the record was completed. The members have since admitted that a significant amount was spent on drugs.[citation needed] As a result, the final album comprised eight tracks of varying sound quality, half of which were written and recorded in a rush after the money had run out. Wobble had also beaten up producer Bill Price's assistant engineer (Price, with John Leckie, had secured the tight sound of the "Public Image" single), inciting Price to ban the group from their preferred Wessex Studios, and forcing them to scramble for another venue and soundman as deadlines loomed and passed.[citation needed]

The album was considered groundbreaking on its release in December 1978. Grounded in heavy dub reggae, Wobble's bass tone was called "impossibly deep" by contemporary reviews. Levene's sharp guitar sound, played on an aluminium Veleno guitar, was widely imitated, most notably by The Edge of U2,[3] and Geordie of Killing Joke. Lydon's vocals were more tuneless and incantatory than in the Sex Pistols, gesturing toward the avant-garde territory of such artists as Yoko Ono. Despite being widely criticised in the UK press for being self indulgent and not rock n' roll[citation needed], the first album sold well in the UK and Europe, reaching number 22 in the UK charts.

The single "Public Image" was widely seen as diatribe against Malcolm McLaren and his perceived manipulation of Lydon during his career with the Sex Pistols. The closing track "Fodderstompf", heavily influenced by dub, comprises ten minutes of a circular bass riff, played over a Lydon/ Wobble double act lampooning public outrage, love songs and teenage apathy. The track culminates with the sound of a fire extinguisher being let off in the recording studio. Subsequently, the first album was renamed as First Issue.

Disgusted that the album had compromised everything he had come to the UK to achieve – that is, record accessible music for a youthful audience – Jim Walker walked out in early 1979.

[edit] Metal Box

Music sample:

1979's Metal Box was a more focused effort, although created, like Public Image, under difficult circumstances. In addition to the drugs and disorganization that were the normal condition of the band, Jim Walker had quit from general disillusionment, making way for a series of drummers. In one case Wobble set fire to the (aptly-named) Karl Burns (formerly of The Fall). Sessions took place in which a star-struck young drummer would show up for an 'audition' and discover himself in the middle of a recording session with the tape rolling.[citation needed]

Metal Box was originally released as three untitled 45rpm 12-inch records packaged in a metal film canister (it was later reissued as a double LP set, Second Edition), and features the band's trademark hypnotic dub reggae bass lines, glassy, arpeggiated guitar, and bleak, paranoid, stream of consciousness vocals. Metal Box is starker than First Issue, more spread out and uncompromising, and scattered with bits of ambient synthesizer. It is now widely regarded as a classic record, both for its music and its sheer tonality (the 45rpm 12" format added depth and fidelity to what was already a highly tactile, spacious sound), and it sold quite well upon release and for years afterward.[citation needed] With Metal Box, PiL was no longer operating as a standard rock band but was entering a different territory altogether.

One critic wrote, "they sounded nothing like the Pistols or anyone else at the time." [4]. In fact, although radically different from other British and American rock groups, PiL was heavily influenced by German experimental rock, or Krautrock, especially by Can, Neu!, and the sonic aesthetic of producer Conny Plank. PiL's strong dub influence and abrasive sound, however, set them apart. Hallmarks of the genre include minimalism, classically-inspired ambient or atonal leanings, via Stockhausen, and an abandonment of traditional song form in favour of long, slowly-unfolding compositions.

The US teenage dance show American Bandstand, hosted by Dick Clark, was not normally a venue for such music. In 1980, PiL appeared on the show miming to "Poptones" and "Careering" from Metal Box. Lydon harassed the cameramen and made no effort to conceal that fact he was lip-synching. The studio audience made a valiant but futile attempt to dance and stay in character, ruined by Lydon's good-humoured incitements to storm the stage. Chaos broke out and the show ended with the audience dancing with band members, band members goofing on their instruments, and Lydon chatting with fans while "Careering" played on. Clark in later years would refer to the appearance as "One of the ten best American Bandstand episodes of all time".

A U.S. tour led to several cancelled dates and more chaos, this time between the band and their U.S. label, Warner Brothers (PiL was on Virgin in the UK).

In 2006, San Francisco-based vinyl reissue label 4 Men With Beards reissued the album as a triple 12" inside a metal box, making it the first time the original packaging was available in North America as a domestic release.

PiL's elusiveness lent the band a certain mystique, but to those close to PiL's operations, they were known as "the laziest band in the world"[citation needed] -- rehearsing infrequently, rarely gigging (the original band only played five UK shows), and recording only when forced into the studio by record executives.[citation needed] (One such executive called PiL "a well-oiled machine that burns money and generates pot smoke and excuses."[citation needed]) When Jim Walker joined, he started spending time at Lydon's apartment, and noticed that Levene would often call from wherever he lived -- presumably miles away, since he never saw him. One evening, moments after a phone exchange, he was astonished to see Levene walk in the door: he had been living in the flat downstairs the whole time, but had never bothered to come up before.{{fact}

Wobble had been releasing solo singles since 1978, and had long been unhappy with the band's lack of ambition. He began using PiL basslines as backing tracks to his solo work, on the premise that nobody else in the band seemed likely to mind. However, when Levene became aware of this, matters came to a head.[citation needed]

Lydon had always been a difficult character to work with[citation needed], but Levene had begun to challenge him, reportedly acting increasingly grandiose and delusional, and becoming increasingly remote from the world due to an increasing heroin habit. When these personalities collided, Wobble lost the battle. While claims differ as to whether he quit or was fired, the split was decisive. Upon Wobble's departure, the band continued as a bassless trio.

A show at the Ritz, in New York, was a turning point. The band's musical core had by then been stripped down to Lydon and Levene (drummer Martin Atkins had recently departed), and PiL had begun to relocate to New York, partly because the MI5 was conducting a harassment campaign -- later admitted -- against the band's headquarters, the London flat that Lydon bought with his Sex Pistols royalties. (A similar campaign would chase Throbbing Gristle and Psychic TV frontman Genesis P. Orridge out of Britain in the early '90s.) Levene had also begun to rethink PiL's formerly-ironic claims to be a 'corporation' and an 'art collective'. While friends of the band including filmmaker Jeanette Lee had long been 'full members' of PiL (original drummer Jim Walker was only 'voted off the board' in 1980), no creative works besides the records had ever ensued. For the Ritz gig however, Levene decided that PiL would reorganize as an improvisational multimedia troupe -- working, as usual, without planning or rehearsals.

PiL appeared at the Ritz playing from behind a projection screen. (Drummer Sam Ulano had been recruited for the gig from a bar -- the 60-year-old jazz player had never heard the band before.) While something reminiscent of, but clearly different from PiL, improvised behind the screen, PiL records were played simultaneously through the PA. Lydon taunted the audience, who expected to hear familiar material (or at least see the band), and a melée erupted in which the audience pelted the stage with bottles and pulled on a tarp spread under the band, toppling equipment. A swearing, swaggering Lydon was probably lucky to escape with his life. The promoters cleared the hall and cancelled the next night's show, and a local media furore ignited in New York.

An appearance a short time later on NBC's Tom Snyder show had Lydon and Snyder insulting each other on-air.[5] The band soon returned to London.

[edit] Flowers of Romance

Martin Atkins, who had initially joined at the tail end of the Metal Box sessions (most tracks on that album were played by Richard Dudanski), was re-recruited to drum on Flowers of Romance, an album considered much stranger and more difficult than the already strange Metal Box. Levene had by then largely abandoned guitar in favour of synthesizer, picking up a technique that was unique, although perhaps owing a debt to Allen Ravenstine of Pere Ubu. Atkins' propulsive marching band-style drumming and Lydon's increasing lyrical abstraction made this LP a difficult listen for rock fans, and contemporary reviews expressed great confusion. The record consists mostly of drums, vocals, musique concrète, and tape loops, with only gestures toward bass (played by Levene) and keyboards. Its drum sound was widely copied, notably by Phil Collins and Kate Bush.[citation needed] Collins admits the deed; Bush went an extra step in buying some of Wobble's 'impossibly deep' Metal Box-era bass equipment: he used a 1970s or equivalent Fender Jazz Bass through all-tube Ampeg SVT amplifier, speakers faced toward a solid wall, and microphones arranged to pick up the ambient sound. Most of Wobble's live or television appearances with PiL, however, (including the American Bandstand show and clips on the Old Grey Whistle Test) featured him playing an Ampeg AMB-1 "Scroll" bass, which he still uses on occasion. Wobble also usually played while seated in a chair, leading some[name a specific person/group] to speculate that he was physically handicapped and others[name a specific person/group] to grumble that he was too pickled to both stand and play at once.[citation needed]

An autographed copy of the 1983 This Is Not A Love Song 12" single.
Enlarge
An autographed copy of the 1983 This Is Not A Love Song 12" single.

Atkins, like Levene and Lydon, was a control freak, but Levene had the disadvantage of having repeatedly fired Atkins over apparent trifles, and of being incapicated on heroin much of the time -- so when conflict arose again, Levene was the one to go. An aborted fourth album recorded in 1982, was later released by Levene as Commercial Zone. The album included contributions from bass player Pete Jones. Lydon and Atkins claim Levene stole the master tapes. Accounts differ widely on the particulars, and the album, while considered far superior to the official This Is What You Want... This Is What You Get that later appeared, has never been legally reissued. Atkins stayed on through a disastrous live album, Live in Tokyo -- in which PiL consisted of him, Lydon, and a band of New Jersey wedding musicians -- and left in 1985, following the release of This Is What You Want, This Is What You Get. The band was moving towards a more commercial pop music and dance music direction, and while many new fans found PiL, little of their original audience (or sound) remained.

[edit] Album/Compact Disc/Cassette

Music sample:

PiL's 1986 release was simply entitled Album, Compact Disc, or Cassette, depending on the format. The cover's blue typeface and spartan design parodied generic brands; promotional photos featured Lydon in a "generic blue" suit surrounded by generic foods and drinking generic beer. Produced by Bill Laswell (despite Lydon-fuelled faction and disunion) and with many of Laswell's usual rotating cast of musicians, it also featured guitar solos by Steve Vai, considered by Vai himself to be some of his best work. Legendary Cream drummer Ginger Baker also played on the album. Controversy reared again, with claims that the album cover and title concept had been stolen from the San Francisco noise/punk band, Flipper, contemporaries of PiL, whose album, Album, featured a similarly unadorned sleeve. Flipper retaliated by naming their next album, Public Flipper Limited.

[edit] Late career

In 1986, Lydon recruited former Magazine and Siouxsie & the Banshees guitarist John McGeoch, world music multi-instrumentalist (and former Damned guitarist) Lu Edmunds, bass guitarist Allan Dias, and former The Pop Group and The Slits drummer Bruce Smith. As the years went on, PiL's line-up grew steadier as the sound of the albums drifted toward dance culture and drum-oriented pop music. Edmunds left due to tinnitus in 1988, and Smith left in 1990.

PiL released Happy? in 1987, and during the spring of 1988 performed throughout the United States as part of INXS' Kick tour. The album was less well received by critics than its immediate predecessor, but still produced the classic single "Seattle". In 1989, PiL toured with New Order and The Sugarcubes as "The Monsters of Alternative Rock," an arrangement of disparate alternative bands that predated the Lollapalooza festival by two years. PiL's ninth album, 9, appeared earlier that year.

The band's last album to date, 1992's That What Is Not, included a sample from the Sex Pistols' song God Save the Queen in which the young Lydon's voice is heard chanting the words, "No future, no future..." Lydon disbanded the group a year later after Virgin records refused to pay for the tour supporting the album and Lydon had to pay for it out of his own pocket. The band's last concert was performed on September 18, 1992 with the lineup of Lydon, McGeoch, Ted Chau (guitar, keyboards), Mike Joyce of The Smiths (drums), and Russell Webb (bass).

Lydon released a solo album, Psycho's Path, in 1997. He considers PiL to be "on hiatus," and has spoken of writing a book on his years with the group.

[edit] Members and related people

Public Image Ltd.'s ever-changing structure allowed a large number of people to pass through its ranks. This listing is based on data found on the Fodderstompf website, especially the members and discography sections.

[edit] Fulltime members

[edit] Live only

  • Sam Ulano – drums, New York's Ritz 15 May 1981
  • Joseph Guida – guitar, 1983
  • Louis Bernardi – bass, 1983-84
  • Tommy Zvoncheck – keyboards, 1983
  • Arthur Stead – keyboards, 1983
  • Mark Schulz – guitar, 1984-85
  • Bret Helm – bass, 1984-85
  • Jebin Bruni – keyboards, 1984-85
  • Ted Chau – guitar and keyboards, 1989 and 1992
  • Russell Webb – bass, 1992
  • Mike Joyce – drums, 1992

[edit] Session/studio only

[edit] Discography

All chart positions are UK.

[edit] Studio albums

[edit] Live, compilation, bootleg and other albums

  • Second Edition (repackaging of Metal Box) - 1979
  • Paris au Printemps (live) - 1980 #61
  • Live in Tokyo (live) - 1983 #28
  • Commercial Zone (bootleg) - 1983
  • The Greatest Hits, So Far (compilation) - 1990 #20
  • Box (box set) - 1990
  • Plastic Box (box set) -1999
  • Public Image/Second Edition (two-in-one) - 2003

[edit] Singles

  • Public Image - 1978 #9
  • Death Disco - 1979 #20
  • Memories - 1979 #60
  • Flowers of Romance - 1981 #24
  • This Is Not A Love Song - 1983 #5
  • Bad Life - 1984 #71
  • Rise - 1986 #11
  • Home - 1986 #75
  • Seattle - 1987 #47
  • The Body - 1987 #100
  • Disappointed - 1989 #38
  • Don't Ask Me - 1990 #22
  • Cruel - 1992 #49

[edit] References

  1. ^ http://www.lowcut.dk/019_lc/book_art/index.asp
  2. ^ Lydon, John. "No Irish, No Blacks, No Dogs", Keith & Kent Zimmerman, St. Martin's Press, May 1994. ISBN 0-312-11883-X
  3. ^ Garcia, Jane (1989). "Levene Dangerously". NME. Retrieved on October 16, 2006.
  4. ^ http://users2.ev1.net/~dlimon/firecracker/firecracker8/pil.htm
  5. ^ http://www.fodderstompf.com/ARCHIVES/INTERVIEWS/synder80.html

[edit] Further reading

  • Heylin, Clinton (1989). Public Image Limited: Rise/Fall. London: Omnibus Press. ISBN 0-7119-1684-5.

[edit] External links

Retrieved from "http://en.wikipedia.org../../../p/u/b/Public_Image_Ltd._299f.html"