Sex Pistols Discography

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For the yaoi manga titled Sex Pistols in Japan, see Love Pistols.
The Sex Pistols were an English punk rock band that formed in London in 1975. Although their initial career lasted just two and a half years, they are regarded as one of the most groundbreaking acts in the history of popular music. They were responsible for initiating the punk movement in the United Kingdom and inspiring many later punk and alternative rock musicians. Their fashion and hairstyles have been credited as a significant influence on punk image, and they are often associated with anarchism within music.
The Sex Pistols in Amsterdam in 1977 (L–R: Cook, Matlock, Rotten and Jones)
The Sex Pistols originally comprised vocalist John Lydon (known at the time by his stage name "Johnny Rotten"), guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock. Matlock was replaced by Sid Vicious in early 1977. Under the management of Malcolm McLaren, the band attracted controversies that both captivated and appalled Britain. Through an obscenity-laced television interview in December 1976 and their May 1977 single "God Save the Queen", attacking Britons' social conformity and deference to the Crown, they precipitated the punk rock movement. It was banned not only by the BBC but also by nearly every independent radio station, making it the "most heavily censored record in British history".
The band's only album Never Mind the Bollocks, Here's the Sex Pistols (1977)—a UK number one album—is a staple record of punk rock. In January 1978, at the end of their over-hyped and turbulent tour of the United States, Rotten announced the band's break-up. Over the next few months, the three remaining band members recorded songs for McLaren's film version of the Sex Pistols' story, The Great Rock 'n' Roll Swindle. Vicious died of a heroin overdose in February 1979, following his arrest for the alleged murder of his girlfriend, Nancy Spungen. Rotten, Jones, Cook and Matlock reunited for a highly successful concert tour in 1996. Further one-off performances and short tours followed over the next decade.
The Sex Pistols have been recognised as an influence on various genres, including grunge, indie, thrash metal and hip hop.[1] In 2004, Rolling Stone placed them No. 58 on its list of the "100 Greatest Artists of All Time". On 24 February 2006, the Sex Pistols—the four original members plus Vicious—were inducted into the Rock and Roll Hall of Fame, but they refused to attend the ceremony, calling the museum "a piss stain".[2]
The Sex Pistols evolved from The Strand, a London band formed in 1972 with working-class teenagers Steve Jones on vocals, Paul Cook on drums and Wally Nightingale on guitar. According to a later account by Jones, both he and Cook played on instruments they had stolen.[3] Early line-ups of The Strand—sometimes known as The Swankers—also included Jim Mackin on organ and Stephen Hayes (and later, briefly, Del Noones) on bass.[4] The band members regularly hung out at two clothing shops on the King's Road in Chelsea, London: John Krivine and Steph Raynor's Acme Attractions (where Don Letts worked as manager)[5] and Malcolm McLaren and Vivienne Westwood's Too Fast to Live, Too Young to Die. McLaren's and Westwood's shop had opened in 1971 as Let It Rock, with a 1950s revival Teddy Boy theme. It had been renamed in 1972 to focus on another revival trend, the '50s rocker look associated with Marlon Brando.[6] As John Lydon later observed, "Malcolm and Vivienne were really a pair of shysters: they would sell anything to any trend that they could grab onto."[7] The shop became a focal point of the punk rock scene, bringing together participants such as the future Sid Vicious, Marco Pirroni, Gene October, and Mark Stewart, among many others.[8] Jordan, the wildly styled shop assistant, is credited with "pretty well single-handedly paving the punk look".[9]
In early 1974, Jones asked McLaren to manage The Strand. Effectively agreeing, McLaren paid for their first formal rehearsal space. Glen Matlock, an art student who occasionally worked at 'Too Fast to Live, Too Young to Die', was recruited as the band's regular bassist.[10] In November, McLaren temporarily relocated to New York City. Before his departure, he and Westwood had conceived a new identity for their shop: renamed Sex, it changed its focus from retro couture to S&M-inspired "anti-fashion", with a billing as "Specialists in rubberwear, glamourwear & stagewear".[11] After informally managing and promoting the New York Dolls for a few months, McLaren returned to London in May 1975.[12] Inspired by the punk scene that was emerging in Lower Manhattan—in particular by the Ramones and the radical visual style and attitude of Richard Hell, then with Television—McLaren began taking a greater interest in The Strand members.[13]
The group had been rehearsing regularly, overseen by McLaren's friend Bernard Rhodes, and had performed publicly for the first time. Soon after McLaren's return, Nightingale was kicked out of the band and Jones, uncomfortable as frontman, took over guitar duties.[14] According to journalist and former McLaren employee Phil Strongman, around this time the band adopted the name QT Jones and the Sex Pistols (or QT Jones & His Sex Pistols, as one Rhodes-designed T-shirt put it).[15] McLaren had been talking with the New York Dolls' Sylvain Sylvain about coming over to England to front the group. When those plans fell through, McLaren, Rhodes and the band began looking locally for a new member to assume the lead vocal duties.[16] As described by Matlock, "Everyone had long hair then, even the milkman, so what we used to do was if someone had short hair we would stop them in the street and ask them if they fancied themselves as a singer".[17] For instance, Midge Ure, the former singer with boy band Slik who was also later to be the front man of Rich Kids (with Matlock) and Ultravox, claims to have been approached by McLaren, but to have refused the offer.[18] With the search going nowhere, McLaren made several calls to Richard Hell, who also turned down the invitation.[19]
In August 1975, Bernard Rhodes spotted nineteen-year-old King's Road habitué John Lydon wearing a Pink Floyd T-shirt with the words I Hate handwritten above the band's name and holes scratched through the eyes.[20][21][22] Reports vary at this point: the same day, or soon after, either Rhodes or McLaren asked Lydon to come to a nearby pub in the evening to meet Jones and Cook.[20][23] According to Jones, "He came in with green hair. I thought he had a really interesting face. I liked his look. He had his 'I Hate Pink Floyd' T-shirt on, and it was held together with safety pins. John had something special, but when he started talking he was a real arsehole—but smart."[20] When the pub closed, the group moved on to Sex, where Lydon, who had given little thought to singing, was convinced to improvise along to Alice Cooper's "I'm Eighteen" on the shop jukebox. Though the performance drove the band members to laughter, McLaren convinced them to start rehearsing with Lydon.[20][24]
Lydon later described the social context in which the band came together:
Early Seventies Britain was a very depressing place. It was completely run-down, there was trash on the streets, total unemployment—just about everybody was on strike. Everybody was brought up with an education system that told you point blank that if you came from the wrong side of the tracks...then you had no hope in hell and no career prospects at all. Out of that came pretentious moi and the Sex Pistols and then a whole bunch of copycat wankers after us.[25]
Journalist Nick Kent of the New Musical Express (NME) jammed occasionally with the band, but left upon Lydon's recruitment. "When I came along, I took one look at him and said, 'No. That has to go,'" Lydon later explained. "He's never written a good word about me ever since."[26] In September, McLaren again helped hire a private rehearsal space for the group, who had been practising in pubs. Cook, who had a full-time job he was loath to give up, was making noises about quitting. According to Matlock's later description, Cook "created a smokescreen" by claiming Jones was not skilled enough to be the band's sole guitarist. An advertisement was placed in Melody Maker for a "Whizz Kid Guitarist. Not older than 20. Not worse looking than Johnny Thunders" (referring to the lead guitarist of the New York Dolls, and later the Heartbreakers).[27] Most of those who auditioned were incompetent, but in McLaren's view, the process created a new sense of solidarity among the four band members.[28] Steve New was considered the one talented guitarist to have tried out and the band invited him to join. Jones was improving rapidly, however, and the band's developing sound had no room for the technical lead work at which New was adept. He departed after a month.[29]
Lydon had been rechristened "Johnny Rotten" by Jones, apparently because of his bad dental hygiene.[22][30] The band also settled on a name. After considering options such as Le Bomb, Subterraneans, the Damned, Beyond, Teenage Novel, Kid Gladlove, and Crème de la Crème, they decided on Sex Pistols—a shortened form of the name they had apparently been working under informally.[31] McLaren later said the name derived "from the idea of a pistol, a pin-up, a young thing, a better-looking assassin". Not given to modesty, false or otherwise, he added: "[I] launched the idea in the form of a band of kids who could be perceived as being bad."[32] The group began writing original material: Rotten was the lyricist and Matlock the primary melody writer (though their first collaboration, "Pretty Vacant", had a complete lyric by Matlock, which Rotten tweaked a bit); official credit was shared equally among the four.[33][34]
Their first gig was arranged by Matlock, who was studying at Saint Martins College. The band played at the school on 6 November 1975,[35] in support of a pub rock group called Bazooka Joe, arranging to use their amps and drums. The Sex Pistols performed several cover songs, including the Who's "Substitute", the Small Faces' "Whatcha Gonna Do About It", and "(I'm Not Your) Steppin' Stone", made famous by the Monkees; according to observers,[who?] they were unexceptional musically[citation needed] aside from being extremely loud. Before the Pistols could play the few original songs they had written to date, Bazooka Joe pulled the plugs as they saw their gear being trashed. A brief physical altercation between members of the two bands took place on stage.[36]
The Saint Martins gig was followed by other performances at colleges and art schools around London. The Sex Pistols' core group of followers—including Siouxsie Sioux, Steven Severin and Billy Idol, who eventually formed bands of their own, as well as Jordan and Soo Catwoman—came to be known as the Bromley Contingent, after the suburban borough several were from.[37] Their cutting-edge fashion, much of it supplied by Sex, ignited a trend that was adopted by the new fans the band attracted.[38] McLaren and Westwood saw the incipient London punk movement as a vehicle for more than just couture. They were both captivated by the May 1968 radical uprising in Paris, particularly by the ideology and agitations of the Situationists, as well as the anarchist thought of Buenaventura Durruti and others.[39]
These interests were shared with Jamie Reid, an old friend of McLaren who began producing publicity material for the Sex Pistols in the spring of 1976.[40] The cut-up lettering (like that used in the notes left by kidnappers or terrorists) employed to create the classic Sex Pistols logo and many subsequent designs for the band was actually introduced by McLaren's friend Helen Wallington-Lloyd.[41] "We used to talk to John [Lydon] a lot about the Situationists," Reid later said. "The Sex Pistols seemed the perfect vehicle to communicate ideas directly to people who weren't getting the message from left-wing politics."[42] McLaren was also arranging for the band's first photo sessions.[43] As described by music historian Jon Savage, "With his green hair, hunched stance and ragged look, [Lydon] looked like a cross between Uriah Heep and Richard Hell."[44]
The first Sex Pistols gig to attract broader attention was as a supporting act for Eddie and the Hot Rods, a leading pub rock group, at the Marquee on 12 February 1976. Rotten "was now really pushing the barriers of performance, walking off stage, sitting with the audience, throwing Jordan across the dance floor and chucking chairs around, before smashing some of Eddie and the Hot Rods' gear."[45] The band's first review appeared in the NME, accompanied by a brief interview in which Steve Jones declared, "Actually we're not into music. We're into chaos."[46] Among those who read the article were two students at the Bolton Institute of Technology, Howard Devoto and Pete Shelley, who headed down to London in search of the Sex Pistols. After chatting with McLaren at Sex, they saw the band at a couple of late February gigs.[47] The two friends immediately began organising their own Pistols-style group, Buzzcocks. As Devoto later put it, "My life changed the moment that I saw the Sex Pistols."[48]
The Pistols were soon playing other important venues, debuting at Oxford Street's 100 Club on 30 March.[49] On 3 April, they played for the first time at the Nashville, supporting the 101ers. The pub rock group's lead singer, Joe Strummer, saw the Pistols for the first time that night—and recognised punk rock as the future.[50] A return gig at the Nashville on 23 April demonstrated the band's growing musical competence, but by all accounts lacked a spark. Westwood provided that by instigating a fight with another audience member; McLaren and Rotten were soon involved in the melee.[51] Cook later said, "That fight at the Nashville: that's when all the publicity got hold of it and the violence started creeping in.... I think everybody was ready to go and we were the catalyst."[52] The Pistols were soon banned from both the Nashville and the Marquee.[53]
On 23 April, as well, the debut album by the leading punk rock band in the New York scene, the Ramones, was released. Though it is regarded as seminal to the growth of punk rock in England and elsewhere, Lydon has repeatedly rejected any suggestion that it influenced the Sex Pistols: "[The Ramones] were all long-haired and of no interest to me. I didn't like their image, what they stood for, or anything about them";[54] "They were hilarious but you can only go so far with 'duh-dur-dur-duh'. I've heard it. Next. Move on."[55] On 11 May, the Pistols began a four-week-long Tuesday night residency at the 100 Club.[56] They devoted the rest of the month to touring small cities and towns in the north of England and recording demos in London with producer and recording artist Chris Spedding.[56][57] The following month they played their first gig in Manchester, arranged by Devoto and Shelley. The Sex Pistols' 4 June performance at the Lesser Free Trade Hall set off a punk rock boom in the city.[58][59]
On 4 and 6 July, respectively, two newly formed London punk rock acts, the Clash—with Strummer as lead vocalist—and the Damned, made their live debuts opening for the Sex Pistols. On their off night in between, the Pistols (despite Lydon's later professed disdain) showed up for a Ramones gig at Dingwalls, like virtually everyone else at the heart of the London punk scene.[60] During a return Manchester engagement, 20 July, the Pistols premiered a new song, "Anarchy in the U.K.", reflecting elements of the radical ideologies to which Rotten was being exposed. According to Jon Savage, "there seems little doubt that Lydon was fed material by Vivienne Westwood and Jamie Reid, which he then converted into his own lyric."[61] "Anarchy in the U.K." was among the seven originals recorded in another demo session that month, this one overseen by the band's sound engineer, Dave Goodman.[62] McLaren organized a major event for 29 August at the Screen on the Green in London's Islington district: the Buzzcocks and The Clash opened for the Sex Pistols in punk's "first metropolitan test of strength".[63] Three days later, the band were in Manchester to tape what was their first television appearance, for Tony Wilson's So It Goes. Scheduled to perform just one song, "Anarchy in the U.K.", the band ran straight through another two numbers as pandemonium broke out in the control room.[64]
The Sex Pistols played their first concert outside Britain on 3 September, at the opening of the Chalet du Lac disco in Paris. The Bromley Contingent made the trip and Siouxsie Sioux was hassled by locals due to her outfit with bare breasts.[65] The following day, the So It Goes performance aired; the audience heard "Anarchy in the U.K." introduced with a shout of "Get off your arse!"[66][67] On 13 September, the Pistols began a tour of Britain.[68] A week later, back in London, they headlined the opening night of the 100 Club Punk Special. Organised by McLaren (for whom the word "festival" had too much of a hippie connotation), the event was "considered the moment that was the catalyst for the years to come."[69] Belying the common perception that punk bands couldn't play their instruments, contemporary music press reviews, later critical assessments of concert recordings, and testimonials by fellow musicians indicate that the Pistols had developed into a tight, ferocious live band.[70] As Rotten tested out wild vocalisation styles, the instrumentalists experimented "with overload, feedback and distortion...pushing their equipment to the limit".[71]
"Anarchy in the UK" reached number 38 on the UK singles chart
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On 8 October 1976, the major record label EMI signed the Sex Pistols to a two-year contract.[72] In short order, the band was in the studio recording a full-dress session with Dave Goodman. As later described by Matlock, "The idea was to get the spirit of the live performance. We were pressurized to make it faster and faster."[73] The results were rejected by the band. Chris Thomas, who had produced Roxy Music and mixed Pink Floyd's The Dark Side of the Moon, was brought in to produce.[74] The band's first single, "Anarchy in the U.K.", was released on 26 November 1976.[73] John Robb—soon to be a cofounder of The Membranes and later a music journalist—described the record's impact: "From Steve Jones' opening salvo of descending chords, to Johnny Rotten's fantastic sneering vocals, this song is the perfect statement...a stunningly powerful piece of punk politics...a lifestyle choice, a manifesto that heralds a new era".[75] Colin Newman, who had just cofounded the band Wire, heard it as "the clarion call of a generation."[76]
"Anarchy in the U.K." was not the first British punk single, pipped by The Damned's "New Rose". "We
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