190. rise

“In which John Lydon (aka Rotten) conducts a mid-1980s re-imagining of the concern known as Public Image Ltd, engages with the likes of Bill Laswell, Ginger Baker, Stevie Vai etc, and blows more than a few minds. The album is called Album (of course), with Rise the big (almost) hit single. It’s about Apartheid apparently, but to my ears, it’s concerned more with anger itself, and its inherent elemental energy. Like wind or electricity or the stuff of split atoms, the question quickly becomes not, should we have it (fact is, we do and it ain’t going away), but what should we do with it? Get drunk and wail on some guy down at the pub, or maybe get it focused, turn it into a laser beam that destroys an empire, frees slaves, saves children from lives of boredom and futility? Not bad for a punk.” (Philip Random)

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275. death disco

There’s no shortage of rage in the Johnny Rotten (aka Lydon) discography, but nowhere else does so much sorrow show itself than in Public Image Ltd’s Death Disco (aka Swan Lake because it cops a bit of the Tchaikovsky melody), a recorded recorded immediately after the death of his mother (she requested some disco for her funeral). It actually hurts to listen to it, but in a good way (not that the whole album doesn’t lean that way) — the punk is revealed as all too human, just in case there was any doubt.

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318. the order of death

Public Image Ltd‘s fourth album, 1984’s This is What you Want … This is What you Get was a mess, the end result of a major reconfiguration of what had been one of the essential post-punk units. Main man John Lydon (aka Johnny Rotten) was still on board, but previous compadres Jah Wobble and Keith Levine were both very much gone amid much drug and alcohol messing around and perhaps absconding with various P.I.L. master tapes for … reasons. But This is What you Want … This is What you Get was not a complete write-off if only for its lead off track, The Order of Death, which was just a chant basically, the album’s title repeated and repeated to ultimately powerful effect. Or as Philip Random puts it, “… key theme music for the movie I seemed to be stuck in at the time, the one concerning an entire culture going down in the sewage and bile of its own corrupt desires. Or something like that.”

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689. ease

Nobody saw this coming in the mid-1980s. Public Image Ltd (aka whatever original Sex Pistol John Lydon feels like doing) hooks up with Bill Laswell, Ginger Baker, Riuchi Sakamoto, Stevie Vai (and more) and cranks out the closest thing to a proper Led Zeppelin planet cruncher that anybody’d heard since Physical Graffiti. The album was called Album (unless you bought it in cassette or CD format) and Ease was the furthest it went toward setting the atmosphere on fire.

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761. this is not a love song

In which Johnny Rotten (aka Lydon) and the ever revolving crowd at Public Image Ltd remind us that the very idea of a love song was problematic come the 1980s, Ian Curtis having slain the beast with Love Will Tear Us Apart (and then he hung himself to emphasize his point). Which didn’t mean that love didn’t exist anymore. It had just become a heavier, more complex and dangerous thing. And take note. This is the original single version, vastly superior to overproduced mess that eventually showed up on album.

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966. warrior

By 1989, Public Image Ltd weren’t exactly redefining the zeitgeist anymore. In fact, it’s arguable they weren’t really a band anymore – just John Lydon‘s personal project. Which, in the case of Warrior, seemed to be about proving that he could rock at least as big as U2 (or whoever) and succeeding, with the best version a remix that’s now almost impossible to find, probably because of the sample of Old Lodge Skins himself laying down his humble but fierce warrior prayer.

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