Wire: 154

From 1977 to 1979, Wire transformed mightily from cheeky art punk rockers to an outfit that found expression in 154 (the number of shows played by the band to date) that featured expanded song structures, electronics and atmospherics, and experiments with producer Mike Thorne in the studio that was, in many ways, a world away from their debut Pink Flag, while a further extension from the follow-up Chairs Missing.  

The quartet of Colin Newman (vocals, guitars), Graham Lewis (vocals, bass), Bruce Gilbert (guitar, vocals), and Robert Gotobed (Grey) on drums delivered an album filled with diversity, quirkiness, drama and tension, and a solid balance of catchy hooks and experimental stylings.  Standouts for this listener include "2 People In A Room." "The 15th," "A Touching Display," "I Should Have Known Better," "Blessed State," "40 Versions," and "Map Ref. 41 [degrees]N, 93 [degrees]W," though the whole original album is strong.

There are a few bonus tracks that can be interesting, especially as a couple hint at what Lewis and Gilbert would do with their fascinating Dome project, which followed after Wire called it a day not long after 154 was released.  Newman's A-Z solo record purported contained much of what would have been the band's fourth album, but that would wait until Wire reformed in the mid-Eighties and significantly retooled their sound.

Then there was the remarkable chaos that was Document and Eyewitness that followed 154 and the title of which reflected the disintegration as it was happening on stage, but we'll see if that appears here at a future date!

Wire: Object 47

Wire has been a consistent presence on the playlist of late, particularly albums made since Object 47, the first recording after the departure of Bruce Gilbert, was released in 2008.

While there have been lots of commentary on how many late-period Wire albums just don't measure up to the groundbreaking, innovative work of early classics like Pink Flag or Chairs Missing, those remarks seem inherently unfair.

This is especially true because, how many bands that came up in the late Seventies when Wire did, are even still around, much less regularly releasing new material of consistent high quality, as opposed to, say, running around the reunion and revival circuit rehashing the greatest hits from days of yore?

Having not heard Wire until 1987 probably precludes obsessive comparisons between recent material and the early recordings that inspire so much nostalgia, much of it understandable.  Still, how about looking at the later-period albums on the merits.

Given the above, Object 47 was, after the abrasive and bracing blast that was the remarkable Send (2004) including a Los Angeles performance at a small venue that was blisteringly loud, a reflection of how the three-piece without Gilbert could carry on and make excellent music that carries the spirit of Wire forward.

"One of Us" is one of many Wire tunes that, in a more equitable but likely improbable world, would be a hit.  It has a fine Graham Lewis' bass riff, an anthemic chorus, an excellent Colin Newman vocal, and Robert Grey's metronomic drumming holding the piece tightly together.

In fact, the album's sequencing is very strong with "Mekon Headman" (mistaken by some as an attack on the cult band, The Mekons) and "Perspex Icon" being other highlights.  "Hard Currency" has a hypnotic bass line and some fine stop-time breaks along with Grey's cymbals as the main rhythmic guide. The finale, "All Fours" has a growling guitar riff with the bass and drums in a propulsive synchronicity under which is maybe Newman's best vocal on the album.  Page Hamilton's "feedback storm" adds a welcome measure of extra tension and texture.  It was a great way to end an excellent and reaffirming recording.

So, whatever the comparisons to the "good old days" might be, Object 47 was proof positive that Wire without Gilbert was not only viable, but capable of great artistic relevance and development.  Things just got better with such recordings as Change Becomes Us, Red Barked Trees and subsquent albums, especially Wire.

Wire: Change Becomes Us

Having recently read Wilson Neate's very detailed biography of Wire, one of the main themes of the book was the struggle between creating experimental art music and also having enough pop sensibilities to sell some records and keep the project viable.  The book makes clear that the push-and-pull was largely between Bruce Gilbert, who was dedicated completely to the former, and Colin Newman, who liked to experiment (especially on his solo albums) but also pushed to have enough accessibility to make sure the band could survive in the marketplace.

The 2004 album Send, a bracing, remarkable record that seems to strike a balance and which was, according to the book, Newman and Gilbert working closely together to reconcile their varying tendencies, proved to be the end of the band's original lineup.  Gilbert left soon after and has not been particularly active on recordings, though he has worked on other projects more to his liking.

A previous owner of the disc put a sticker that could not be removed on the front cover, which is why only this much is shown!

As for Wire, they kept on, working with other guitarists before having Matthew Simms, a much younger musician, join the band as an official member.  Neate's book points out that the group has become much more of what Newman had always intended and, whatever the success of that might be, Wire very much remains an active and intriguing band.  Not as experimental as it once was, but for gents of a certain age and given how few bands of the late Seventies are still making original and viable music, the group consistently delivers great music. 

In 2013, Wire put out Change Becomes Us, in which the quartet revisited and retooled a group of songs from more than thirty years prior, many of which were to be on an album following their first trio of classics: Pink Flag, Chairs Missing, and 154.  The band imploded before that record could be made and the strange, though fascinating, Document and Eyewitness, featured live "performance art" renditions of many of these tunes, while others appeared in various iterations elsewhere.

So, as a consolation prize . . .

Change Becomes Us is an intriguing project, taking songs that in most cases successfully blend accessbility with experimentation and presenting them in the "modern" Wire format, honed since Gilbert's departure.  Robert Grey's steady precision continues to be essential, Graham Lewis' bass also anchors the tunes with fluidity and solidity and his lyrics are always interesting and arresting and Simms helps flesh out the sound in understated, but important, ways.

For those of us who only got the barest of glimpses into the possibility of what Document and Eyewitness and other sources hinted at, Change Becomes Us is a realization that shows that the ideas were largely sound and that the recent development of the band provides a maturity and craftsmanship that shows that Wire has so much to offer more than four decades after it first made a splash in the punk era.

Wire: Send

After another lengthy hiatus, beginning in 1992, Wire reemerged a decade later determined to push themselves in an expected direction.  With 2003's Send, which followed from and incorporated some songs from the two Read & Burn EPs, the band blazed, blasted and blew (largely) through a blistering barrage of tunes that showed that they were as delightfully idiosyncratic and creative as ever.

Anyone who saw Wire live during that period, as this blogger did for the first time at a Los Angeles show, it was more than a surprising to be confronted with a level of volume that was as loud as any concert experienced before.

But, the songs worked well in that maelstrom.  "In the Art of Stopping," "Comet," "The Agfers of Kodack," "Spent," and more are just built for speed and noise.  The live album, The Scottish Play: 2004 (a neat little play on The Bard) gives some idea of what Wire's music of that period sounded like in person, though it's obviously not possible to replicate the sonic assault.

But, that's not all that Send and related recordings from those first few years of the 2000s was about.  For one thing, although there are electronic treatments added for color and adornment, especially on "Read and Burn" it was great to be able to hear Robert Grey (Gotobed) playing a real drumkit again and performing with his old metronomic reliability.  Not that the late 80s version of Wire wasn't great--there was much to enjoy there--but the driving intensity of Send would not obviously have been anywhere near possible without Grey's drumming.

And, of course, there's Colin Newman's ironic, Cockney-inflected vocals--often supremely sarcastic, witty and insightful, and sometimes bellowing, as on the staggering "Spent."  Occasionally, Graham Lewis's voice, though definitely cigarette-burnished (or burned), comes out particularly effectively, even if processed, in the raging, biting "The Agfers of Kodack."  Though to hear him sing the tune on The Scottish Play reveals painfully what the years of smoking had done.

Finally, there is the production, which somehow manages to sound raw and polished all at the same time, due to the care and consideration taken by Newman, who has mixed all of Wire's music since at his home studio, Swim.

Some bands maintain remarkable longevity by falling back on past glories; others build upon their history while adding new dimensions by looking forward.  Wire is definitely the latter, even after Bruce Gilbert departed in 2004.  Their subsequent albums have all been great and their latest release, the mini-LP Nocturnal Koreans, shows that they are still very much forward thinking.

Wire: The Ideal Copy

The Ideal Copy was the first Wire album purchased by YHB and was a memorable acquisition in 1987.  The band had recently reunited after several years of inactivity and the change in their sound caused  no small amount of comment (and consternation, in some cases) from fans of their first period from 1977-80 when they issued classic records like Pink Flag, Chairs Missing, and 154.

The truth is that any band that is going to last is going to have to change so that members feel like they're growing and fulfilled and Wire's decision to move into more electronics, while retaining their experimental bent, should, in retrospect, have come as no surprise.

For this listener, there was no predilection to compare this record to those of the earlier era, because there was no previous experience with those great records (that came not long after buying The Ideal Copy led to an exploration of those first discs.)

In any case, this is a memorable album, led off by a trio of tremendous songs: "The Point of Collapse," "Ahead," and "Madman's Honey."  It's no surprise that when the band wisely allowed fans and friends to vote for their favorite tracks for The A-List, a compilation of their late 1980s output, these songs were all included.  "The Point of Collapse" and "Madman's Honey" are more melodic and atmospheric, with minimal guitar lines and enhanced use of keyboards than earlier recordings and Colin Newman's singing was, well, more "honeyed" and far removed from the Cockney sneer of days of yore.  "Ahead," which came out #1 in the aforementioned poll, is more aggressive, but still melodic and more ordered than anything found in the earlier work.

The more experimental and off-kilter work comes with the remainder of the work, including decidedly different vocal turns by Graham Lewis on the intriguing "Feed Me," with its washes of guitar bursts and its repetitive five-note "bass" accompanied by a low, rumbling drone.  The catchy "Ambitious" has a bouncy drum beat, processed guitar riff and another "bas" riff which might have been done on keyboards and a string-like riff that runs throughout the piece.  Lewis talks, roars and sometimes sings through the track in his inimitable way and there is a typical obtuse chanting of various acronyms at the end.  The song is definitely about "The Ideal Copy," though, not atypically for a Wire song, the meaning of the lyrics is unclear (Graham Lewis stated in an interview that the concept referred to DNA, but then guitarist and sound manipulator Bruce Gilbert decided to remove references to DNA from the song!)

The short, cheeky "Cheeking Tongues" has a spiky processed guitar riff, sampled voices and a spry bass line, kept together by Robert Gotobed's metronome-like drumming.  Newman either sings in a higher register or the vocals or processed and they are double-tracked.  Again, there are the impressionistic lyrics, but the "soundtrack to your silence insincere" is a cool-sounding phrase.  The atmospheric "Still Shows" has a sweetly-sung vocal, also by Newman and there is something about "cutting a rabbit/dressing the skin/selecting gear/tearing about" as a kind of chorus.  But, the atmospherics are quite interesting, including a repetitive drumming pattern and a reggae-like rhythm guitar pattern and an echoed bass figure.  "Over Theirs" has a very trebly guitar line, propulsive drum pattern, and a sinewy bass line while Newman sings about things that happen "over and over" in a , surprise, repetitive way.  But, the track is instrumentally rich and compelling and holds the listener's interest.

At a little over 34 minutes, the proper album is a bit slight for a compact disc, so the band included the Snakedrill EP from 1986 with the standout opener "A Serious of Snakes," with its notable line, "I'd rather make furniture/than go to Midnight Mass," an oblique (naturally) reference to Christ and religion complemented by "They abandoned the baby/The baby trained/The baby returns/Baby kills Mary and Joseph."  And, there's some reference to ancient Persia.  But another interesting lyrical element comes with the stanza that runs:

Please send your God
My very best wishes
Does he still sing
Does he still fish
Does he still help you
On your days off

Again, who knows what it all means overall, but there's something impressive about the word play and the impressionistic imagery.

The comes "Drill," a piece the band has frequently referred to and revived as a template of sorts for the general sound that was developed over the course of their late 80s and very early 90s work.  Here, repetition is taken to its (perhaps) logical conclusion and an entire album was devoted in 1991 to the "Drill" concept in several reimaginings.

"Advantage in Height" has an electronic riff, more slashing and trebly guitar, that steady drumming and an impressively deep throbbing bass line behind Newman's vocalizing.  The closer on the EP is the strange "Up to the Sun" intoned largely a capella by Lewis and Newman, with a background of atmospheric electronic textures.  Despite an obvious flub by Lewis early on, the tape kept rolling and then the two harmonize in a strangely effecting way before Newman concludes with Lewis humming a backing line.

A further bonus are three tracks recorded in London.  "Ambulance Chasers" has an off-kilter guitar line and the lyric seems to be about money-grabbing lawyers who are "fucking and sliming/[with] no sense of timing" and someone is warned to "watch the front/[and] watch your behind."  Notably, Robert Gotobed actually breaks away from strict timekeeping to hit a few short fills on his drum kit. 

After a live rendition of "Feed Me" with a stronger guitar wash freed from the processing of the studio version and featuring Newman's vocals, which are not as striking though as Lewis's studio version.  "Vivid Riot of Red" is a live version of "Up to the Sun," and is completely a capella.  The track is made more interesting with audience participation, including shouts, whistles, yells, laughter and the strong burst of applause at the end.

The first album heard from most groups and performers tends to be the one that lives longer in the memory.  The Ideal Copy is, of course, a hodge-podge of a short studio album joined to an earlier EP and the bonus live tracks.  But, what holds it all together is Wire's determined effort to move forward in their unusual and impressionistic musical world.  Many fans of early Wire were disappointed by the late 80s direction, but for YHB who started listening to the band with that material, it seemed entirely fresh and exploratory and, so, was also revelatory.

This listener appreciates the brilliance of the 1977-80 version of the band, but also enjoys most of the 1985-1990 output, too, even the much-maligned Manscape.  Then, to see the band reemerge in the 2000s with a new bent that somehow channeled some of the elements of its past while pushing relentlessly forward was fantastic.  Again, no band or performer can maintain a creative, viable long-term career without changing and adapting and Wire has proved more than adept at that.  Despite Bruce Gilbert's retirement, Wire remains a strong, viable and intensely interesting band.  The Ideal Copy has proven to be an ideal way to start listening to the band.

Dome 1 & 2

After the breakup of Wire in 1980, infamously, though intriguingly, chronicled on the album Document and Eyewitness, the members of the four-piece embarked on various projects.  Colin Newman released A-Z later that year and it has been said that many of the songs on the record were intended for a Wire album and it can be readily understood why as it has many elements that seemed a progression of where the band had been headed with its recent recordings.

Bruce Gilbert and Graham Lewis, however, took the opportunity to reenter the studio just a few days after Wire's last concert to develop a project called Dome.  Working quickly, the duo came up with ten pieces that largely took the form of pre-existing material intended for Wire and then added new electronic experiments intertwined with guitar, bass percussion and vocals.  Whereas Newman, who always a bit more of a songwriter's touch, also did some experimenting on his record, while also mainly relying on relatively straightforward song structures, Lewis and Gilbert tended far more to abstraction, albeit in a compelling and mesmerizing way.

The first album did feature several vocal-infused pieces, including the opening "Cancel Your Order," the hypnotic "Cruel When Complete," with haunting vocals by "A.M.C.," that is, Angela Conway, who also received songwriting credit, and the most straight-ahead song on the disc, "Rolling Upon My Day," with its simple, but appealing guitar line. 

Otherwise, there are plenty of weird and wonderful electronic sounds and noises on the rest of the album, which was recorded over three days in mid-March and the first of April 1980.

The duo quickly returned to work in August to record seven tracks that comprised the second album and here abstraction reigned supreme and the material was even stranger, including the two-part centerpiece, "The Red Tent 1 & 2", in which Lewis recorded his vocals while lying down in a tent; "Breathsteps;" "Ritual View" and the remarkable closer, "Keep It."  Unlike the first record, which had its in-development Wire leftovers, this album was built largely on its own sense of sonic (mis)adventure, though "Ritual View" was a reworked Wire track that wasn't released, however, until 1996's Turns and Strokes.

For those more attuned to the song forms found in early Wire, Newman's record is, by far, the easier on the ears, though, again, it has moments of experimental adventure that he would expand upon in subsequent solo efforts like the instrumental-dominated 1981 release Provisionally Entitled The Singing Fish. 

Those who noticed, however, that there was always some space in Wire's first three albums for electronic textures and rhythms that leaned toward the so-called "avant garde" or "art music," Gilbert and Lewis's work on the first Dome albums showed that they were more than ready to enlarge their interest in texture and sound.  While the first album, in particular, leavened the experiments with some familiar song structures, Dome 2 took the adventures much further.  For those interested in the exploration of sound in a minimalist and low-tech fashion, it can be quite rewarding.

Someday, the Dome 3 & 4 disc will be highlighted as Lewis and Gilbert continued their partnership further into the 1980s and before Wire regrouped to make a very different kind of music in the latter half of that decade.

Dome 1 (1980)
1.  Cancel Your Order
2.  Cruel When Complete
3.  And Then . . .
4.  Here We Go
5.  Rolling Upon My wWay
6.  Say Again
7.  Linasixup
8.  Airmail
9.  Ampnoise
10.  Madmen

Dome 2 (1981)
1.  The Red Tent 1 & 2
2.  Long Lost Life
3.  Breathsteps
4.  Reading Prof. B
5.  Ritual View
6.  Twist Up
7.  Keep It

Wire: Pink Flag

Labels, labels, labels.  When Wire released its first album, Pink Flag, at the end of 1977, the punk revolution in England was nearing its end, or at least what has been referred to as the "first generation" was coming to a close.  Speaking of labels, it was interesting that the band was signed to Harvest Records, a subsidiary of the massive EMI label, best known for issuing "progressive rock" works from the likes of Pink Floyd, Deep Purple, The Move and others--seemingly a world away from that of Wire!  This was also true of 1980s signees Duran Duran and Thomas Dolby.

In any case, Wire bore little resemblance, to YHB, to the Sex Pistols or early Clash or The Damned or lots of other early punk bands.  Sure, the songs were short, had a certain attitude to them, and could move along at a fast clip.  But, there was something clearly different about Wire that set them apart from virtually anything on the so-called "punk" scene at the time.

At any rate, easy labels and ready comparisons are not of much interest here, anyway.  The 21-song album featured the steady, metronome-like drumming of Robert Gotobed (Grey), bassist-vocalist Graham Lewis, guitarist Bruce Gilbert, and vocalist-guitarist Colin Newman, but producer and keyboardist Mike Thorne was essential to the band's sound to the extent that some have referred to him as Wire's fifth band member.  His role would only increase in the two subsequent albums, to be covered later in this blog.

The first track, "Reuters", sounds almost nothing like the punk music of the day, though its heavy guitar, echoey bass, and crisp drums nicely supplement Newman's Cockney-inflected delivery of lyrics that, dealing with the reporting of war and human rights abuses, are far more mature and advanced than what most contemporaries had on offer.

Moving briskly through great pieces like "Three Girl Rhumba;" "Lowdown;" "It's So Obvious;" "106 Beats That;" "Strange;" "Feeling Called Love;" "1 2 X U;" and many others, Wire throw out ideas left and right, with varied tempos, unusual melodies, and ironic lyrics barely developing in any given piece, before the next one, generally quite different that those before and after, kicks in and the sequencing may be as integral to the success of the album as any other element.

This was a band that, though not proficient musically, were definitely so in terms of ideas and their execution and Pink Flag does not sound at all dated, nearly thirty-five years after its release.  Wire would go through several iterations through its history (YHB did not hear them until the 1987 record, the excellent The Ideal Copy, which showed the band pursuing a very different sound, if not fundamentally altered attitude), but Pink Flag is a bracing start for a great band not content to stand still or rest on its laurels.

Wire:  Pink Flag (Harvest, 1977)

1.  Reuters
2.  Field Day for the Sundays
3.  Three Girl Rhumba
4.  Ex Lion Tamer
5.  Lowdown
6.  Start to Move
7.  Brazil
8.  It's So Obvious
9.  Surgeon's Girl
10. Pink Flag
11.  The Commercial
12.  Straight Line
13.  100 Beats That
14.  Mr. Suit
15.  Strange
16.  Fragile
17.  Mannequin
18.  Different to Me
19.  Champs
20.  Feeling Called Love
21.  1 2 X U
22.  Options R (Restless Retro 1989 CD bonus track)