Anarchy in the UK

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Anarchy in the UK
Sex pistols
publication 1976
length 3:31
Genre (s) punk
Author (s) Cook / Jones / Matlock / Rotten
Publisher (s) EMI
album Never Mind the Bollocks, Here's the Sex Pistols

Anarchy in the UK is a song by the English punk band Sex Pistols . It was the band's first single and was released on November 26, 1976. The single later appeared on the album Never Mind the Bollocks, Here's the Sex Pistols . The Rolling Stone voted the song 53rd of the 500 best songs of all time .

History of the song

After its formation in 1975 and a few live concerts, the Sex Pistols began recording demos . So they got a contract with EMI . The Text Anarchy in the UK was by John Lydon wrote. The single came out with I Wanna Be Me as the b-side . It initially appeared in a black envelope, but was later replaced by a standard EMI envelope, as the original envelope incorrectly stated Chris Thomas as the producer for the B-side instead of Dave Goodman. After a sensational TV interview with Bill Grundy , EMI canceled the contract with the band and the single was withdrawn from the market. Nevertheless, it reached number 38 in the UK charts. Eventually Virgin signed the band and re-released the single in 1983 and 1992.

production

Demo version July 1976

A first studio version of the song was produced in July 1976 by Dave Goodman, owner of a PA equipment rental company and responsible for mixing the band's live sound. This version is a little slower than the final single version and has a different guitar solo at the end of the song. It was recorded in the band's rehearsal room with a four-track recorder from TEAC , along with six other songs. The recordings took place between Tuesday, July 13th and Monday, July 19th, 1976, on July 20th, 1976 the song was presented live for the first time at a concert in Manchester. On July 27, 1976, Goodman transferred the recordings to eight-track tape with sound engineer Neil Richmond at the Riverside Recordings studio, vocals and guitar overdubs were added. The final mix and some additional effects took place on July 30, 1976 at Decibel Studios with the sound engineer Rod Houison.
These demo recordings were presented by manager Malcolm McLaren to various record labels, from which EMI was ultimately awarded the contract.

The demo recording of Anarchy in the UK first appeared in late 1977 on a bootleg album called No Future UK . Dave Goodman released it on October 8, 1984 on his own independent label Chaos Records on a maxi single Submission and in January 1985 on the associated LP The Mini Album . Virgin Records finally released the demo recording in 1996 on the Never Mind the Bollocks / Spunk double CD.

Two more songs from the same recording session were used as single b-sides: I Wanna Be Me became the B-side of Anarchy-in-the-U. K. -Single, No Feelings the B-side of God Save the Queen (re-pulped version on A&M Records ).

Declined Dave Goodman version (Wessex Studios October 1976)

After a concert in Doncaster on September 27, 1976, the band signed a preliminary contract with EMI's music publisher , EMI Music Publishing (the final contract was signed on October 12, 1976)

Negotiations for a record deal with EMI Records and Polydor followed , but Polydor was only used to drive the price up at EMI. Polydor suggested signing the contract for Monday October 11th and booked De Lane Lea Studios to record the single on October 9th . However, EMI got ahead of Polydor.

On Friday, October 8, 1976, the band signed a worldwide deal with EMI Records. The song was selected as the first single and a recording budget of £ 10,000 was approved by EMI, which the band had to refund through royalty payments. EMI signed Dave Goodman to produce the A- and B-sides of the single ( Anarchy in the UK and a cover of No Fun from the Stooges ). The single was due to be released on Friday, November 19, 1976.

The band went to Lansdowne Recording Studios on the weekend (October 9 and 10, 1976), before the band went to De Lane Lea Studios to cancel the recordings there. With producer Dave Goodman and his partner, the sound engineer Kim Thraves, several instrumental versions of the song were recorded, which Goodman was not satisfied and remained unreleased. Due to property damage (singer Johnny Rotten had smeared the studio walls with slogans), however, there were conflicts with the studio manager, EMI received a claim for damages and the recordings were canceled. From Tuesday, October 12th to Friday, October 15th, 1976, the band played a short live tour, only to start over in another studio.

On Sunday, October 17th, 1976, the band and Goodman / Thraves went to Wessex Sound Studios, the night before the band's equipment had been brought there. The Wessex sound engineer Tim Friese-Greene oversaw the production. In the Dave Goodman studio session, Steve Jones and Glen Matlock used different guitars than in the later Chris Thomas session:

Various backing tracks were recorded on the first day, but Goodman was again unsatisfied.

On the second day, at Goodman's suggestion, the band played a few cover versions to warm up and loosen up, which Goodman recorded unnoticed and kept to himself. This was finally followed by a backing track from Anarchy in the UK , which Goodman satisfied.

On the third day the vocals and other guitar overdubs and effects were added and the single B-side No Fun was recorded. On Wednesday, October 20th and Thursday, October 21st, 1976 the band played two concerts in Birmingham and Dunstable.

After that, Goodman and the band returned to the studio for two days to mix the song and add a few more overdubs. At the end of the first day, Goodman informed the horrified band that he considered this version of the song a good demo and that he would start over the next day. In less than eight hours, the song was completely re-recorded, this version is significantly longer than the final single version and also much more raw and aggressive due to singer Johnny Rotten's voice, which has meanwhile been badly strained, so Goodman planned to re-record the vocals later, why it was but no longer came. Copies of the song went to EMI and manager McLaren over the weekend.

On Monday, October 25, 1976, there was a meeting at EMI that Dave Goodman missed. Goodman's single version was accepted by everyone involved, but the band refused to continue working with Goodman. The responsible A&R manager Mike Thorne, who looked after the band at EMI, complained about the quality of the recording, but said he could save it with a new mix.

On Tuesday, October 26, 1976, the band members submitted their membership applications to the PRS (Performing Rights Association) to secure the exploitation rights . The applications indicated the number “1” under the column “Number of commercially recorded works” and the end of November 1976 as the release date of the single. At the urging of Johnny Rotten, all four band members were given equal shares of the copyrights to the songs.

Mike Thorne, meanwhile, with the agreement of the band, made a more balanced mix of the song one evening in EMI's small in-house eight-track studio and had a test pressed from it, much to the annoyance of Dave Goodman, who thought his work was being sabotaged. McLaren and the band drove together to Rotten's parents' apartment to listen to the test press on Rotten's stereo.

Manager Malcolm McLaren ultimately firmly opposed Goodman's version because, in his opinion, it sounded so awful that the single would not get radio airplay and have no chance of getting into the charts and insisted that the song be re-recorded.

The rejected Dave Goodman version of Anarchy in the UK (4:00 minutes) first appeared on a bootleg album called Spunk in October 1977 and was released on the album The Swindle Continues in 1988 . A shortened mix (3:15 minutes) was released in 2004 on the DVD Spunk: The Movie . Mike Thorne's remix has not yet been released.

In late May 1978, Steve Jones and Paul Cook went to Rockfield Studios in Wales with Dave Goodman to revise the Wessex studio outtakes. Goodman's version of Anarchy in the UK received a slightly richer and more compact remix and appeared on the film soundtrack The Great Rock'n'Roll Swindle in 1979 with producer credit "Cook / Jones / Goodman" .

Chris Thomas single version (Wessex Studios November 1976)

At Malcolm McLaren's insistence, the band should re-record the song with a more well-known producer, with drummer Paul Cook suggesting Roxy Music producer Chris Thomas . Mike Thorne called Thomas and a few days later arranged a meeting at Thomas' house, which McLaren and the band (except Rotten) showed up to. After listening to the "Anarchy" test press that he had brought with him, Thomas wondered why he should re-record the song since he had nothing wrong with it, but he agreed.

A few days later (the exact date is unknown) the band returned to Wessex Studios for a day with producer Chris Thomas and his sound engineer Bill Price. In the morning, the equipment and microphones were set up in Studio 1.

  • Paul Cooks drums of the brand Gretsch was (10 meters 15) placed in the center of the studio, the bass drum with a AKG D12 microphone, the snare drum with two microphones (a Neumann KM86 above and a Shure SM57 under the drum), the Toms with a Neumann U67 and the cymbals with two Neumann KM84 were recorded. The Neumann KM84 were hung high above the drums in order to additionally capture the surround sound of the drums separately, for this purpose two ribbon microphones were placed at floor level behind the drums.
  • Steve Jones used a Gibson Les Paul guitar for the recording , previously owned by Sylvain Sylvain of the New York Dolls and brought to London by Malcolm McLaren in 1975. Jones' guitar amplifier from the Fender Twin Reverb brand was installed directly in front of the window to the control room and insulated with low partitions. Two microphones (Neumann KM84 and Shure SM57) were placed 15 centimeters in front of the amplifier.
  • Glen Matlock used a Rickenbacker 4001 bass guitar for the recording , which is now on display in the Rock and Roll Hall of Fame in Cleveland . The Fender bass amplifier and top were set up on the right side of the studio and isolated with partitions, with the sound ultimately being taken directly from the top. A Neumann U87 was used for recording.

After the equipment was set up, the band played the song a few times so Bill Price could fine-tune the sound. In the afternoon, the band finally recorded about five rhythm tracks of the song (drums, bass, rhythm guitar), which was completed around 4:00 p.m. Producer Chris Thomas took half of the two best versions (according to Matlock Take 3 and 5) and cut them together. At the interface (at 2:15) there was a tiny discrepancy in the timing of the snare drum, which Thomas built into the song using a delay . According to Thomas, the finished rhythm track was mixed in mono .

At 7:00 p.m. Johnny Rotten appeared to record the vocals. According to Malcolm McLaren, he initially refused to talk to Chris Thomas, and according to Thomas he was even left in the dark about the fact that studio recordings were even taking place.

  • Johnny Rotten's vocals were recorded in a soundproof booth in the far right corner of Studio 1, to the right of the control room. A Shure SM58 was used as the microphone.

At first Rotten simply roared through the vocal part, so that Thomas broke off the recordings and took him to a nearby pub to get to know him and to reduce his nervousness. Thomas explained to him that he wanted the vocals to be as clear and precise as possible. According to sound engineer Bill Price, three to six rounds were then recorded and the best parts were selected and cut together.

After a few days, Steve Jones went back to the studio to record more guitar overdubs. According to Chris Thomas, the song contains eight to ten different guitar tracks, with Thomas selecting and arranging the different parts. In the final mix, special emphasis was placed on the drum sound, as according to Thomas the Wessex studio was too well insulated for a powerful sound . Sound engineer Price got around this by mixing a gate- enhanced version of the snare drum track into the original track, creating a pistol-like sound. According to Thomas, only Johnny Rotten of the band was present at the final mix.

The audio mastering took place under the supervision of sound engineer Malcolm Davies at Pye Records held in London, a small number of acetate test pressings were in the Abbey Road Studios made. Some of these rare test pressings have been used since 1985, for example. B. auctioned at Christie's , one specimen changed hands on Ebay in 2011 for £ 12,000.

Chris Thomas made an alternate version of the single that features a different second guitar solo and a different selection of guitar overdubs towards the end of the song. This version was used for a promotional video filmed in mid-November 1976 with director Mike Mansfield at the South Bank Television Center. It was released on the Sex Pistols box set in 2002.

Single artwork

The first 2000 copies of the single (some sources say the first 5000 copies) were published in accordance with the anarchist Black Flag at the instigation of Malcolm McLaren in an unlabeled black sleeve, the rest in an EMI standard sleeve with a peep hole on the single label. The marketing department of EMI had originally proposed a band photo of Pete Vernon, which had been taken on the day the contract was signed and the cover of the first Beatles LP Please Please Me or 1962-1966 and 1967-1970 recreated. McLaren categorically rejected this proposal.

Graphic designer Jamie Reid and photographer Ray Stevenson also designed a torn Union Jack that was put back together with safety pins and clips for posters and advertisements , which was used as the cover artwork for the 1992 single.

Publication and controversy

EMI released the single in the UK on Friday November 26th, 1976. The first edition was 15,000 copies, of which about 9,000 copies were sold within the first week. The total number of copies sold was 50,000, according to Leslie Hill, executive director of EMI Records.

The press reviews in the leading music magazines were mostly positive to enthusiastic. On the radio, the single was first played on November 26th by John Peel on his broadcast on BBC Radio 1 .

On Monday November 29, 1976, producer Dave Goodman filed legal action against EMI. EMI's A&R department had notified the marketing department that the producer and title of the single B-side had changed; the first press incorrectly named Chris Thomas as producer of the B-side I Wanna Be Me , which was actually recorded by Dave Goodman during the July 1976 demo sessions. Goodman obtained an injunction in court to stop the sale of the single, but was persuaded at an EMI meeting not to use it. EMI promised to publicly correct the mistake in a press release and to use Goodman's name on the reprints.

On Wednesday, December 1, 1976, the band appeared on the London regional broadcaster Thames Television's evening program Today to promote the single and the planned tour, introducing excerpts from the promotional video. However, presenter Bill Grundy provoked the band to use swear words during the live broadcast. The British tabloids turned it into a public scandal that suddenly made the band known across the country. The packers in EMI pressing plant in Hayes refused then to complete shut the Single to shipping, while the union Transport and General Workers Union were supported. EMI managing director Leslie Hill had to personally ensure that the packers resumed work, but as a result the single was not available in some stores for a short time.

On December 3, 1976, all radio stations in Great Britain removed the song from their playlists . He is said to have been heard on the radio only five times across the country.

The press began to attack the EMI group directly, several articles implied that EMI had staged the scandal in order to increase the sales of the single. Reporters molested Leslie Hill's home and questioned his neighbors. In the United States, the LA Times reported the scandal on the front page of December 6, 1976. Bhaskar Menon, President of Capitol Records , EMI's US label, banned the band from being released on Capitol and from importing records to the US and Canada.

On December 7, 1976, the EMI Group's annual general meeting took place, which was almost completely lost in the media hype about the Sex Pistols. Leslie Hill had reported to EMI chairman Sir John Read the day before that the band would record their next single in late December 1976 and begin work on an album in January 1977. EMI shareholders filed a motion to terminate the contract with the band. Read then informed the press that further publications on EMI Records were questionable and that the contract would be terminated if necessary. The band allegedly responded with the words: "Tell him to go **** himself."

On December 17, 1976, the DJ Roger Scott spread on the local radio station Capital Radio that the single had been recorded by session musicians . Scott had to retract the claim after a phone call from McLaren on the current program, but the rumor persisted and reappeared over the next few years.

On December 24, 1976, there was a meeting between Sir John Read, EMI Records Managing Director Hill, and Laurie Hall (EMI's Legal & Business Affairs Manager). Read asked Hill to end the contract with the Sex Pistols because the bad press EMIs investment in the US market for computer tomography hazardous. Hill refused.

On December 27, 1976, the band went into the studio with producer Chris Thomas to record the follow-up single to Anarchy in the UK . McLaren and EMI's A&R had agreed on Pretty Vacant , due for release in February 1977, and EMI's marketing department began preparations. Backing tracks for Pretty Vacant , No Feelings and God Save The Queen are said to have been recorded. The single was never completed.

On January 4, 1977, the band flew to Amsterdam to promote the single with a television appearance and a few concerts. That same evening, the Evening News ran a fictitious report of allegedly provocative behavior by the band at Heathrow Airport . The Tory MP Robert James Adley then asked Sir John Read in an open letter on January 5th to fire the band, which he personally initiated on January 6th, 1977.

The single was immediately withdrawn from the market worldwide and existing stocks were returned and recycled .

British chart positions

The single appeared on December 11, 1976 at number 43 and was then between December 18 and 25 for two weeks in the UK charts , where it stayed at number 38. No new charts were released for January 1, 1977 because of the holidays. The charts were compiled from the reported sales of representative record stores by the British Market Research Bureau Ltd. (BMRB) determined. During the media scandal in December 1976, EMI Records received information that retailers were reporting too low or no sales of the single to the BMRB. The single charts of the music magazine New Musical Express reported the single on December 25th at number 27 instead of number 38.

In 1992 the single was re-released and was in the charts for 3 weeks, where it reached number 33 on October 3, 1992. Another re-release made it to number 70 for a week on October 13, 2007.

occupation

Cover versions

Anarchy in the UK was of several bands gecovert . For example:

Individual evidence

  1. ↑ CLASSIC TRACKS: 'Anarchy in the UK' 2004 on soundonsound.com
  2. ↑ The Sex Pistols, 'Anarchy in the UK' on rollingstone.com
  3. ↑ Christina Petterson: John Lydon: 'I'm not a leader, bully or dictator' December 11, 2009, The Independent
  4. ↑ a b Anarchy in the UK on sexpistolsofficial.com
  5. ↑ 6 Denmark Street, London WC2 (two-story extension in the backyard), according to: Paul Burgess, Alan Parker: Satellite. Sex Pistols, A Book of Memorabilia Locations Photography and Fashion. Abstract Sounds Publishing, Paperback Edition 2000, pp. 10-11.
  6. ↑ Pat Gilbert: 1977: The Bollocks Diaries . Universal Music Company 2012, p. 95.
  7. ^ Riverside Recordings Ltd. (78 Church Path, London W4), address according to: Melody Maker May 6, 1978, advertising section p. 31.
  8. ^ Decibel Studios Ltd. (19 Stamford Hill, London N16), address according to: Melody Maker October 28, 1978, advertising section p. 63.
  9. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006. pp. 27-34.
  10. ↑ Submission / Anarchy in the UK (maxisingle, Chaos Records, October 8, 1984)
  11. ↑ The Mini Album (album, Chaos Records, January 1985)
  12. ↑ Never Mind the Bollocks / Spunk (double CD, Virgin Records, June 24, 1996)
  13. ↑ Gerald Büchelmaier: Fire free for the Sex Pistols! In: BRAVO No. 48/1976, November 18, 1976, p. 46.
  14. ↑ Jon Savage : England's Dreaming . Faber & Faber, Paperback Edition 1992, p. 253.
  15. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 24.
  16. ↑ Jon Savage : England's Dreaming . Faber & Faber, Paperback Edition 1992, p. 224.
  17. ↑ Interview with Chris Parry. In: Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989. pp. 109-110.
  18. ↑ a b Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 64-65.
  19. ↑ Jon Savage : England's Dreaming . Faber & Faber, Paperback Edition 1992, p. 245.
  20. ↑ Jon Savage : England's Dreaming . Faber & Faber, Paperback Edition 1992, p. 224.
  21. ^ Interview with Dave Goodman (1988/89). In: Jon Savage: The England's Dreaming Tapes . Faber & Faber 2009, p. 424.
  22. ↑ "More Punk News ...". In: Melody Maker November 6, 1976.
  23. ^ "Pistols Sign EMI Deal". In: Sounds October 16, 1976.
  24. ↑ Lansdowne Recording Studios (1 Lansdowne Road, London W11)
  25. ↑ Glen Matlock , Pete Silverton: I Was a Teenage Sex Pistol. Updated New Edition . Reynolds & Hearn 2006, pp. 157-158.
  26. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 68-69.
  27. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, p. 208.
  28. ↑ Wessex Sound Studios (106 Highbury New Park, London N5)
  29. ↑ a b c d e f g h Richard Buskin: Classic Tracks: Anarchy in the UK (Soundonsound.com website, September 2004)
  30. ↑ Bob Gruen : Chaos! Sex Pistols Photographed by Bob Gruen . Omnibus Press 1990, p. 45.
  31. ↑ Bob Gruen : Chaos! Sex Pistols Photographed by Bob Gruen . Omnibus Press 1990, p. 40.
  32. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 70-72.
  33. ↑ 1979 published on the movie soundtrack The Great Rock'n'Roll Swindle
  34. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, p. 72.
  35. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, p. 73.
  36. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 74-77.
  37. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, p. 78.
  38. ↑ Interview with Nick Mobbs. In: Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989, p. 112.
  39. ↑ a b Glen Matlock , Pete Silverton: I Was a Teenage Sex Pistol. Updated New Edition . Reynolds & Hearn 2006, p. 115.
  40. ↑ a b Interview with Mike Thorne. In: Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989, p. 111.
  41. ↑ Membership application to PRS Ltd. by Steve Jones dated October 26, 1976 (registration number P6244, date of receipt November 8, 1976, membership from December 1, 1976). Shown in: Scott Murphy (Ed.): The Filth and the Fury Fanzine, Issue Five, Glasgow March 1998, p. 6.
  42. ^ A b Nick Kent: The Life & Crimes of Two Simpleton Workin 'Class Tossers . In: New Musical Express August 19, 1978, pp. 25-28.
  43. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 79-80.
  44. ↑ John Lydon , Keith Zimmerman, Kent Zimmerman: Rotten. No Irish, No Blacks, No Dogs. Hodder & Staughton 1994, first edition 1994, p. 134.
  45. ↑ Interview with Nick Mobbs. In: Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989, p. 111.
  46. ↑ Spunk (Bootleg LP, October 1977)
  47. ↑ The Swindle Continues (LP, Restless Records, 1988)
  48. ↑ Spunk: The Movie & Other Sordid Tales (DVD, Independent Music Ltd., 2004)
  49. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 164-167.
  50. ↑ Interview with Chris Thomas. In: Clinton Heylin: Never Mind the Bollocks Here's the Sex Pistols . Schirmer Books 1998, p. 47.
  51. ↑ a b c d Interview with Malcolm McLaren. In: Chaos! Ex Pistols' Secret History - The Dave Goodman Story (DVD, Universal Music Operations 2007)
  52. ↑ Pat Gilbert: 1977: The Bollocks Diaries erroneously dates the Chris Thomas version to October 17, 1976 (p. 94).
  53. ↑ a b c d Glen Matlock , Pete Silverton: I Was a Teenage Sex Pistol. Updated New Edition . Reynolds & Hearn 2006, pp. 116-117.
  54. ^ Interview with Paul Cook (1988/89). In: Jon Savage: The England's Dreaming Tapes . Faber & Faber 2009, p. 177.
  55. ↑ Interview with Steve Jones (1988/89). In: Jon Savage: The England's Dreaming Tapes . Faber & Faber 2009, p. 157.
  56. ↑ Interview with Glen Matlock (1988/89). In: Jon Savage: The England's Dreaming Tapes . Faber & Faber 2009, pp. 191-192.
  57. ↑ Glen Matlock. The Sex Pistols Bassist / Songwriter on the Filth, the Fury, Fender and 30 Years (!) Of Never Mind the Bollocks ... (Fender.com website, October 2007)
  58. ↑ a b Interview with Bill Price. In: Classic Albums. Never Mind the Bollocks Here's the Sex Pistols (DVD, Eagle Vision 2002)
  59. ↑ Interview with Glen Matlock (1988/89). In: Jon Savage: The England's Dreaming Tapes . Faber & Faber 2009, p. 201.
  60. ↑ Interview with Glen Matlock. In: Chaos! Ex Pistols' Secret History - The Dave Goodman Story .
  61. ↑ Glen Matlock , Pete Silverton: I Was a Teenage Sex Pistol. Updated New Edition . Reynolds & Hearn 2006, p. 82.
  62. ↑ a b c d Interview with Chris Thomas. In: Classic Albums. Never Mind the Bollocks Here's the Sex Pistols .
  63. ^ A b Blair Jackson: Producer Chris Thomas: Three Decades on the Cutting Edge and the Charts . In: Mix magazine January 1999.
  64. ↑ a b c d Interview with Chris Thomas. In: Clinton Heylin: Never Mind the Bollocks Here's the Sex Pistols . Schirmer Books 1998, pp. 50-51.
  65. ↑ Interview with Chris Thomas. In: Clinton Heylin: Never Mind the Bollocks Here's the Sex Pistols . Schirmer Books 1998, p. 48.
  66. ↑ Gavin Walsh: God Save the Sex Pistols: A Collector's Guide to the Priests of Punk. Plexus Publishing 2003, p. 123.
  67. ↑ Sex Pistols Anarchy in the UK Original 1976 7 ″ 1 Sided Abbey Road Swirl Acetate . Popsike.com website.
  68. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, p. 91.
  69. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 40 (English).
  70. ↑ Sexbox 3CD box set Virgin Records 2002 (CD 2, Track 11).
  71. ↑ Jon Savage : England's Dreaming . Faber & Faber, Paperback Edition 1992, p. 563.
  72. ^ A b Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 39 (English).
  73. ↑ Lee Wood: Sex Pistols Day by Day. The Sex Pistols Diary. Omnibus Press 1988, p. 47.
  74. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 33 (English).
  75. ↑ Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989, pp. 110-111.
  76. ↑ Jon Savage : England's Dreaming . Faber & Faber, Paperback Edition 1992, pp. 253-254.
  77. ^ Nils Stevenson, Ray Stevenson: Vacant. A Diary of the Punk Years 1976-1979. Thames and Hudson 1999, p. 19.
  78. ^ A b c Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , pp. 45-46 (English).
  79. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 67 (English).
  80. ↑ a b Interview with Leslie Hill. In: Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989, p. 119.
  81. ↑ Caroline Coon: Anarchy, Venom, Outrage, Fury! In: Melody Maker November 27, 1976 / Alan Lewis: SOUNDS Star Single. In: Sounds November 27, 1976 / Cliff White: The Sex Pistols. Anarchy in the UK . In: New Musical Express December 4, 1976, p. 27 / Mark Perry: Anarchy in the Singles! . In: Sniffin 'Glue # 5, November 1976, p. 9.
  82. ↑ Craig Bromberg: The Wicked Ways of Malcolm McLaren . Harper & Row , 1989, pp. XVI.
  83. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, pp. 92-93.
  84. ↑ Stuart Greig, Michael McCarthy, John Peacock: TV's Bill Grundy in Rock Outrage. THE FILTH AND THE FURY! Uproar As Viewers Jam Phones. or in the Northern England edition: The Punk Rock Horror Show. Obnoxious! Outrageous! TV FURY OVER ROCK CULT FILTH. ( Daily Mirror December 2, 1976 front page)
  85. ↑ Barry Wigmore, John Jackson, Stuart Greig: OFF! 2-Week TV Ban on Bill Grundy. OFF! Sex Pistols Are Sent Packing ( Daily Mirror Dec 3, 1976 front page)
  86. ↑ Sex Pistols 'Blacked' by Packers. ( The Daily Telegraph December 3, 1976, p. 3)
  87. ^ Interview with Leslie Hill. In: Fred Vermorel, Judy Vermorel: The Sex Pistols - The Inside Story . Universal Book, first edition 1978, pp. 58-59.
  88. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , pp. 64-65 (English).
  89. ↑ Lee Wood: Sex Pistols Day by Day. The Sex Pistols Diary. Omnibus Press 1988, p. 55.
  90. ^ Dave Goodman: My Amazing Adventures with the Sex Pistols . The Bluecoat Press, 2006, p. 213.
  91. ^ Garth Pearce, Patrick Clancy: As the Money Rolls in Rock Group Faces Tour Ban and TV Chiefs Suspend Grundy. PUNK? CALL IT FILTHY LUCRE ( Daily Express December 3, 1976 front page)
  92. ^ Never Mind the Morals or Standards, The Only Notes That Matter Come In Wads ( Daily Mail December 3, 1976)
  93. ↑ Ronald Butt: The Grubby Face of Punk Promotion ( The Times December 9, 1976, p. 14)
  94. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , pp. 73-74 (English).
  95. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , pp. 69-70 (English).
  96. ↑ a b Letter in facsimile shown in: Lee Wood: Sex Pistols Day by Day. The Sex Pistols Diary. Omnibus Press 1988, p. 50.
  97. ↑ EMI to Drop the Pistols? Now London's Roxy Cancels punk gig. In: Record Mirror December 11, 1976, p. 4.
  98. ^ Annual General Meeting - December 7, 1976. Comment on Content of Records by Sir John Read, Chairman. ( News From EMI , press release of December 7, 1976) In: Fred Vermorel, Judy Vermorel: The Sex Pistols - The Inside Story . Universal Book, first edition 1978, pp. 49-50.
  99. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 92 (English).
  100. ^ Sex Pistols Give EMI Chief a Four-Letter Reply. ( Daily Mail December 8, 1976, p. 4)
  101. ↑ Fred Vermorel, Judy Vermorel: The Sex Pistols - The Inside Story . Universal Book, first edition 1978, p. 52.
  102. ↑ Fred Vermorel, Judy Vermorel: The Sex Pistols - The Inside Story . Universal Book, first edition 1978, p. 53.
  103. ^ A b Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 111 (English).
  104. ↑ Pat Gilbert: 1977: The Bollocks Diaries . Universal Music Company 2012, p. 17.
  105. ↑ These Revolting VIPs! Sex Pistols in Rumpus at Airport ( Evening News Jan. 4, 1977 front page)
  106. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , p. 117 (English).
  107. ↑ EMI And The Sex Pistols ( News from EMI , press release December 6, 1977)
  108. ^ John Hayward: Fire the Pistols. 'Gross Misbehavior'. Sex Pistols Fired by EMI; New Label Tie Seen Likely. In: Billboard Jan. 22, 1977, pp. 3/107.
  109. ↑ a b c d Theofficialcharts.co.uk website.
  110. ^ Brian Southall: Sex Pistols: 90 Days At EMI . Bobcat Books 2007, ISBN 978-1846097799 , pp. 66 and 80 (English).
  111. ^ NME Charts, Week Ending December 25, 1976. In: New Musical Express December 25, 1976, p. 2.