Stuart Bailie

One afternoon in 1975, I walked out of school and into Smyth’s Records on Royal Avenue, Belfast. That’s where I heard ‘Radioactivity’ for the first time. I had already listened to Kraftwerk and their ‘Autobahn’ album, but wasn’t entirely sure that German guys wittering on about the national motorway system was the future of rock and roll. Then I listened to their new record through a revelatory sound system. I could hear the electron signals panning across the room. The metronomic pulse was a Geiger Counter with soul. The lyrics had a benign intelligence. When did Marie Curie last get a namecheck in a pop song? I bought the album, adored the other songs, and used to play it to my mates, the Status Quo fans. They were repulsed. It was tremendous. Why bother with heavy metal when you could have uranium in your heart?

Lou Reed – I Love You Suzanne (RCA)
Vampire Weekend – Diane Young (XL)
Depeche Mode – Secret To The End (Columbia)
Frank Turner – Recovery (Xtra Mile)
The Bouquets – Welcome To My Heart (Red Bird)
Johnny Marr – New Town Velocity (Warner)
Cody Chesnutt – Til I Met Thee (One Little Indian)
Yeah Yeah Yeahs – Sacrilege (Polydor)
Talking Heads – Slippery People (WSM)
Lail Arad – Everybody Is Going To Berlin (Minor Music)
Depeche Mode – Broken (Columbia)
Akron Family – Until The Morning (Dead Oceans)
Carousel – The Good Times (white)

Electronic – Get The Message (Factory)
Willy Moon – My Girl (Island)
Depeche Mode – My Little Universe (Columbia)
Kraftwerk – Radioactivity (EMI)
John Smith – Salty And Sweet (white)
Caitlin Rose – I Was Cruel (Name)
Anthony Toner – Most People Are A Pain In The Ass (Dozens Of Cousins)
Rokia Traoré – Samara (Nonesuch)
Schmeider TM KPT – The Light 3000 (City Slang)
Sigur Ros – Brennisteinn (XL)

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