Wallpaper and Vinyl: Ian Dury’s ‘Do It Yourself’

Some weeks ago, I found the vinyl album Ian Dury & the Blockheads’ “Do It Yourself” at a small vinyl market in the once-famous Buk Buk in Heiloo. The album largely slipped from my memory, waiting to reveal its surprises.
Ian Dury did not want to include singles on his albums. This choice results in a more nuanced collection of songs. These album tracks showcase a different side of the artist—more restrained and soulful than the raucous energy of familiar hits like “Hit Me” and “Reasons to Be Cheerful.” The songs feel more intimate, trading pop exuberance for subtle musical depth. The album’s last track, “Lullaby for Franci/es” underscores this.

My copy is a later release, interestingly bundled with a 7″ featuring “Hit Me” and “There Ain’t Half Been Some Clever Bastards.” I’m uncertain whether this bonus single was part of the original release or added subsequently.

Funny facts: Stiff Records released it with an extraordinary twist. The album came in 34 or more alternative sleeves, each featuring a unique Crown Wallpaper design. Each sleeve displays the Crown catalog number for its specific wallpaper pattern in the bottom left corner. In a delightful bit of cross-promotion, Crown even wallpapered the sets for the Blockheads’ subsequent promotional tour.

Cosmic Psychos at Db’s in Utrecht

Last Friday, I saw the Cosmic Psychos at Db’s in Utrecht with my old friend M. Sometime around 1988 I first saw this Australian punk band at Metropool in Hengelo (I thought Atak, but according to setlist.fm it was Metropool: the pumping, monotonous, rough songs and the wah-wah guitar solos of Peter ‘Dirty’ Jones.

The beer punk, or concrete punk rock Cosmix Psychos make is stripped-down punk rock in the tradition of the Ramones and Motorhead. Straightforward songs, heavy bass, short, chaotic solos. The band cultivates a barnyard image of raw, hard-working farmers who open their first can of beer early in the day.

The band has cult status in the music world. The band has played worldwide and at festivals with more famous bands like Nirvana, Mudhoney, and Helmet. Since its formation, the band has had several member changes, with only bassist and vocalist Ross Knight remaining from the original lineup. An interesting rabbit hole I might dive into later.

On this night at Db’s, drummer Dean Muller is absent due to family matters, if I understand correctly. BC Michaels of Dunerats replaces him. The music they make today is as unpolished as ever. Peter Jones’ wah-wah solos have given way to the more traditional bluesy punk rock solos of current guitarist John McKeering. Ross Knight has a raw voice somewhat similar to Lemmy Kilmster, and also his bass lines lay a heavy foundation under the songs. McKeering completes the band’s image with his big belly that he doesn’t try to hide under his shirt. At the end of the show, the shirt also comes off.

A documentary about the band was made in 2012, which I have yet to watch.

I took some pictures.

Sealed

Otoboke Beaver in Paradiso

I saw Otoboke Beaver in Paradiso last Thursday, July 4th. Arguably the most innovative band in the world.

Otoboke Beaver

Zwart-Wit

Ik vond uiteindelijk toch de zwart-wit beelden van Money & The Man en Magnetic Spacemen toch beter.

Albini

This week Steve Albini passed away. For someone of my generation an icon so a shock.

In addition to musician (Big Black, Rapeman, Shellac) and producer (Pixies, Nirvana, PJ Harvey, you name it), he was a music industry critic. He explained how the big record labels abuse musicians but also explained to musicians that they should make the music they want and not let the record companies push them around. Musicians should make music they think is cool and perform.

He explained that in plain language, as square and hermetic as his music.

A striking person I will miss.

In 2017, I took these photos at Shellac’s performance in Vera, Groningen.

Steve Albini, Shellac
Steve Albini van Shellac, Vera, Groningen, 2017

J Mascis

In Tolhuistuin gisteravond.