Released in 1977 at the height of Year Zero (or would this be Year1?), Ian Dury‘s Sex & Drugs & Rock & Roll was, suprisingly, not a hit. Given its familiarity, I’d always thought of it as something of a late 70s monster smash, but apparently not. Neither was it an Ian Dury & The Blockheads record. Despite both Chaz Jankel and Norman Watt-Roy playing on it, Dury’s first single was credited to him and him alone.
Ian Dury – Sex & Drugs 7 Rock & Roll (7″ version)
The low sales can be attributed to a couple of factors: it was wrongly thought of as a celebration of everything that punk was set on destroying, as bloated and offensive perhaps as anything by The Eagles or Rod Stewart. It just wasn’t cool to be seen buying a copy. Due to its title, the record found itself on the BBC’s banned list too and, unlike the unintended consequence of appearing on such state-sponsored naughty lists (see Relax, Je t’aime et al), this time round, the banning actually worked, snuffing out any possibility of Dury having a hit single. With less than 20,000 sales and next to no airplay, it was swiftly deleted.
Sex & Drugs & Rock & Roll opens up side two of my charity shop-rescued, ‘previously loved’ copy of New Boots And Panties. Not on the original version (Dury had a strict ‘no singles on the album’ policy), but all future pressings of the album contained the non-hit following the Bockhead’s chart success with What A Waste and Hit Me With Your Rhythm Stick. And just as well.
It’s a great tune.
The Peel Session take from a couple of years later might be even better…
Ian Dury & The Blockheads –Sex & Drugs 7 Rock & Roll (Peel Session, 12.12.79)
There’s a tin pot rattle of percussion and we’re off, all superfast snakehip slink guitar and a riff that’s slightly different, slightly further up the strings or frets or whatever than the single version you already know and love.
Coming a couple of years after its release, the Peel version finds the band dextrous to the point of muso, stretching out beyond the tight-trousered confines of their original take, because, well, just because they can.
Bopping along for a full minute longer than the original version, there are fruity keys on the offbeat, phased and flanged, thick and syrupy guitar in the bridge and a chittering, chattering guitar in the verse, clattering away like the false teeth on a couple of old chimney-smoking fishwives on the top deck of the number 37 up Kilburn High Road, surely an unintentional influence on those wee clang-a-langs that punctuate the singing in the verses of Orange Juice’s Rip It Up.
Then there’s the Hammond solo, a wonderful warm and cosy sound that predates Mick Talbot’s role in the Style Council by a good 36 months. Lovely stuff, all in.
It’s also a clear influence on the Merseyside Magpie himself. Lee Mavers cocked one ear at that riff and that clanging percussion and thought, ‘I’m ‘avin’ that.’ So he did.
Tha La’s – Come in Come Out
And talking of Liverpool…
The Blockheads were great, great players. When Trevor Horn was constructing Relax and becoming increasingly exasperated at the technical limitations of Frankie Goes To Hollywood, he roped in The Blockheads to fix Frankie’s botched job. Not for the first time in history did a band barely play on their big hit record. I’m fairly certain you knew that already though.