Buzzcocks
Buzzcocks
[Merge; 2003]
Rating: 6.7
Normally, my visits to the orphanage are "all business." I sit the kids down, ask them
which novel or current periodical they'd like to hear from today (Popular Mechanics
and Maxim are their favorites), and read till they nod off. This last time, however,
they seemed to be taking a peculiar interest in my own affairs.
"Mr. Reid, sir, it would please us so if you read from your latest review today, sir," said
little Tommy Glass. The other children nodded enthusiastically.
"Well, Tommy," I said, blushing, "Mean old Mr. Schreiber will have my head if he finds
out, but I suppose I can read you from one I'm working on." Their eyes lit up. "Ahem.
Okay. 'Buzzcocks. Buzzcocks. Merge Records. Rating: 6.7. Eh. Not bad.'"
They watched me, bemused, expectant. "Well, that's all I've got so far."
A small gasp escaped from between Phillip Straw's endearingly crooked teeth. "Do you really
think Pitchfork will like it, sir? Why, where are the extended metaphors?"
"Well, I was going to pretend to be a reviewer from a time before Spiral Scratch who'd
been visited by this time-travelling Billie Joe Armstrong replicant."
"Can we be your extended metaphor, sir?" piped in diminutive Noel St. John. His
huge, pale eyes met mine and he began coughing weakly into his sleeve.
"Okay, Noel, sure, why not. Let's see... well, sometimes musical genres get together,
just like mommies and daddies, and of course, it seems like an excellent idea at the time,
and, by design or by accident-- usually the latter-- they produce a new genre. And it
starts out very cute and lovable, sure, but soon it begins to whine and demand and smell
funny and then, wham, it gets dropped off a bridge or left in a deacon's mailbox or..."
"Surely, Mr. Reid, you're not blaming the Buzzcocks for creating all of pop/punk!" Sophie
Higgins chirped. "Certainly, most of it is wretched, but you can't hold them responsible
for what's come afterwards."
"I'm blaming them for making it look too easy, Sophie. When the Buzzcocks started,
punk was still something of a reaction against pop, and combining the two has always
been a rock-paper-scissors sort of affair-- punk bludgeons the nuance out of pop, and
pop sweetness neuters punk attitude. A straight mixture of the two almost always ends
up as musical slapstick, and for pop/punk to work in any context besides novelty, the
balance has to be close to perfect. Even though the Buzzcocks always sounded like they
were always playing with complete abandon-- er, sorry, poor choice of words, kids-- they
had the instincts and the songwriting talent to hit that mark with decent frequency.
Most every band that followed them didn't. Pop/punk pretty much turned out to be a
one-trick genre, and the Buzzcocks were that trick."
"That's a lot of past tense, Mr. Reid," observed Alexis Chittenden. Are we, the Buzzcocks'
fans, also orphans, in a sense, sir?"
"Okay, so look at it like this. Blink-182 and Good Charlotte are the mean old orphanage
proprietors Mr. and Mrs. Nesbitt, and Green Day is that old gentleman who used come by
with candy every once in a while before he died in the mandolin accident: it feels like
they've been gone forever, but the Buzzcocks were only ever really broken up for a large
chunk of the 80s (negligible, given the fact that they're pushing 30 as a band). They've
been a steady act for over a decade now, though; the past tense refers to the fact that
their best material has always been the stuff that does the least to disturb the
distortion/melody accord they struck in the late 70s. And, while the Buzzcocks wisely
passed on innovation this time, they also display only an intermittent control of that
distinctive touch that makes the pop/punk marriage worthwhile."
"L-losing their touch, sir?" Nevil Greenleaf stammered, his rheumy eyes moistening.
"Well, maybe not losing it... their albums were always spotty, and few fans ever see the
need to probe beyond Singles Going Steady. And, true, a couple of these songs would
be right at home on that comp. 'Friends', for instance, finds the band's component parts
in inspired cooperation-- the breezy melody, giddily climbing chord progression, and
chainsaw guitars all work to whittle the angstful central assertion, 'I don't even know
if I'll ever be loved again/ The only thing I can rely on is chay-ee-ange!' down to
snotty-sincere perfection. Most, however, fail by inches, not quite tight enough to hold
their charm for more than a few listens. 'Sick City Sometimes' works brilliantly as an
anthem as long as you can keep the image of Andrew W.K. covering the Gin Blossoms' 'Hey
Jealousy' out of your head. The resurrected Howard Devoto-era gem 'Lester Sands', while
sharp as ever, only suffers from the much cleaner production and Pete Shelley's
newly-acquired snarl. In fact, a lot of the album's problems come from overaggressiveness;
the further the balance tips toward loud-and-fast, the deeper the split in their musical
personality show. The Buzzcocks have never needed to bash a chorus into our heads
as mercilessly as they do here on 'Keep On' and 'Morning After', and the grinding
fade-outs of each song seem to announce the cynic's ultimate victory over the sensitive."
"But sir, we need both!" cried Alvin Witherspoon-Devonshire. "How ever are we to deal with
our wretched lives without their cheeky take on childhood angst?"
"Well, the Buzzcocks have moved on, Alvin. They've still got angst to spare, but their
wit has been ground down by 'maturity,' or whatever you want to call it, into a bitter thing
that saps a lot of that reckless energy. Sure, it's great when Shelley matter-of-factly
snots in mortality's handkerchief with his declaration 'Life's only temporary/ And then you
fucking die!' on the final track, but the drawn-out instrumental interlude and guitar solo
drag that pissed-off punch towards mopery. But, you don't have to move on, Alvin!
You don't have to imagine a grand, noble death for them, as you have for your parents;
The Buzzcocks have left you Singles Going Steady! And there's still that gleam of
greatness left in this one."
It was no use. One by one, the children all started bawling. A single tear slid down my
cheek, too. Stupid Buzzcocks.
-Brendan Reid, April 22nd, 2003