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The MataBlog is edited by Matador Records’ co-moaner Gerard Cosloy and individual entries are the work of whoever’s name is next to them. If you enjoyed something in the MataBlog, thank you very much! If there was something you found particularly troubling, please be advised that a) maybe you should read it again and b) the contents of this blog do not necessarily represent the opinions of Matador Records, Beggars Group, the combined staff of either company, nor the Matador artist roster. Opinions are like friends — hardly anyone has one worth listening to.

Coming December 11 : Gang Of Four 77-81 Box Set



(photo : Andy Corrigan)







"He'd Send In The Army" (live, 1981)

preorder Gang Of Four 77-81
"As a kid, I stumbled upon a copy of Gang of Four’s Entertainment! accidentally and it went on to become one of the most influential records of my life as a producer, lyricist and fan of music in general. Their sparse, unorthodox, riff heavy guitars and nasty, funky, in-the-pocket rhythm section drew me in, but it was their questioning of the world that kept me listening as I grew. I consider them a seminal band, whose influence and effect permeates the music world in a deeper way than many realize. Thank you, Gang of Four, for existing." - EL-P

On December 11th, Matador will release GANG OF FOUR: '77-81'', a stunning, limited edition box set gathering Gang of Four’s influential early work.

The box set contains Entertainment!' and 'Solid Gold' (both remastered from the original analog tapes), an exclusive singles LP, and an exclusive double LP of the never officially released 'Live at American Indian Center 1980'. Additionally, the package includes two new badges, a C90 cassette tape compiling 26 never-before-issued outtakes, rarities and studio demos from 'Entertainment!' and 'Solid Gold', and an epic 100-page, full-color hardbound book.

The book details the history and legacy of the original Gang of Four with never before seen photos, contributions from surviving original band members, rare posters, ephemera, flyers, essays, artwork, liner notes and more. It also marks the first official publication of their lyrics.

Gang of Four was formed in Leeds in 1976 by bassist Dave Allen, drummer Hugo Burnham, guitarist Andy Gill, and singer Jon King. The band pioneered a style of music that inverted punk’s blunt and explosive energies — favoring tense rhythms, percussive guitars, and lyrics that traded in Marxist theory and situationism. They put every element of the traditional “rock band” format to question, from notions of harmony and rhythm to presentation and performance.

This original lineup of the band released two monumental albums, 'Entertainment!' (1979) and 'Solid Gold '(1981). A third, 'Songs of the Free' (1982), was recorded with bassist Sara Lee replacing Dave Allen. After 'Songs Of The Free', Burnham departed the band and Andy Gill and Jon King continued on to release Hard in 1983. After this release, the band broke up. In 2004, the original quartet reformed for tour dates and released 'Return The Gift' (2005).

Gill’s untimely death in February 2020 was cause for many to once again re-examine the group’s catalog and the legacy of these early releases was widely cited. Not only did Gang of Four’s music speak to the generation of musicians, activists, writers, and visual artists that emerged in the group’s immediate wake, but the generation after that. And the generation after that, even.

In the last few years, their songs have continued to resonate with and been sampled by artists far afield including Run the Jewels (“The Ground Below”) and Frank Ocean (“Futura Free”). Now forty years since the original release of 'Entertainment!', Gang of Four’s legacy cannot be overstated.

(Please note this boxset is ony available in the United States. If you would like to order the boxset from outside of the US please send an email to: [email protected] with your name and email address with the subject line ‘Gang of Four Boxset’ to get the first news about ordering)
At Home We Feel Like Purists

Music, specifically pop music, is as much of a commodity as pork bellies. It's bought, packaged, sold, traded and has as little to do with the Platonic triad of beauty, goodness and truth as, well, pork bellies. And it hasn't just become this way. It's been this way. From its inception to now, its value is what's made it significant in the marketplace. But pressed against a wooden stage in New York at Hurrah's in the late 1970s, what stepped out on stage had nothing to do with any kind of commercial calculus. That I could see.

See, in 1979, after a steady diet of The Ramones, the New York Dolls, Klaus Nomi, fer chrissakes, and on the strength of the name alone, a single, the press and the locale, the Gang of Four was a must see. But wrapped in the earlier vaudevillian aspect of punk rock, new wave, no wave, and a sort of well-meaning but very extant schtick, expectations were in keeping with what had already been seen. But what had been seen would in no way prepare you for what you were about to see.

Four Brits, no leather jackets, no make-up, and outside of an opening song with about two minutes of unremitting feedback, no schtick.

"We all grew up around vaudeville. It was part of the zeitgeist," said drummer Hugo Burnham, from outside of Boston where he toils in academia and presently makes his home. But Gang of Four? "It was anti-schtick. And it was somewhat deliberate because we were serious about what we were doing but we weren't dour. We didn't go as far as the shoegazing thing."

Which is almost right. Gone was the clever art school quirk of Talking Heads or the mordant rumble of a Joy Division, musicians framing what we were understanding about new music at the time. Replaced instead with something that was equal parts both cool and hot, and when they tore into their set that night it was with a life-changing brio.

No "Hello Cleveland!" No foot on the front wedge rock god posturing, just songs and songs played like those that were playing them meant it. It, here, being coruscating takes on very precisely what it was we were doing while we were doing it. Again: not by accident. But very specifically, deliberately.

"We sat in pubs and talked about it," Burnham said. Right down to things like, "No fucking feet on the monitors."

What Burnham fails to mention and this is an amusing Rashomonesque feature of chatting with the three members still living – Burnham, singer/lyricist Jon King, and bassist Dave Allen – is that the no-feet-on-the-monitors "chat" didn't happen in a pub. King, in a call from London, offers an alternate scenario.

"It happened backstage after a show in what used to be Yugoslavia," King laughs. "And it involved a fistfight." So Gill and Allen settled things the old-fashioned way and while it's unknown who won, at the Hurrah's show there were no feet on monitors.

What there was though after the generalized sexlessness of punk rock -- from Johnny Rotten declaring sex "boring" and for "hippies" and Minor Threat's Ian MacKaye singing that he didn't fuck – was music and performance of said music that was as somatic as all get out and that very directly addressed love, sex, the politics of both, and their wider intersection with politics in total.

But first a little historical political perspective and a sense of the tableau upon which whatever Gang of Four was, was created. In the late 1970s in the U.K., there was 14 percent inflation, 18 percent in 1980, one in five adult males were out of work, interest rates were 14 percent, and there was massive industrial unrest.

"In '78 and '79 it was called the Winter of Discontent," King said of the hellscape that England had been even before Thatcher dug in. "There were piles of garbage four meters high in the street, people weren't going to be buried because there was a strike of mortuary workers and grave diggers, there were dozens of IRA terror attacks in mainland UK, there were plotters looking to pull a coup d'etat, plus Russian SCUD missiles in eastern Europe and Americans sending Pershing missiles to NATO, so threats of nuclear attack. Songs like 'In the Ditch' on Solid Gold? That was the context we were working with."

And given that context, a steadfast mark of Gang of Four's genius that they didn't zig into what was a popular pose at the time (and still really) and try to pull off the working class hero crap that had smart people dumbing down in the name of some sort of shopworn idea of what was authentic. That is, the Gang of Four were driven and obsessed with what middle class art school students should be obsessed with: making great music and art in and of the times they are living, fully realizing that you can't fake authenticity.

Which is when King zags and contemporizes it all. Like he does. Like Gang of Four did. "What's interesting is buying a cup of coffee now: they ask you 'what's your name?' and they insist on knowing what it is. These fake relationships masquerading as real relationships when we all know it's a masquerade."

"Look, in looking back I have decided I really like this sort of troublesome 21-year-old me who wrote these totally un-commercial songs," said King. But the charm, at least for the creator, is that "there's nothing in it that is an attempt to pander to people. And it may sound kind of stupid but I kind of thought of us as like a blues band."

"So I tried to avoid cliché, but it's quite difficult trying to not write about things that everyone else was writing about," King explains." But there's a reason hip-hop is the biggest genre in the world now and that's because it's got some authenticity about it; it talks about things that are actually happening. The world is a shit show now. To not write about it is a remarkable evasion of responsibility."

Something that wasn't missed in 1979 New York either with crime at an all-time high and the city collapsing financially. So mid-set when King dragged a metal crate on stage – "we later switched to a microwave," Burnham said – and started blasting it with a drum stick it was both the sound of the city and the times all at once.

Adding percussive elements in and from trash, well in advance of Einsturzende Neubaten and even Stan Ridgway from Wall of Voodoo who Burnham initially thought they had lifted it from ("No," corrects King), this was a perfect sweat-drenched statement of intent: Gang of Four absolutely were not fucking around.

And it was perhaps this quality specifically that drew the heavy. "We were political with a small P," said bassist Dave Allen who followed a post-Gang of Four career with music tech gigs at both Apple and Intel, which is how he ended up in Portland. "But we were fighting Nazis. The fascists that came to the shows. They would jump onstage when we were playing in London, skinheads, and they had knives." Allen, in general soft spoken, neither laughs nor smiles in the retelling. "The security guards would all run away. Having a big heavy bass in this instance helped quite a bit."

But before reforming in 2005, Allen was the first to leave Gang of Four, in 1981, and his leaving was part of that whole not fucking around piece and almost perfectly Gang of Four-ish. "EMI were always pushing us. They wanted us to make 'hits'. Be on the radio. Top of the Pops," Allen sighs. "That's not what we do. We don't make pop songs. But they had all of these pretty boys. Duran Duran…so I just felt like I had done enough."

And despite the fact though that 25 percent of the band is dead, 25 percent is talking to me via video chat, and 50 percent of the band is in America, the claim that there are no second acts in American lives? Clearly bullshit and so not a surprise at all when Allen says, "we need to find a guitarist."

The 2005 reunion only lasted a few years, but Andy Gill continued with replacement musicians and died right in the midst of touring with them. He left giant shoes to fill. But even considering trying to fill them? A straight-up damn the torpedoes move. To which they are well matched.

"When you try to audition a guitar player they just can't do it," Allen winds up. "They come in blasting thinking it is punk, but we were post-punk. It was us and Wire…"

It certainly was.

And in 1979 when the show at Hurrahs concluded, and they stood on stage for the briefest of moments, drenched in sweat, not smiling as they regarded us the audience, also drenched in sweat, and said "goodnight", it felt like marching orders. And they were.

For? For a murderer's row of people whose music not only kills but lives on in our cars, houses, phones, heads: The Pixies, Nirvana, Shellac, REM, Mission of Burma, Bush Tetras, Savage Republic, 10,000 Maniacs, Mark Stewart, Henry Rollins, Steve Shelley, Sofia Coppola, and more too numerous to name but no less deserving.

Now draw a family tree that across the past 40 years of influencing just about anyone making music, film, or art who proudly claims and proclaims some sort of spiritual connection to the Gang of Four and what have you? A veritable bildungsroman of the greatest things to just about ever happen to your fucking ears. Believe me. I know.

– Eugene S. Robinson (Oxbow)





Tracklist

Entertainment!
A1. Ether
A2. Natural’s Not In It
A3. Not Great Men
A4. Damaged Goods
A5. Return The Gift
A6. Guns Before Butter
B1. I Found That Essence Rare
B2. Glass
B3. Contract
B4. At Home He’s A Tourist
B5. 5.45
B6. Love Like Anthrax
Solid Gold
A1. Paralysed
A2. What We All Want
A3. If I Could Keep It For Myself
A4. Outside The Trains Don’t Run On Time
A5. Why Theory?
B1. Cheeseburger
B2. The Republic
B3. In The Ditch
B4. A Hole In The Wallet
B5. He’d Send In The ArmySingles
A1. To Hell With Poverty
A2. It’s Her Factory
A3. Armalite Rifle
B1. Capital (It Fails Us Now)
B2. History’s Bunk!
B3. Cheeseburger (Live) *
B4. What We All Want (Live) **Live at Hammersmith Palais

Live at American Indian Center 1980
A1. Not Great Men
A2. Contract
A3. Outside The Trains Don’t Run On Time
A4. Damaged Goods
B1. He’d Send In The Army
B2. Guns Before Butter
B3. 5.45
C1. Anthrax
C2. It’s Her Factory
C3. Ether
C4. Natural’s Not In It
D1. At Home He’s A Tourist
D2. Rosanne
D3. Return The Gift
D4. Glass

Cassette

SIDE A -The Early Demos (Various)

I) Rehearsal Room – Leeds, 1977-78

The Things You Do
What You Ask For
Armalite Rifle
Love Like Anthrax
Silence Is Not Useful
Disco Sound
Damaged Goods
Elevator

II) Cargo Demos – Cargo Studio, Rochdale

Song One
Song Two

iii) The Tapes – Poiydor Studios, Jan 1978

Essence Rare
Tourist
Return The Gift
5.45
Corked Up With The Ether


SIDE B – Abbey Road DemosFrom 5th January 1981 - (single track from cassette)

Why Theory
Cargo
Trains
Army
Disco/Funk
Dog’s Breath
Asshole
Cymbal
Reverb
Cheeseburger
Ditch

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Gang Of Four - First 3 Albums, 14 Concert Recordings Now Streaming



(photo : Andrew Corrigan)

We are pleased to announce that Matador Records will now oversee a number of key catalog titles by the legendary Leeds band Gang of Four, including the classic albums 'Entertainment!' (1979), 'Solid Gold' (1981), and 'Songs of the Free' (1982).



These records are once again available across streaming services and are joined by 14 live releases capturing performances between 1979 and 1984. Find a curated playlist of highlights from the live tapes here.

Gang of Four was formed in 1976 by bassist Dave Allen, drummer Hugo Burnham, guitarist Andy Gill, and singer Jon King. The band pioneered a style of music that inverted punk's blunt and explosive energies — favoring tense rhythms, percussive guitars, and lyrics that traded in Marxist theory and situationism. This first lineup of the group released two monumental albums, 'Entertainment!' (1979) and 'Solid Gold '(1981). A third, 'Songs of the Free' (1982), was recorded with Sara Lee replacing Allen. These records have endured as a formative influence, not only to subsequent generations of musicians, but also activists, writers, and visual artists.



“Ether,” the introductory track on 'Entertainment!', was recently sampled by Run The Jewels, who used the song’s core riff to form the backbone of their track “the ground below” on the  newly released 'RTJ4'.

More to come.

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Gang Of Four / Matador Records

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