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Prior to First And Last And Always"But, Roger, why have you called our record 'Brutality, Religion And A Dance Beat'? That's got nothing to do with us." "Bill, if it hasn't it should have; without those three ingredients pop music is nothing. All great pop music, from John Lee Hooker to the Bay City Rollers, from Captain Beefheart to Augustus Pablo, from the Buzzcocks to Johnny Kidd And The Pirates has it. 'Brutality, Religion And A Dance Beat', it's rock'n'roll; rule number one, and don't forget it." Bill Drummond (quoting Roger Eagle), Brutality, religion and a dancebeat
Most of these notes by Chris Sampson; random additional ramblings by Oliver Duke-Williams. Errors supplied by the local off-license. Early songsNB: These songs are listed in rough chronological order, but they have been rearranged in some cases. The Damage Done"Hard to find and even harder to listen to" - Andrew Eldritch The Sisters debut single was a three track 7 inch-only affair. The guitars were recorded through a three watt practice amp, and the bass part was played on the same six string as the lead. Eldritch - famously "the worst drummer in town" - played drums. Badly. Not surprisingly the resultant recordings are appalling - with hindsight a few guitar riffs show promise, but there is little here that hints of later glories. That John Peel polluted the nation's airwaves with this is probably more indicative of poor quality control on the early 80s Peel Show than any genius for talent spotting at Peel Acres. Perhaps the most important result of this single was the establishment of the band's Merciful Release record company and the experience gained by recording and producing their own record and getting the thing into the shops and on the radio. The official Sisters chronology cites the band line-up as Andrew Eldritch (drums, guitar) and Gary Marx (guitar, vocals). This seems to be an example of Eldritch's selective amnesia as a detailed listen reveals that Eldritch sings on The Damage Done, with Marx handling vocals on Watch and Home of the Hitmen. Whether this indicates anything about who wrote lyrics is open for conjecture. None of the lyrics to these songs appears in the official lyric book.
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WatchNo references that require explanation Home Of The Hitmen
Body ElectricContemporary cashflow problems at Merciful Release meant that the Sisters second single was released on the CNT label out of York. CNT (Confederacion National de Trabajo) was the name of an anarchist worker's collective which was active in the Spansih Civil War. The cover features Francis Bacon's excellent Head VI, one of a series of Bacon pictures based on Velasquez's portrait of Pope Innocent X. Musically and lyrically, Body Electric/Adrenochrome represent a significant advance on the Damage Done single. Dr Avalanche (Drums) and Craig Adams (Bass) had been recruited along with some decent equipment, and the furious, intense, thrilling wall of noise was impressive enough to bag the `Single of the Week' slot in the Melody Maker.
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AdrenochromeAdrenochrome is a schizophrenia-inducing drug produced by oxidising adrenalin. It was famously featured in Hunter S Thompson's ripped-to-the-tits road novel Fear and Loathing in Las Vegas. Despite the sale and purchase of this drug being legal in the UK, the authors really wouldn't recommend taking any unless you really want to.
AnacondaNot a classic Sisters single being let down by thin production, Anaconda tends to be a weak link in the string of vintage material released in 82 and 83. Perhaps the unreleased but powerful Good Things would have been a better choice of single, with Anaconda on the B side. However, Anaconda does have a strong lyric - a horrific tale of the destruction of a woman by Heroin addition. Both Alice and Anaconda seem to advise caution in one's drug usage. This caring attitude has been ditched in more recent songs; at the Brixton Academy show on 9 June 97 Anaconda was followed by War On Drugs with the comment "but in the grand scheme of things...who cares?".
Good ThingsGood Things was recorded for a Peel session first broadcast in September 1982. It has not had a formal release, which is disappointing, as the song stands comparison with comtemporary songs such as Body Electric and Adrenochrome. Alice - singleUtterly fabulous. A ripsnorting, heady mix of razor-sharp riffing, a battery of tactical attack drumming and crazed, urgent vocals. The Sisters' power is under control and focussed, targets are sighted and dispatched with ruthless panache. One of the all-time great singles. Undoubtedly, much of the credit for the brilliance of this record goes to the Psychedelic Furs guitarist John Ashton, who produced the record, and taught Eldritch that there's more to this production lark than turning all the sliders up to 11.
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Floorshow
The Reptile House EPNotes supplied by Chris Sampson and a bottle of Chilean Cabernet Sauvignon"Use sparingly. Hide all sharp objects." - Adam Sweeting, Melody Maker. The Reptile House EP was released in May 1983 and marked a considerable and significant change of style for the Sisters. Previous singles (Body Electric, Alice, Anaconda) had established a furious, intense wall-of-sound as the Sisters' modus operandi. As a sharp contrast, the Reptile House presented a suite of five slow, massively disturbing songs. Allegedly recorded single-handedly by Eldritch (though there is evidence that Craig Adams wrote the bass lines to some of the songs), the songs are characterised by stark, tense drum patterns, and brutally sharp guitar riffs, over which Eldritch laid his reverb-heavy baritone vocals. The Reptile House also heralded Eldritch's maturing as lyricist - here the Eliot quotes are woven into a coherent theme, the tension of the music reflected in the sinister, sinistra, lyrics, which are sung with (a frankly scary) relish. Though this new facet to Eldritch's songwriting appeared fully formed, it can be justifiably said that without the pioneering work done on The Reptile House, Floodland would have sounded a much different record. If you're in the right mood then this could be the Sisters' finest record. The menace of these songs persists to this day, and it is always revealing to take a look at the audience response when Burn or Kiss is performed live; the distress is almost tangible. It is unfortunate that the glossary compilers do not have access to any contemporary Eldritch interviews which would give insight on the Vonmeister's thoughts on The Reptile House lyrics; in the absence of such illumination the following explanations are offered. Kiss the CarpetThe song's use of a woman as a metaphor for amphetamines is all too obvious. I'm not aware of any references in this song. Lights
Valentine
External links FixThe first four lines progress via a series of ribald rhyming juxtapositions, of which "corpse" and "corporation" is surely the most appealing. Burn
There is a verse in Burn which is recorded backwards, and is not listed in the official lyric book. It has been transcribed as follows: "The Catherine wheel around on fire
Temple of Love - singleTemple of LoveHeartlandGimme ShelterBody and Soul - singleBody and SoulBody ElectricThis version of Body Electric is a re-recording of the original release made with a somewhat more generous budget. Comparison of the two versions demonstrates the progression of the band's technical skills, but the song itself is more or less identical.
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