The pop landscape had changed radically in the ten years
leading up to 1976. With albums such as Revolver
and Sgt. Pepper’s, The Beatles
had officially done away with the single as pop’s primary medium, ushering in
an era of often overly-serious long players, possibly elevating pop to
high-art, possibly helping to erase some of its intrinsic fun. We all know what
happened in the seventies with the rise of progressive rock, that favorite
bugaboo of rock and roll purists. While I believe the ill effects and, well,
crappiness of prog have been highly exaggerated (and I’ll admit, it has often
been exaggerated by me here on Psychobabble for no other reason than making fun
of prog— quite a bit of which I really dig— is fun), I also believe pop really
did need a high colonic around ’76.
It got that with two major events: the arrival of
calculatedly “dumb” punk rock and an even more calculating new record label
that consciously established itself as everything mainstream rock no longer
was. Founded by brilliant iconoclasts/wise asses Dave Robinson and Jake
Riviera, Stiff Records took a great, big whiz on the seriousness and
ponderousness of current rock by returning the focus to singles with humor that
might have made Rick Wakeman hide under his spangled cape. This was the label
that had the great bolshie yarblockos to adopt “The King Is Dead, Long Live the
King!” as a slogan promoting Elvis Costello mere days after Presley bit the
dust. Less controversially they issued an LP called The Wit and Wisdom of Ronald Reagan, which naturally contained forty minutes of total silence. Robinson and Riviera were also reverent record lovers who understood that
their fellow geeks would drool over limited edition, colored vinyl, ingeniously
designed (most notably by legendary house artist Barney Bubbles) packages.
Every indie label worth its salt followed suit.
Robinson and Riviera knew well the benefits of publicity bad
and good, but they also knew that artists who don’t don superhero costumes and
play half-hour Hammond organ solos need nurturing and exposure too. Thus, Stiff
became home to some of the best and truest artists of late-seventies/early
eighties pop— Costello, Nick Lowe, The Damned, Madness, Lene Lovich, The
Adverts, Devo, etc.—if only before they passed on to bigger labels.
Richard Balls’s new book Be
Stiff: The Stiff Records Story is half great because it serves as a series of biographies outlining
the early careers of such significant artists and half great because it’s so
fun to read about all the outrageousness of and
surrounding Stiff. One of the book’s weirdest tales involves Virgin Records
founder Richard Branson getting Devo baked so he could ambush them with a surprise
request from Johnny Rotten. One of its funniest involves Rod Stewart sabotaging
Lou Reed on Ian Dury’s behalf. Perhaps its most shocking revelation is
recording engineer Bazza’s declaration that The Damned recorded their anarchic
debut album as “well behaved young gentleman.” Now that’s outrageous!