860. Buzzcocks / Another Music in a Different Kitchen. 1978. 4/5

There is some deal of satisfaction about delving back into British music in the late 1970's to the early 1980's, and listen to what was forcing its way through onto people's turntables, and the way it transformed through those short years in so many different ways. Sure, there are bands who were more infamous for their stage antics and rebelliousness than their music, and there are others who mass produced albums at a rate of knots in a very short space of time, almost knowing that they had to get their stuff out into the world before their short burning flame died out. Many were ahead of their time, and others missed their chance, and other timed it perfectly. And perhaps the Buzzcocks personified each and every one of these things.

Another Music in a Different Kitchen is their first album, the first of three albums released over eighteen months. It flies in the face of the generic description of punk rock bands, whom were popularly thought of as unkempt and musically inept, unable to play their instruments well and vocally incompetent. In fact the first thing that hits you about this album is how tight the band is, with the rhythm section locked together perfectly. John Maher's drumming is superb, with each drum roll and fill absolutely locked in perfect synchronicity with Steve Garvey's bass guitar. They provide the perfect platform through every song, never missing a beat, and its not basic stuff either. This allows the lead guitar and vocalist Pete Shelley and rhythm guitar and vocals Steve Diggle to throw their riffs over the top and fit together like the final pieces of a puzzle.
On this album the band mixes genuine punk rock with pop similes in places to create what is a very listenable album no matter what your music tastes are or have diverged to.
The album opens with the show starting "Fast Cars", featuring those true punk vocals and guitars to kick start on a fast footing. "No Reply" follows this in a similar fashion utilising the dual vocals and repeating three chord riff from guitar and bass. "You Tear Me Up" too enters this category.
"Get On Your Own" is another good song that draws in some pop influences vocally and a less aggressive guitar riff and solo, with back up 'wooos' and lead vocals that start to try and be more in that fashion as well. "Love Battery" is almost the high definition of what punk was in those early days, and given that the Buzzcocks were at the forefront of the movement with very few contemporaries to learn from, you could consider this sound to be a part of their makeup.
"Sixteen" is one of the anarchy-type formatted songs, with two minutes of the same riff and drum fill, before a whole lot of freeform musicianship through the middle before returning to that basic riff to finish the song. This is followed by the single "I Don't Mind", where the change in style is stark and complete. This has the very pop oriented punk rock style, both musically and vocally, and you can hear the difference from what has come before, and why it was chosen, or written, for radio airplay. "Fiction Romance" is a different style again, featuring a very monotone vocal over a steady and looping guitar riff which barely changes throughout the song.
"Autonomy" is one of the most 'accessible' songs on the album without intending to be so, with its very alternative sounding guitars rather than punk rock, and harmony vocals throughout, and a singable chorus. Ahead of its time, really. Fast paced punk returns with "I Need", with atypical punk rock chords, and a great running bass line which steals the show in the middle of the song. "Moving Away From the Pulsebeat" closes the album in a most deranged way, with all instruments going off in their own directions by the end of a very long 7+ minutes.
Overall I think the album has the two halves of the album, with the songs that you would consider to be of a classic punk sound and the others that show the other influences of the band which they weave in. I think the start with "Fast Cars", "No Reply" and "You Tear Me Up", along with the change up of "Autonomy" are my favourite tracks on the album.

This is still a joy to put on and listen to. Even after over 35 years this still holds up well in the current music climate, and must be as influential to young bands of this genre now as it has been in the past.

Rating:  They may win you admirers, but they'll never earn you friends.  4/5