1977 (Ash album)

1977 is the debut studio album by Northern Irish rock band Ash. It was released on 6 May 1996, through Infectious Records with whom the band had signed following the release of several demo tapes. They released the mini-album Trailer (1994) in 1994, and followed it with three singles "Kung Fu", "Girl from Mars", and "Angel Interceptor", all of which would reappear on 1977. Ash recorded their debut album with producer Owen Morris at Rockfield Studios in Wales in early 1996. Described as a Britpop, garage rock, and grunge album, 1977 drew comparisons to the Buzzcocks, Dinosaur Jr., and Sonic Youth.

1977
Studio album by
Ash
Released6 May 1996
RecordedJanuary–March 1996
StudioRockfield
GenreBritpop, garage rock, grunge
Length61:52
LabelInfectious
ProducerOwen Morris, Ash
Ash chronology
Trailer
(1994)		 1977
(1996)		 Nu-Clear Sounds
(1998)
Singles from 1977
  1. "Kung Fu"
    Released: 20 March 1995
  2. "Girl from Mars"
    Released: 31 July 1995
  3. "Angel Interceptor"
    Released: 9 October 1995
  4. "Goldfinger"
    Released: 15 April 1996
  5. "Oh Yeah"
    Released: 24 June 1996

Preceded by the single "Goldfinger" in April 1996, the band embarked on tours of the United Kingdom and Europe. "Oh Yeah" was released as the next single in June 1996, followed by tours of the United States, Japan, Australia and New Zealand. Ash ended the year with another US tour, as well as a US support slot for Weezer. They toured Europe and the UK, before their appearance at Glastonbury Festival.

1977 received generally positive reviews from music critics, some of whom commented on its catchy nature. The album peaked at number one in the UK, as well as reaching the top 40 in Australia, Finland, New Zealand, Norway and Switzerland. "Kung Fu", "Girl from Mars", "Angel Interceptor", "Goldfinger", and "Oh Yeah" all charted on the UK Singles Chart, with "Goldfinger" reaching the highest position at number five. 1977 appeared on several UK publications' best-of-the-year album lists, by the likes of Kerrang!, NME and Melody Maker, among others. The album would later be certified platinum in the UK.

Background

In December 1989, schoolfriends Tim Wheeler and Mark Hamilton received instruments for Christmas and decided to form a metal act they called Vietnam.[1][2] The rest of the line-up consisted of vocalist Gareth Hutchinson, guitarist Malcolm King, and drummer Andy McLean, who would all leave by early 1992 citing a lack of interest in the band.[3] After seeing a show by a local act, Laser Gun Nun, Wheeler and Hamilton decided to move their sound away from metal and into Nirvana-leaning territory.[4] Around this time, Wheeler was discovering the likes of ABBA and Paul McCartney and Wings.[5] Vietnam ultimately disbanded, and Wheeler and Hamilton decided to form a punk band. Wheeler handled vocals and guitar, Hamilton the bass. They spent two weeks amassing original material in Wheeler's bedroom.[6]

Drummer Rick McMurray joined the pair in June 1992;[2] Wheeler had approached him during a school play and invited him to his house for a jam session.[7] With the line-up finalised, they christened themselves Ash after spotting the word in a dictionary.[8] Over the course of a year, the band recorded four demos tapes: Solar Happy in June 1992, Shed in September, Home Demo in November, and Garage Girl in February 1993.[9] A friend of the band had sent one of the demos to Paddy Davis of the public relations company, Bad Moon. He played it for four months, before passing it to Steve Tavener, who had plans to start a record label. Tavener and Davis subsequently went to Belfast to watch the band perform.[10]

Ash released their debut single, "Jack Names the Planets" through Tavener's La La Land Records in February 1994, by which point he had become their manager.[2][10] In April, they travelled to London to promote it. Several major labels approached them, before they signed with Infectious Records.[2][10] Two more singles, "Petrol" and "Uncle Pat", preceded the release of the band's mini-album Trailer in October.[2][11] During this period, two-thirds of the band were focusing on their A-Levels, touring with Babes in Toyland and Elastica during their half-term holidays.[10] In February 1995, Wheeler and McMurray flew to the United States to meet with potential labels including Reprise and Interscope Records.[12][13] "Kung Fu" was released as a single on 20 March 1995, followed by "Girl from Mars" on 31 July 1995, and "Angel Interceptor" on 9 October 1995.[11]

Production

Ash worked on pre-production with producer Owen Morris in December 1995; they began recording their debut album on New Year's Day 1996, commencing with "Goldfinger".[10][14][15] Sessions were held at Rockfield Studios in Wales, with Morris and the band co-producing the album.[16] Though the process was planned to take only six weeks, it ended up lasting three months.[17][18] Because they had toured incessantly since leaving school, the band did not have enough time to accumulate material for an album.[19] Wheeler wrote nearly half of what would end up on the finished album in the studio.[17]

As Rockfield was a residential studio, according to Wheeler, the members became "very nocturnal and very crazy". He attributed this to Morris "gradually introducing us to drugs, so we were off our heads a lot of the time".[20] Nick Brine, Sorrel Merchant and Neil Kiely acted as studio assistants.[16] Morris later mixed the recordings at Orinoco in London , except for "Girl from Mars" (Phil Thornalley) and "Angel Interceptor" (Mark "Spike" Stent).[16] Thornalley mixed "Girl on Mars" as the band's label and manager felt the track was incomplete.[7]

Composition

Musically, the sound of 1977 has been described as Britpop,[21] garage rock,[22] and grunge, with elements of power pop and glam rock,[23] drawing comparisons to the Buzzcocks,[24] Dinosaur Jr., and Sonic Youth.[25] Wheeler attributed the range of styles to the band's American label, Reprise Records, having sent him several CDs from their back catalogue.[17] The album's title refers to the release year of Star Wars (1977), the year punk rock went mainstream, and the year Wheeler and Hamilton were born.[24][25] They had spent two months coming up with random titles, until Morris asked what it was going to be called, and the band replied 1977.[17] Wheeler wrote all of the tracks, except for "Lose Control" (which he co-written with Hamilton) and "Angel Interceptor" (co-written with McMurray). Nick Ingman, Morris and Wheeler came up with string arrangements.[16] The album features a sample of a TIE fighter from Star Wars; Wheeler was unsure if the band got permission for it, but theorised the label was fine with it as they were owned by 20th Century Fox which had made Star Wars.[26]

The opening track "Lose Control" is a punk rock song that utilises a quiet-and-loud dynamic.[27] The band purposefully wanted the song to be a "proper punch in the face", which they achieved.[28] "Goldfinger" channels the sound of Teenage Fanclub.[25] When they began writing it, the band borrowed an instrumental break section from what they believed was "Goldfinger" (1964) sung by Shirley Bassey, but turned out to be a song by John Barrie.[19][29] Subsequent sections of the song were written around the world while touring to support Trailer.[30] Wheeler said they kept the name "Goldfinger" as "it has a lot of mystery".[19] "Girl from Mars" opens with an acoustic guitar intro, before erupting into a wall of guitars, reminiscent of Dinosaur Jr. member J Mascis.[25][31] A family holiday in France, where Wheeler smoked and drank with some people on a beach, influenced the track's chorus section.[32] The song was written around the time of Trailer but not included on it as their manager and label thought it would not be good for the band to have a hit single while still attending school.[26]

"I'd Give You Anything" is a harder, Stooges-esque track.[27][25] It was the last track Wheeler had written while living at his parents' home. Initially uptempo, Morris suggested the band slow it down.[33][34] The band made two versions of "Gone the Dream". The final version ended up as an indie rock song that featured a string section and evokes the Boo Radleys, while the other version was a Beatles-esque track made at Morris' insistence.[35] "Kung Fu" is a tribute to Jackie Chan in the vein of the Ramones.[25] Wheeler wrote it at home in three minutes before leaving to record with Morris.[36] Wheeler claimed that he binge-listened to the Ramones over the Christmas period, while discovering the words "kung fu", "Hong Kong", and "fu manchu".[37] "Oh Yeah" is a nostalgic track about teenage romance, and features extra vocals by Lisa Moorish.[16][31] Wheeler wrote it when he was 18 about his first romance at 15, when he experienced those emotions for the first time.[38]

"Let It Flow" was written in the studio and originally featured an intro before the chorus section, which was later dropped.[39][40] The song's original lyrics were scrapped, and re-written by Wheeler while the rest of the band were at a pub.[41] "Innocent Smile" was written about "small town Ireland hoodlums", and is indebted to Daydream Nation (1988)-era Sonic Youth with its slow build-up.[27][42][43] "Angel Interceptor" is a mix of punk rock and doo-wop.[44] At the end, McMurray can be heard yelling "Whooo! Yeah, we’ve got it!", while he was on his first ecstasy trip.[7] "Lost in You" was by influenced by the Beach Boys and written at the end of the recording process.[17] Wheeler wrote "Darkside Lightside" from the perspective of someone who had sex with another person's girlfriend; it opened with Iron Maiden-like riffs and ended with guitar work reminiscent of Pink Floyd.[45] The hidden track "Sick Party" consists of Hamilton and guitar tech Leif Bodnarchuk vomiting.[17] It was planned initially to be part of an outtake on "The Scream", which according to Wheeler was "built up [from] 48 tracks that started out like a murmur up to full on screaming".[20] When it came time to mix the song, they were "too scared". Because the band felt "Sick Party" "turned out to be so funny", it became a standalone track.[20]

Release

"Goldfinger" was released as a single on 15 April 1996, with "I Need Somebody", "Sneaker", and a cover of the Smokey Robinson track "Get Ready" as extra tracks.[11] In May, Ash went on a United Kingdom tour with 60ft Dolls, Bis, and Jocasta.[46] Infectious released 1977 in the UK on 6 May, while the US release by Reprise appeared on 11 June. The first 50,000 copies of the UK version included "Jack Names the Planets" and "Don't Know" as hidden tracks.[11] Ed van der Elsken took the cover photograph; clearing the rights for the image nearly delayed the album's release as he had died and the band were unable to contact his widow.[16][47] Following this, the band embarked on a European tour, and appeared on Later... with Jools Holland.[46]

"Oh Yeah" was released as a single on 24 June 1996, with "T. Rex", "Everywhere Is All Around", and the ABBA cover "Does Your Mother Know" as extra tracks.[11] The "Oh Yeah" music video sees Hamilton making out with an actress, interspersed with footage of the band performing at a carnival.[48] In July and August, the band toured the US with Muzzle and performed at the Reading Festival.[46] Around this time, their label discussed releasing "Lost in You" as single, however, the band felt they had released enough tracks from it by this point.[49] In September and October, Ash toured Japan, Australia and New Zealand, before returning to the US with Stabbing Westward in October and November.[46]

During the US leg of the tour, the band met with the head programmer at MTV, to discuss getting coverage on the channel, however, Wheeler turned up late and drunk. The following day, the band had an interview on the channel; Wheeler arrived late again and vomited during it. The band's label was angry with them, and Wheeler later theorised that these incidents cost the band any major success in the US.[50] Ash supported Weezer on their US headlining tour through to December, before returning to Ireland for a one-off show to close the year.[46]

Ash released their first live album, Live at the Wireless, in February 1997. Recorded in Australia, it was sold in the UK and Europe.[11] In the same month, the band embarked on a European tour with 60 ft Dolls and Seesaw, leading up to five consecutive shows at the London Astoria.[51] Fan club members attending the Astoria shows were given a free 7" vinyl, which consisted of "I Only Want to Be with You", "Devil's Haircut", and a live version of "Kung Fu".[11] In June, the band played a handful of UK shows with Silver Sun, before appearing at Glastonbury Festival.[51]

"Goldfinger", "Girl from Mars", "Kung Fu", "Oh Yeah" and "Angel Interceptor" were included on the band's three compilation albums, Intergalactic Sonic 7″s (2003), The Best of Ash (2011), and Teenage Wildlife: 25 Years of Ash (2020), and released on 7" vinyl as part of 94–'04 The 7" Singles Box Set (2014).[52] In 2008, a three-disc deluxe edition of 1977 was released, featuring Trailer, Live at the Wireless, B-sides, unreleased demos and live recordings.[16] BMG reissued it on CD in 2018.[53] The band have played the album in its entirety on several tours throughout 2008, 2013 and 2016.[22][54][55] Recordings from the Astoria shows were later compiled and released as the live album Live on Mars – London Astoria 1997 (2016).[56]

Critical reception
Original release
Review scores
SourceRating
AllMusic[23]
Alternative Press3/5[57]
The Guardian[58]
MTVMixed[25]
NME7/10[42]
The Philadelphia Inquirer[59]
Ox-FanzineFavourable[60]
Q[61]
The Washington PostFavorable[44]

1977 was met with generally positive reviews from music critics. AllMusic reviewer Stephen Thomas Erlewine said by "sticking to the rigid rules of American punk-pop", Ash opted for a "cinematic approach to their songs", resulting in 1977 being a "melting pot of pop styles". He added their use of "loud guitars" offers a "distinctive, melodic, and energetic sound that's equal parts heavy grunge and light pop".[23] Ox-Fanzine's Joachim Hiller wrote that if the listener was "the missing link between Oasis and Elastica, [they] should find it here," adding that the band's "mixture of girl seductive sugar pop and evil grater guitars with seventies rock quotes" is everywhere, and is "very catchy and somehow as tasty as French fries".[60] Mark Jenkins of The Washington Post wrote that if he were to "judge only from the guitar squall" opening the album, it would appear that "the band prefers noise to melody" as previously shown on Trailer, however, he felt the "balance has shifted on this disc", with it showcasing "classic tunefulness over raw aggression".[44]

Q reviewer Andrew Collins said the album "benefits from having its raw power harnessed" by Morris and was "pulled off with 100 per cent enthusiasm; hey, these boys make pointless distorted introductions [to some songs] sound like fun."[61] NME's Johnny Cigarettes wrote that with "a single listen", he was certain the band had "cured themselves" of becoming generic, as he had noted with their early singles. He added that "[w]hat invariably saves them from mature-rock-band hell, just as it has saved them from generic-indie-band hell are those simple, honest, priceless standbys - top-hole tunes".[42] MTV writer Michael Krugman said that the album saw the band "teetering on the brink of maturity--only they're plainly fighting it by throwing their weight in the other direction". He mentions the album "occasionally trips over its own giant steps", noting a couple of generic and underdeveloped tracks, before citing the album's "real flaw...lies in the hands of someone who should have known better", criticising Morris' "excessively noisy and often quite murky" production, stating the "punk rock gets muddied, while experimental bits...are strangely obscured".[25]

Retrospective reviews
Retrospective reviews
Review scores
SourceRating
BBC MusicFavourable[62]
Drowned in Sound8/10[27]
The Irish Times[24]
Mojo[63]
Record CollectorUnfavourable[21]
Spectrum CultureFavourable[64]

Drowned in Sound reviewer Joss Albert called 1977 an "album by the young for the young". He said that while it wasn't "perfect or complete, the severe hooks of the best of the Brut smothered tunes will always get 1977's name mentioned".[27] Spectrum Culture contributor John L. Murphy noted that in spite of the "clear influences and the passage of time, 1977 still sounds fresh", with "fast pop dominat[ing]" after the initial listen. Only "repeated airings reveal craft in softer songs", their "cinematic" scope, and "sentimental" lyrics.[64] BBC Music's Mike Diver wrote that the album was likely "remembered by those who shared in its sentiments – written by a trio of teenagers, for an audience of the same, it preoccupied itself with chugging alcohol, chasing after girls and messing about with martial arts".[62]

The Irish Times writer Brian Boyd said the band "come racing out of the traps with a giddy pop sound", though he was "not sure why the band feel the need to release [a triple disc edition] ... as this will surely only appeal to their fanbase. But maybe's that the point."[24] Record Collector reviewer Emmy Watts described the album as a "grungy slice of Britpop" that "has not aged well". She noted that at the time, the "rough spontaneity" of Wheeler's "flat vocals" and McMurray's "muffled drumming" aided their inexperience, however, "the original format just highlights the recording's poor quality".[21]

Commercial performance and accolades

1977 peaked at number one in the UK,[65] selling 122,000 copies in its first week of release.[66] It also reached number five in Scotland,[67] number 14 in New Zealand,[68] number 18 in Australia,[69] number 26 in Finland and Norway,[70][71] number 40 in Switzerland,[72] number 44 in Sweden,[73] number 65 in Germany,[74] and number 75 in the Netherlands.[75] The album was certified platinum in the UK.[76]

"Kung Fu" charted at number 57 in the UK.[77] "Girl from Mars" charted at number 11 in the UK.[77] "Angel Interceptor" charted at number 14 in the UK,[77] and "Goldfinger" charted at number five in the UK,[77] and number 50 in Australia.[78] "Oh Yeah" charted at number six in the UK.[77]

Several UK music magazines placed the album on their end-of-year lists for 1996, including Vox, NME, Melody Maker, Q, Select and Kerrang!.[79] In 2010, Classic Rock magazine ranked the album at number one on its list of the 150 Greatest Debut Albums Ever.[79] It is also included in the book 1001 Albums You Must Hear Before You Die.[80] It is ranked at 417 on the NME poll of the 500 greatest albums of all time.[81] "Sick Party" was included on Pitchfork's 2010 list of "ten unusual CD-era gimmicks".[82]

Track listing

Writing credits per booklet.[16]

No.TitleWriter(s)Length
1."Lose Control"
3:37
2."Goldfinger"Wheeler4:31
3."Girl from Mars"Wheeler3:30
4."I'd Give You Anything"Wheeler4:31
5."Gone the Dream"Wheeler3:29
6."Kung Fu"Wheeler2:17
7."Oh Yeah"Wheeler4:45
8."Let It Flow"Wheeler4:42
9."Innocent Smile"Wheeler5:52
10."Angel Interceptor"
  • Wheeler
  • Rick McMurray
4:04
11."Lost in You"Wheeler4:19
12."Darkside Lightside" (includes hidden track "Sick Party"; not on all versions)Wheeler16:49
Total length:61:52

Personnel

Personnel per booklet.[16]

Charts and certifications

References

Citations

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Sources

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