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“Bodies”, in Lydon’s own words is neither pro- nor anti-abortion as he challenges the listener to think about the consequences of their sexual behaviour, placing himself on all sides of the abortion debate while channelling all his confusion, rage and frustration into the expletive-ridden lyrics.
The Pistols fired their first howitzer across the establishment’s bow with their debut single released in November 1976, which sold 55,000 copies in just four weeks, reaching number 38 in the charts.
The Sex Pistols triggered the punk-rock movement by running a scorched earth campaign, calling out everyone from the music industry to the queen.
You could take the Sex Pistols as they were or get out.
The perfect middle-digit kiss-off to the Pistols’ record label, who dumped them for their outrageous behaviour and the perfect song to end .
“EMI” ranks alongside Graham Parker’s “Mercury Poisoning” as the most gleeful rant at a record company ever recorded and says more in three minutes than Van Morrison has managed on a myriad of songs on the same subject.
That’s the official line anyway, but with its copious sexual metaphors, “Submission” sounds to me as if it’s about sex, just not in the way that Mc Laren envisaged.
John Lydon in full snotty, Johnny Rotten mode as an unrepentant, violent narcissist backed by Steve Jones jagged, ear-shredding riffs make for the perfect punk song – fast, loud, dangerous and full of attitude and teenage alienation.
“You won’t find me working nine to five, it’s too much fun being alive”, trumpets Rotten and it’s hard to disagree. They ignited the punk-rock revolution in Britain, and the reverberations carried to all corners of the rock and roll world. Rock and roll was never the same after the Sex Pistols.They say timing is everything and having proposed anarchy on the streets of Britain it made perfect sense for the Pistols to release their most provocative, incendiary record at the height of the Queen’s silver jubilee celebrations.If they hadn’t been before, the Sex Pistols now became public enemy number one, with Johnny Rotten everyone’s favourite bête noire.
The last of the four classic Sex Pistols singles that almost brought a nation to its knees, boasting the definitive unhinged Rotten vocal, was inspired by a trip to view the Berlin Wall by the group and undoubtedly borrowed from the Jam’s “In the City”.