aku emang orang desa, tapi aku ga mau kalah ama orang kota buktinya aku juga ikut punk di
madiun kota gadis,
walaupun kMu juga orang desa jangan merendah diri dengan orang kota ok...............................
aku tu lahir di desa,suemberjo,kecamatan geger,kabupaten madiun,dukuh karanganyar,RT 20 RW 10
kamu pengen tau pangkalan punk madiun tempatnya di stadion wilis ya kadang2 juga mangkal di Alun-Alun madiun................................
Music in Liverpool in 1974 was pretty near non-existent. Considering it had been the music capital of the world in the 60s, this was hard to believe. Merseybeat was 10 years before and the Cavern Club had been closed for nearly 12 months. Just when it had seemed that music in Liverpool was DOA, along came Deaf School to ignite the local scene and pave the way for the likes of Teardrop Explodes, Echo And The Bunnymen and Big In Japan. |  |
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| | Deaf School shared many similar qualities with their kindred spirits in London, Kilburn and the High Roads. Like Dury’s mob, they had a large line up (early on it numbered from eight upwards) which utilised keyboards and sax. They also both took a certain something from Music Hall in the way the lyrics told stories of the seamier side of life and both had a determinedly anarchic and eclectic approach ranging a wide spectrum of musical styles. And of course they shared an art school background and a sense of style out of step with the dressing down mid-70s. Where Deaf School differed mainly was their vocal approach. The three Deaf School singers all bought something different to the table: Eric Shark was the most Dury-like, but Enrico Cadillac Jnr played a spiv like Master of Ceremonies a bit like Bryan Ferry streetwise brother and the gorgeous Bette Bright was not just eye candy, she possessed a tremendously clear and powerful voice. And whereas the Kilburns were always more and less Ian Dury’s sidesmen, each member of Deaf School bought a different theatrical personality with them, which made their live show a riot with everything happening on stage. Keyboardist Rev Max Ripple wore a leather vicar outfit and was known for giving his own special kind of sermons during gigs. Steve “Mr Average” Lindsey played the straight man, whilst Cliff Hanger (Clive Langer) tore at his guitar, the wild sax of Ian Ritchie rang clear and drummer Tim Whittaker kept the beat and a relatively low profile. All in all with a strong set of original songs Deaf School were like nothing on the college or pub circuit and soon began making waves. In turn the people who came to watch their gigs saw something they wanted to take part in and that coupled with the Punk explosion gave the next wave of Liverpool bands a break. |
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| In July 1975 they won the Melody Maker Rock/Folk/Pop contest, which was a big deal at the time although this may have counted against the band ultimately in the credibility stakes when Punk arrived. For the moment though, no matter. Because this led to the group signing to Warners. After an abortive session with Muff Winwood producing, finally the first LP, confusing called “Second Honeymoon” appeared midway through 1976. In August of 1976 the first album "Second Honeymoon" was released. It included a variety of styles ranging from the European pre-war cabaret of "Cocktails At Eight" with a bit of blues thrown in. The best track "Final Act" was a showpiece for singer Bette Bright. The first single which gives its title to this collection is the jaunty "What A Way To End It All" about a half-hearted suicide attempt which got lots of airplay, despite its subject matter, but just missed out on making those all important charts even though they made an appearance on the then popular pop show 'Supersonic'. Derek MCann Sleevenotes Anthology |  |
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 | During this time though, Deaf School played the first night of the Eric’s club and their backing really got the venue off the ground. It was soon the place to be seen and even the Pistols played their towards the end of 1976. Liverpool’s first Punk band, Big In Japan, even featured Clive Langer and Steve Lindsey for a while. Deaf School had played a large part by creating a scene in Liverpool when there wasn’t one, but unfortunately it would be their followers who reaped the benefits. Dwelling on their debut LP’s failure to storm the charts the next record, 1977’s “Don’t Stop The World” opted for a less frenetic mix of styles. Though this still left room for the excellent downbeat and moody “Last Night” and the high energy of “Capaldi’s Café”, which was a perennial roof raiser at Eric’s (one of the top 20 there in 77) and almost Punk sounding. For some reason this was never released as a single and perhaps an opportunity to join their contemporaries like Dury, Lowe, Costello and Parker in the charts had gone. |
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| The LP again didn’t sell and in some desperation they turned to the Boomtown Rats and future Def Leppard co-hort Robert “Mutt” Lange to replace the previous incumbent Rob Dicken in the producer’s chair. This resulted in the “English Boys, Working Girls” LP with the memorable cover with Bette Bright in a spray on dress. Whilst a pretty damn fine record in itself, the “New wave” sheen applied by Lange somehow lost a bit of Deaf School’s charm. There were some great tracks like “All Queued Up” and Bright in particular was at the top of her game on this record. But overall it wasn’t a surprised with all the competition of a similar nature around at the time that again this record failed to chart. |  |
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 | DEAF SCHOOL! (PARDON?) Record Mirror Review 25.2.78 Time and time again the band create excellent and varied minor masterpieces. Whether it be the frantic `I Wanna Be Your Boy', the 4linky `Morning After' or the regimented beat of 'English Boys With Guns'_ all with hooks, not instant, but ultimately far more satisfying. Every track is a totally unique entity all equally enjoyable due to their sheer melodic eccentricity. Make no mistake, Deaf School are still clever and will continue to be unpopular among "working class Journalists" (para-dox?) |
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| The band split soon after this record was released. Some went straight onto other musical projects. Bette Bright started a solo career backed by the Illuminations (who included Steve Lindsey and Glen Matlock) and had a near hit with “Hello I Am Your Heart” in 1980. After that she met Suggs from Madness and married. She deserves to be known as far more than Mrs Suggs though! Clive Langer had his own band called the Boxes that made a record for F.Beat but was mainly famous as the producer of Madness, Elvis Costello, Dexies, Morrissey, the Stranglers and Hugh Cornwell to name a few. Enrico Cadillac Jnr started the Original Mirrors with Ian Broudie, previously with Big In Japan and later the Lightning Seeds. |  |
| Deaf School were an important influence on a lots of groups and not just ones from Liverpool either. The Rezillos may have taken note of their male/female vocal attack and Madness definitely took some of their theatrical stance on board as well as their well publicised Kilburns obsession. Deaf School’s willingness to entertain and mix things up mark them out in my opinion as a valuable but often ignored forerunner to Punk As a footnote, I saw the reformed Deaf School last year (all original members apart from the sadly departed Whittaker) and they still cooked up a veritable storm live, the songs being so excellently played and performed. Also it had one the best atmosphere’s I’ve ever seen at a gig, a wonderful and emotional evening….Deaf School were finally back to get what is rightfully theirs and to again show the young pretenders how it is done! |
