Virgin Records (1977)
I.
I remember listening to a run down of the charts in the summer of 1977; anxiously waiting to press record on my cassette player when Pretty Vacant by the Sex Pistols finally blasted out and hoping against hope that Tony Blackburn wouldn't ruin things by inanely talking over the greatest ever intro to a pop song; an intro that, if you like, consummated my love affair with punk.
Released on July 1st, Pretty Vacant was the band's third single and, unlike God Save the Queen, you could actually listen to it on the radio, despite Rotten's aggressive phrasing of the term vacant, sung repeatedly in the chorus with a strong emphasis on the second syllable. Indeed, you could even watch the official promo video, directed by Mike Mansfield, on Top of the Pops.
II.
According to Malcolm, Pretty Vacant was written at his instigation and directly inspired by Richard Hell's Blank Generation (which was itself a punk re-imagining of Bob McFadden's and Rod McKuen's 1959 single The Beat Generation).
Just as Rotten - by Hell's own admission - pushed the nihilistic persona that he'd originally developed in a more extreme direction, so is Pretty Vacant a far more provocative kettle of fish than its American counterpart. The latter is clever and vaguely amusing, but it lacks something in comparison. One can imagine Steve Jones hearing Blank Generation and crying out for it to be given some bollocks.
Perhaps the difference (and, for me, the problem) is that Hell allows himself the option of opting out of his own lifestyle - he can take it or leave it - but the Sex Pistols have no choice but to affirm the beauty of their own emptiness without caring what anyone thinks of this.
Is it a class thing, a cultural thing, or something else? Interestingly, Hell has spoken about the chauvinism of British punks who would sneer at the American bands and insist on the UK origins of the movement.
Whatever it is, there's something crucially different between the two songs. When one listens to Blank Generation one feels that one is listening to Hell's private vision or personal experience; it's basically a poem set to music. Pretty Vacant, by comparison, is a call to arms that genuinely articulates the feelings of a generation. And, whilst there's humour in both songs, it's more crudely sarcastic than cleverly ironic in the latter.
Ultimately, you don't need to have read Blake, Rimbaud and Burroughs to understand the Sex Pistols; you just need a mistrust of hippies, an eye for fashion, and an instinct for chaos.
I remember listening to a run down of the charts in the summer of 1977; anxiously waiting to press record on my cassette player when Pretty Vacant by the Sex Pistols finally blasted out and hoping against hope that Tony Blackburn wouldn't ruin things by inanely talking over the greatest ever intro to a pop song; an intro that, if you like, consummated my love affair with punk.
Released on July 1st, Pretty Vacant was the band's third single and, unlike God Save the Queen, you could actually listen to it on the radio, despite Rotten's aggressive phrasing of the term vacant, sung repeatedly in the chorus with a strong emphasis on the second syllable. Indeed, you could even watch the official promo video, directed by Mike Mansfield, on Top of the Pops.
II.
According to Malcolm, Pretty Vacant was written at his instigation and directly inspired by Richard Hell's Blank Generation (which was itself a punk re-imagining of Bob McFadden's and Rod McKuen's 1959 single The Beat Generation).
Just as Rotten - by Hell's own admission - pushed the nihilistic persona that he'd originally developed in a more extreme direction, so is Pretty Vacant a far more provocative kettle of fish than its American counterpart. The latter is clever and vaguely amusing, but it lacks something in comparison. One can imagine Steve Jones hearing Blank Generation and crying out for it to be given some bollocks.
Perhaps the difference (and, for me, the problem) is that Hell allows himself the option of opting out of his own lifestyle - he can take it or leave it - but the Sex Pistols have no choice but to affirm the beauty of their own emptiness without caring what anyone thinks of this.
Is it a class thing, a cultural thing, or something else? Interestingly, Hell has spoken about the chauvinism of British punks who would sneer at the American bands and insist on the UK origins of the movement.
Whatever it is, there's something crucially different between the two songs. When one listens to Blank Generation one feels that one is listening to Hell's private vision or personal experience; it's basically a poem set to music. Pretty Vacant, by comparison, is a call to arms that genuinely articulates the feelings of a generation. And, whilst there's humour in both songs, it's more crudely sarcastic than cleverly ironic in the latter.
Ultimately, you don't need to have read Blake, Rimbaud and Burroughs to understand the Sex Pistols; you just need a mistrust of hippies, an eye for fashion, and an instinct for chaos.
Play:
Pretty Vacant by the Sex Pistols: click here.
Blank Generation by Richard Hell and the Voidoids: click here.
Pretty Vacant by the Sex Pistols: click here.
Blank Generation by Richard Hell and the Voidoids: click here.
