By Julie Seabaugh
By Julie Seabaugh
By Christian Schaeffer
By Daniel Hill
By Jaime Lees
By Roy Kasten
By Melinda Cooper
By Jeremy Essig
What Shelley and Howard Devoto were doing in Manchester, England, in 1976 was giving birth to the Buzzcocks, the first punk band to combine crashing guitars and amphetamine rhythms with gorgeous melodies full of teenage heartbreak. It was a moment before punk had congealed into macho meathead posturing, when it was still OK to be smart and sensitive and witty. Originally the lead singer, Devoto left the band the next year. His songwriting partner Shelley took over the vocals. Thus constituted, the Buzzcocks released a series of singles that remain loved by everyone who's ever heard them. (They're collected on the near-perfect Singles Going Steady compilation.)
Taking punk's stripped-down blueprint and twisting it until it strains, these records are really like nothing else before or since. Listen, for instance, to "Orgasm Addict," the buzzing, snapping 1977 single that was the first release from the post-Devoto band. It works on one level as a high-speed paean to masturbation; indeed, it works so well that it set off a wildcat strike at the pressing plant when the workers there found the contents obscene. But "Orgasm Addict" isn't just a smutty novelty number. Shelley's fevered vocals are magnificent, giving the song a high-pitched, sweaty sincerity that perfectly suits its story of horny frustration. The detail in the lyrics perfectly captures that time in a young man's life when every waking moment crackles with sexual ache: "You've even made it with the lady who puts the little plastic bunnies on the Christmas cakes." All this, and enough guitar blitz to satisfy anybody with a mohawk. It's easy to see why the Buzzcocks were a few blocks ahead of good-but-not-great pretenders like 999 and the Vibrators.
What's more, as in all of Shelley's love/sex songs, there's a thick atmosphere of gender ambiguity. The second-person protagonist of "Orgasm Addict" is "making out with schoolkids, winos and heads of state," and "international women with no body hair." Likewise with the band's other classic love songs: "What Do I Get," "Love You More," "You Say You Don't Love Me." Though they trade heavily in lost-love conventions, you'll never hear Shelley telling you that he misses that girl -- or boy, for that matter.
Shelley says the ambiguity was always intentional. "And it tends to work," he says. "I mean, our fans are male and female, and they certainly seem able to associate themselves with the songs." This androgynous streak even extends to Shelley's choice of stage name. Born Peter McNeish, he chose Shelley as his stage name because it's the name his mother would have chosen had he been born a girl. "And, you know, it also sounds good, and has connotations with the poet and everything," he says. Shelley's gay persona and perspective enabled the Buzzcocks to avoid the male-rock-fantasy aspect that can put women off bands like the Clash and the Jam. There has always been a strong nonstraight and/or nonmale component in the Buzzcocks' audience, and people of both genders and all orientations have displayed that heartfelt devotion to the band that can only be called a crush. Not every band can combine such sensitivity with bona fide loud-and-fast thrills like the superquick "Fast Cars" or guitarist Steve Diggle's "Harmony in My Head," a heavy dose of Brit-angst that provides the salt to balance Shelley's sugar.
Although the Buzzcocks were known for tightly constructed pop-punk singles, a strong arty streak ran through their LPs. The naive experimentalism of early punk has largely been airbrushed out of the official history, but it's an interesting and distinct sound that holds up just as well as the more pop-oriented side. Listening now to songs like "Moving Away from the Pulsebeat" and "Noise Annoys," it's easy to see how the Buzzcocks fit in alongside Wire, Alternative TV and the early Fall out in left field. "There's always been a wide range of musical approaches in the band," Shelley says. "We just get to do a little more on an album."
It was this semipsychedelic side that came to dominate the original band's later records (allegedly aided by Shelley's then-constant LSD use), culminating in the towering "I Believe," surely the best seven-minute punk anthem ever recorded. Shelley, by this time, was working existential alchemy with his lyrics, and "I Believe" is some kind of miracle that way: "I believe in my mom and my dad. There is no love in this world anymore." Another late single, "Are Everything," sports a Sgt. Pepper-styled string line that predates "Raspberry Beret" by about six years. Alas, the audience for such musings had dwindled by 1980, so "I Believe" and other interesting stuff from this period met with indifference. The punks had the Exploited, the pop kids had Spandau Ballet, and the Buzzcocks broke up.
Shelley became a gay icon with the 1981 dance-floor smash "Homosapien," but it was clear that he needed the tension of a band situation to bring out the brilliance of his earlier work. When he and Diggle re-formed the band in 1991, they made it clear that this was no cash-in minstrel show, no "surfing a wave of nostalgia," as an earlier Buzzcocks song put it.