Never Mind the Bollocks, Here’s the SexPistols

Never Mind the Bollocks, Here’s the Sex Pistols is theonly studio albumbyEnglish punk rock group Sex Pistols,released on 27 October 1977 by Virgin Records.At the time of its release, the band was already extremelycontroversial, having sworn on live TV, been fired fromtwo record labels and been banned from playing live inmost parts of England. The album’s title added to thatcontroversy, with some people finding the word “bol-locks” offensive. Many record stores refused to carry thealbum and some record charts refused to list the album,showing just a blank space instead. Despite the contro-versy, the album reached the top of the album charts andhas continued to sell in large quantities to this day. It isoften listed in “best album” charts and cited by prominentmusicians as being a big influence on them.

1 Recording

Close to completing a deal with A&MRecords, in March1977 the Sex Pistols entered Wessex Sound Studios torecord with producer Chris Thomas and engineer BillPrice. New bassist Sid Vicious played on the track"Bodies",[1] but his performing skills were not consid-ered fit enough to record the full album, so the bandasked manager Malcolm McLaren to convince previ-ous bassist Glen Matlock to perform the instrument forthe sessions.[2] Matlock agreed on the condition that hewas paid beforehand. When payment was not received,he declined to show up. As a result, Thomas askedguitarist Steve Jones to play bass so work could beginon the basic tracks. Jones’ playing was so satisfactorythat Thomas had him play the bass tracks for all theremaining songs recorded during the sessions.[3] Fourtracks—-Clinton Heylin suspected they were "God Savethe Queen" (Thomas stated he and Price “gave up” try-ing to use Vicious’ bass track[1]), "Pretty Vacant", “EMI”and possibly “Did You No Wrong”—were recorded dur-ing the two days at Wessex, with “God Save the Queen”and “Pretty Vacant” receiving vocal tracking from JohnnyRotten and final mixing during the period. As a re-sult of these sessions, Thomas and Price began work inearnest on what would become the Pistols’ full-lengthalbum.[4] Four days after recording was completed, thePistols signed with A&M, yet on 16 March the label ter-minated the contract, and several thousand pressed copiesof the forthcoming “God Save the Queen” single were

destroyed.[5]

Despite being dropped by A&M, McLaren instructed thePistols to continue work on the album. While McLarenpondered whether or not to sign the offer presentedby Virgin Records, he signed a French deal for thegroup with Barclay Records in early May 1977. At thesame time, the group resumed work with Thomas andPrice.[6] Thomas temporarily departed the session part-way through (a timeframe Heylin places as sometime inlate April and early May), leaving Price to produce whatThomas estimated as five songs. Heylin narrowed downthe potential Bollocks tracks Price may have produced to“Liar”, “New York”, “No Feelings”, “Problems”, “Sev-enteen” and “Submission”, in addition to the non-albumtrack “Satellite”.[7]

Meanwhile the band had been rejected by several po-tential labels, including CBS, Decca, Pye and Polydor.Eventually Virgin’s offer was the only one that remained.McLaren still hoped to sign with a major label, andposited issuing a one-off single with Virgin to increasethe band’s appeal to the larger record companies. Virginowner Richard Branson refused, so on 18 May the Pis-tols finally signed with Virgin. Two weeks later, the labelrush-released “God Save the Queen” as a single.[8] Dur-ing promotion of the single, Rotten stated that work onthe album was ongoing, and, obscuring Jones’s assump-tion of bass duties, insisted that the bass performances onthe in-progress albumwere split betweenMatlock “on theChris Thomas tracks” and Vicious.[9]

The band returned to the studio with Thomas and Price on18 June to record "Holidays in the Sun", the first song theyhad written without Matlock. That night after visitinga nearby pub, Rotten, Thomas and Price were attackedby a large group of men, and the incident made newspa-per headlines the following Tuesday.[10] That month aneleven-track preview of the album began circulating, firstreviewed in the fanzine 48 Thrills. At this point, Rottenmaintained that the forthcoming album would include nocover songs, and none of the Sex Pistols’s previously re-leased singles bar “Anarchy in the U.K.”, which was outof print. With “Pretty Vacant’s” release as a single, itwas due to be replaced on the tracklist.[11] The Pistolsreturned to Wessex once more that August to record abrand-new song, “Bodies”.[12] It was on this track Viciousrecorded his only bass part for the album.[13]

1

2 3 PACKAGING, TITLE AND OBSCENITY CASE

2 Release

With the completion of “Bodies”, the time came to fi-nalise the album’s tracklist. Though Jon Savage claimedthere were three versions of each track available, Heylinstates that alternate versions for only five tracks (“EMI”,“No Feelings”, “Seventeen” and “Submission”, plus an“album” mix of “Satellite”) existed.[14] It was not until 20September that the tracklist was finalised, which Heylinsaid “suggests just how bogged down by the process theyhad become”.[15] Richard Branson spent the night decid-ing the tracklist and which versions to use, and includedall the hits on the record, despite the objections of theband, McLaren’s management company Glitterbest andmost of Virgin.[16] Due to the album’s long completiontime, the Pistols and McLaren decided to release “Hol-idays in the Sun” backed with “Satellite” as the band’sfourth single. “Holidays in the Sun” was not as successfulas past singles—it charted at number eight and droppedout of the top 20 after four weeks—which Heylin at-tributed to the group’s announcement that their albumwould be released on 4 November and that the singlewould be included on the LP, despite previous statementsto the contrary. In an attempt to stem criticism over thedecision to include all four previously released Sex Pis-tols singles on the forthcoming LP, Virgin indicated thepossibility of an “alternative album” being issued simulta-neously, featuring a new title and two new songs replacing“two of the former hit singles”. A label spokesman stated,“We've put the singles on the LP because most peoplewanted it that way. But the alternative set would enableus to overcome the multiple stores’ ban”. A ten-song testpressing was made, though no new cuts were included,with “Satellite” and “Submission” instead being added asbonus tracks.[15]

The Sex Pistols’ contract with Virgin stated that its musicwould be distributed by Virgin in the United States pro-vided Branson matched any competing offers McLarenreceived. However, McLaren wanted to negotiate sepa-rate deals in every territory, regardless of what the con-tract stipulated, which angered Branson, as the clausefor American distribution was an important one he hadfought for. Branson knew he had been outmanoeuvredby McLaren, for he could not sue to enforce the contractor else be perceived as acting like EMI or A&M. Compe-tition for the band in the United States narrowed down toWarner Bros., Arista, Columbia and Casablanca Records,with Warner Bros. signing the band on 10 October for£22,000.[17]

Before Virgin could release Never Mind the Bollocks,Richard Branson discovered that two other Sex Pistolsalbums were competing with his label’s.[18] In October,a bootleg named Spunk featuring high-quality recordingsof Sex Pistols demos and recording sessions with DaveGoodman was released on a label called Blank. Amongthe rumours of who was behind the release of the tapesincluded Goodman, Glen Matlock and McLaren, who

has always considered Goodman’s versions to be a moreaccurate representation of the band.[19] Meanwhile, theFrench pressing of Never Mind the Bollocks on Barclayhad added “Submission” to the slated 11-song tracklist,and was due for release a week before the Virgin’s edi-tion. AsMcLaren’s separate deal with Barclay meant thatthe French release could not be halted and given the Vir-gin head was aware of how easy it was for import recordsto arrive in Britain, Branson rushed production of NeverMind the Bollocks to ensure it would come out a weekearlier than intended. Nevertheless, the Barclay versionwas already available in the UK at the time Virgin had itsversion ready. Ten thousand copies of Virgin’s pressingerroneously only listed 11 tracks on the sleeve yet con-tained 12 on the actual record.[18]

Even with the availability of Spunk, the release of NeverMind the Bollocks, Here’s the Sex Pistols was eagerlyawaited in the United Kingdom. With advance ordersof 125,000 copies, Never Mind the Bollocks debuted atnumber one on the UK Album Charts the week after itsrelease.[20] A ban of the album enacted by major retail-ers resulted in the record selling well through independentvendors instead.[21]

3 Packaging, title and obscenitycase

The album was originally going to be titled God Save SexPistols. Jamie Reid's cover concept refrained from includ-ing a picture of the group and instead was dayglo red andyellow in colour with cutout lettering and a finish resem-bling crude screen-prints. The album’s title changed inmid-1977, based on a phrase supplied by Steve Jones.[16]Jones said he picked up the phrase “Never mind the bol-locks” from two fans who would always say it to one an-other. Johnny Rotten explained its meaning as a working-class expression to “stop talking rubbish”.[1]

In the United Kingdom, the album was subject to whatHeylin described as “blatant acts of censorship exercisedby media and retail outlets alike”. London police vis-ited the city’s Virgin record store branches and told themthey faced prosecution for indecency as stipulated by the1899 Indecent Advertisements Act if they continued todisplay posters of the album cover in their windows. Thedisplays were either toned down or removed. However,on 9 November 1977 the London Evening Standard an-nounced on its front page headline “Police Move in onPunk Disc Shops”, and reported how a Virgin Recordsshop manager in Nottingham was arrested for display-ing the record after being warned to cover up the word“bollocks”.[22] Chris Seale, the shop’s manager, “it wouldappear, willingly set himself up as a target, possibly atBranson’s behest”, according to Heylin, who noted thathe had been visited by the police on four separate oc-casions and resumed displaying copies of the record in

3

the store windows after they had left on each occasion.After Seale’s arrest, Branson announced that he wouldcover the manager’s legal costs and hired Queen’s Coun-sel John Mortimer as defence. Meanwhile advertise-ments forNever Mind the Bollocks appearing in music pa-pers attempted to politicise the issue, showing newspaperheadlines about Sex Pistols controversies that were un-derlined with the message “THE ALBUMWILL LAST.THE SLEEVE MAY NOT.”[23]

The obscenity case was heard at NottinghamMagistrates’Court on 24 November.[23] Mortimer presented the caseas a matter of police discrimination. During his cross-examination of the arresting officer, he asked why thenewspapers The Guardian and Evening Standard (whichhad referred to the album’s name) had not been chargedunder the same act. When the overseeing magistrate in-quired about his line of questioning, Mortimer stated thata double-standard was apparently at play, and that “bol-locks” was only considered obscene when it appeared onthe cover of a Sex Pistols album. The prosecutor con-ducted his cross-examination “as if the album itself, andnot its lurid visage, was on trial for indecency”, accord-ing to Heylin.[24] Mortimer produced expert witnesseswho were able to successfully demonstrate that the word"bollocks" was not obscene, and was actually a legitimateOld English term originally used to refer to a priest,[25]and which, in the context of the title, meant “nonsense”.The chairman of the hearing was forced to conclude:

Much as my colleagues and I wholeheart-edly deplore the vulgar exploitation of theworst instincts of human nature for the pur-chases of commercial profits by both you andyour company, wemust reluctantly find you notguilty of each of the four charges.[26]

4 Legacy

In 1985, NME writers voted Never Mind the Bollocks,Here’s the Sex Pistols the thirteenth greatest album of alltime.[30] In 1993, NME writers voted the album the thirdgreatest of all time.[31]

In 1987, Rolling Stonemagazine named it the second bestalbum of the previous 20 years, behind only The Beatles'Sgt. Pepper’s Lonely Hearts Club Band. The same maga-zine named it 41st on their list of the five-hundred greatestalbums ever in 2003. In an interview during 2002, RollingStone journalist Charles M. Young stated:

Never Mind the Bollocks changed every-thing. There had never been anything like itbefore and really there’s never been anythingquite like it since. The closest was probablyNirvana, a band very heavily influenced by theSex Pistols.[32]

In his 1995 book, The Alternative Music Almanac, AlanCross placed the album in the number 6 spot on his 10Classic Alternative Albums list. In 1997, Never Mindthe Bollocks, Here’s the Sex Pistols was named the 24thgreatest album of all time in a Music of the Millenniumpoll conducted in the United Kingdom by HMV Group,Channel 4, The Guardian and Classic FM.[33]

In 2005, the album was ranked No. 276 in Rock Hardmagazine’s book of The 500 Greatest Rock & Metal Al-bums of All Time.[34] In 2006, it was chosen by Timemag-azine as one of the 100 greatest albums ever,[35] and inthe same year NME voted the album the fourth greatestBritish album.[36]

Noel Gallagher was interviewed for a television programcalledWhen Albums Ruled theWorld for the BBC, airedin early 2013. He said, of the album’s opening with 'Hol-idays in the sun', “That is extremely provocative, what wecan only assume is jackboots”, which he followed by say-ing, “As soon at that starts, everything that has gone onbefore is now deemed fucking irrelevant, as soon as hestarts anti singing.” He then said of Pretty Vacant, “Oneof the 1st things you learn when you pick up the electricguitar is that riff.” He then further commented, “I made10 albums and in my mind they don't match up to that,and I'm an arrogant bastard. I'd give them all up to havewritten that, I truly would.”[37]

5 Track listing

5.1 11 Track Version

Note: “Submission” was included with most copiesas a one-sided seven-inch single.

5.2 12 Track Version (UK Edition)

5.3 12 Track Version (US Edition)

5.4 2012 Remastered Edition (Japan Re-lease)

1-11 Live at Stockholm, Happy House, Swe-den, July 28th 197712-14 Live at Penzance, Winter Gardens,Cornwall, September 1st 1977

6 Personnel

• Johnny Rotten – lead vocals

• Steve Jones – guitar, bass guitar, backing vocals

• Sid Vicious – bass guitar on “Bodies”

4 12 NOTES

• Glen Matlock – bass guitar on “Anarchy in the UK”

• Paul Cook – drums

7 ChartsAlbum

8 Certifications

9 Reissues

In 1996, Virgin reissued Never Mind the Bollocks as adouble CD with the original 'Spunk' bootleg album asSpunk/This Is Crap.[40]

On 29 October 2007, Virgin released a special 30th-anniversary edition of the album in 180-gram vinyl LPformat. The set included a 7-inch insert of “Submission”and poster, as originally released on 28 October 1977.Virgin also reissued the group’s four singles, “Anarchy inthe U.K.”, “God Save the Queen”, “Pretty Vacant” and“Holidays in the Sun”, on 7-inch vinyl, before the albumreissue.In the US and Canada, these re-releases were handled byWarner Bros., who continue to own the North Americanrights to this album to this day.A four-disc boxed set reissue occurred on 24 Septem-ber 2012. The set includes the original album, which forthe first time was digitally remastered from the originalmaster tapes by Tim Young at Metropolis. The remas-tering process was overseen by original producer ChrisThomas. The sound quality of this remaster is a signifi-cant improvement over all other reissues because of ChrisThomas’ involvement and UMG’s access to the originalmasters. The second disc comprises the officially re-leased B-sides (The Bsides were also remastered howeverit omits “I Wanna Be Me” the B-Side of their first sin-gle for EMI). This disc also includes outtakes and demosfrom the recording sessions for 'NMTB', most notablythe recently discovered studio demo of “Belsen Was AGas” which was previously thought lost forever. The 3rddisc contains two live recordings from 1977 (Includingthe previously unrleased complete soundboard recordingof their performance at the Happy House in Stockholm,Sweden on 28 June 1977) The fourth and final disc isa DVD of live and studio videos - as well as audio in-terviews from 1977. Also included is a full size 100page hard cover, full color coffee table book which con-tains rare pictures, articles, and interviews that providesa timelime of the band throughout 1977. Additionallythe set includes a full size replica “subway” promotional'NMTB' poster, replicas of original promo stickers, a re-print of John Lydon’s original hand written lyrics to “GodSave The Queen”, and a replica of the original A&M

copy of the “God Save the Queen” single. This UMGbox set (SEXPISSBOX1977) and the 2002 Virgin boxset (SEXBOX1) together contain almost the entire SexPistols studio/demo sessions - omitting only three of theJune 1976 Dave Goodman demos which can be foundon the 2006 officially released remaster of the “Spunk”bootleg.[41]

In 2015, as part of Record Store Day, the album was re-issued as a picture disc, reaching number 7 in the UK'STop 40 Vinyl Album Chart.[38]

10 Cover versions

In 1983, The Bollock Brothers released a track-by track-cover version of the album, called Never Mind the Bol-locks 1983.The Irish folk punk band Mr. Irish Bastard has workedon a cover version of the entire album, calling it NeverMind the Bastards, Here’s Mr. Irish Bollocks. While thefull album is not yet released, their version of “God Savethe Queen” was featured on a compilation in February2012.[42]

11 References• Classic Albums—Sex Pistols: Never Mind the Bol-locks [DVD]. Isis Productions, 2002.

• Heylin, Clinton. Never Mind the Bollocks, Here’sthe Sex Pistols. Schirmer Books, 1998. ISBN 0-02-864726-2.

• Savage, Jon. England’s Dreaming: Sex Pistols andPunk Rock. Revised edition. Faber and Faber Lim-ited, 2001. ISBN 0-571-20744-8.

12 Notes[1] Classic Albums—Sex Pistols: Never Mind the Bollocks

[DVD]. Isis Productions, 2002.

[2] Heylin, p. 64

[3] Heylin, p. 66

[4] Heylin, p. 67

[5] Heylin, p. 70

[6] Heylin, p. 72

[7] Heylin, p. 75, 77

[8] Heylin, p. 78

[9] Heylin, p. 81

[10] Heylin, p. 81-82

5

[11] Heylin, p. 87-90

[12] Heylin, p. 92, 131

[13] Heylin, p. 92

[14] Heylin, p. 94

[15] Heylin, p. 97

[16] Savage, p. 409

[17] Savage, p. 408

[18] Heylin, p. 98

[19] Heylin, p. 99

[20] Heylin, p. 105

[21] Heylin, p. 109

[22] Heylin, p. 112

[23] Heylin, p. 113

[24] Heylin, p. 114

[25] Richard Branson: Life at 30,000 feet TED interview (Mar2007, posted in Oct 2007), in which Richard Branson dis-cusses the Never mind the Bollocks... court case (at 18:30minutes). Retrieved Dec 2012.

[26] Patterson, Sylvia (27 October 2007). “Never Mind theSex Pistols, Here’s to 30 Years of Bollocks”. The Her-ald (Glasgow) (Glasgow, Scotland). Retrieved 7 October2012.

[27] Huey, Steve. "Never Mind the Bollocks, Here’s the Sex Pis-tols – The Sex Pistols : Songs, Reviews, Credits, Awards”.AllMusic. Retrieved 7 October 2012.

[28] Christgau, Robert. “Robert Christgau: CG: Sex Pistols”.robertchristgau.com. Retrieved 7 October 2012.

[29] Weisbard, Eric; Marks, Craig (1995). Spin AlternativeRecord Guide. Vintage Books. p. 346. ISBN 0-679-75574-8.

[30] “New Musical Express Writers Top 100 Albums”. NME.30 November 1985.

[31] “New Musical Express Writers Top 100 Albums”. NME.2 October 1993.

[32] Young, Charles M. (2002). Classic Albums: Never Mindthe Bollocks, Here’s the Sex Pistols. Isis/Eagle Rock Enter-tainment.

[33] “BBC News – UK – The Music of the Millennium”.news.bbc.co.uk. 24 January 1998. Retrieved 7 October2012.

[34] [...], Rock Hard (Hrsg.). [Red.: Michael Rensen. Mitarb.:Götz Kühnemund] (2005). Best of Rock & Metal die 500stärksten Scheiben aller Zeiten. Königswinter: Heel. p.103. ISBN 3-89880-517-4.

[35] Tyrangiel, Josh (2 November 2006). "Never Mind the Bol-locks, Here’s the Sex Pistols | All-Time 100 Albums | En-tertainment | time.com”. time.com. Retrieved 7 October2012.

[36] “New Musical Express Writers Top 100 Albums”. NME.28 January 2006.

[37] 'When albums ruled the world', BBC4, 22:45, 9 Feb 2013

[38] “The Top 40 Vinyl Album Chart”. XFM. 29 April 2015.Archived from the original on 3 May 2015.

[39] “RIAA – Gold & Platinum Searchable Database – Octo-ber 6, 2012”. riaa.com. Retrieved 7 October 2012.

[40] Heylin, p. 155

[41] "'Never Mind the Bollocks, Here’s the Sex Pistols’ Gets35th Anniversary Box Set”. Rolling Stone. 25 July 2012.Retrieved 7 October 2012.

[42] Heinrichs, Dominik (2012). “Mr. Irish Bastard: Verbeu-gung vor den Sex Pistols”. ZilloMedieval (in German) (2):37.

6 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

13 Text and image sources, contributors, and licenses

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