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[[caption-width-right:350:''"Don't be told what you want. Don't be told what you need. There's no future, no future, no future for you."'']]

to:

[[caption-width-right:350:''"Don't be told what you want. want! / Don't be told what you need. need! / There's no future, no future, no future for you."'']]
you!"'']]


--> ''This cheap B-Movie show'

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--> ''This cheap B-Movie show'show''


** The chorus to "Pretty Vacant" was inspired by the chorus of "S.O.S." by Music/{{ABBA}}.

to:

** The chorus to opening riff of "Pretty Vacant" was inspired by the chorus opening riff of "S.O.S." by Music/{{ABBA}}.


* LazyBum: "Seventeen"

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* LazyBum: "Seventeen"The narrator of "Seventeen" straight-up calls himself a "lazy [[UsefulNotes/BritishEnglish sod]]."


* GreatestHitsAlbum: In a sense it is.

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* GreatestHitsAlbum: In a sense it is. Most of the songs in the album had already been released as singles before, to the point that negative reviews actually did call the album a "greatest hits album" in a derisive manner, plus the whole thing about this being the band's only studio album.


[[quoteright:340:https://static.tvtropes.org/pmwiki/pub/images/never_mind_the_bollocks_3250.jpg]]
[[caption-width-right:340:''"Don't be told what you want. Don't be told what you need. There's no future, no future, no future for you."'']]

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[[quoteright:340:https://static.[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/never_mind_the_bollocks_3250.jpg]]
[[caption-width-right:340:''"Don't
org/pmwiki/pub/images/never_mind_the_bollocks.jpg]]
[[caption-width-right:350:''"Don't
be told what you want. Don't be told what you need. There's no future, no future, no future for you."'']]


->''"A million times more important than Music/TheClash. How do I explain that? Hmm. Both were always a bad imitation of Music/TheRollingStones, in love with America. But at least they took their girlfriends on tour with them (''The Slits''). Their music was terrible, though. I blame "Music/{{Sandinista}}" for not letting me get into punk until years after I should have done - it was so bad. The Pistols' album has the best production of any rock record I've ever heard. It's [[RefugeInAudacity totally in-your-face]] and compressed. All the hype The Sex Pistols had was totally deserved - they deserved everything they got. Johnny Rotten was the one I identified with, he was the sensitive one. The only reason I might agree with people calling our band "The Sex Pistols of the 90's" is that, for both bands, the music is a very natural thing, very sincere. But in terms of influence, fuck, no! Rock is too exhausted for that. We haven't produced a totally original sound like that. We might be uncompromising, but that's about it. We're an obvious metamorphosis."''

to:

->''"A million times more important than Music/TheClash. How do I explain that? Hmm. Both were always a bad imitation of Music/TheRollingStones, in love with America. But at least they took their girlfriends on tour with them (''The Slits''). Their music was terrible, though. I blame "Music/{{Sandinista}}" for not letting me get into punk until years after I should have done - it was so bad. The Pistols' album has the best production of any rock record I've ever heard. It's [[RefugeInAudacity totally in-your-face]] in-your-face and compressed. All the hype The Sex Pistols had was totally deserved - they deserved everything they got. Johnny Rotten was the one I identified with, he was the sensitive one. The only reason I might agree with people calling our band "The Sex Pistols of the 90's" is that, for both bands, the music is a very natural thing, very sincere. But in terms of influence, fuck, no! Rock is too exhausted for that. We haven't produced a totally original sound like that. We might be uncompromising, but that's about it. We're an obvious metamorphosis."''



''Never Mind the Bollocks, Here's the Sex Pistols'' is the debut studio album by The Music/SexPistols, released in 1977. Discounting the soundtrack ''The Great Rock 'N' Roll Swindle'' as well as their live albums, it is also [[OneBookAuthor their only album]] [[note]]Though a lot of compilations have followed, mostly with singles and/or live recordings which didn't appear on this album[[/note]]. Infamous, controversial and very influential, it's seen as a landmark album between the psychedelic and art rock era of the late 1960's and the back to basics simple rock sound of the punk and new wave era of the late 1970's. Today it's widely regarded as one of the best, most influential and most important rock/punk albums in music history.

The record collects four of the group's hit singles: "Anarchy In The UK", "God Save The Queen", "Holidays In The Sun" and "Pretty Vacant" and adds a handful of other songs. Guitarist Steve Jones played bass for the vast majority of the album, and the musically incompetent Music/SidVicious appears on only one song ("Bodies"). Former bassist Glen Matlock appears on "Anarchy in the UK".

to:

''Never Mind the Bollocks, Here's the Sex Pistols'' is the debut studio album by The Music/SexPistols, released in 1977. Discounting the soundtrack ''The Great Rock 'N' Roll Swindle'' as well as their live albums, it is also [[OneBookAuthor their only album]] album]].[[note]]Though a lot of compilations have followed, mostly with singles and/or live recordings which didn't appear on this album[[/note]]. album[[/note]] Infamous, controversial and very influential, it's seen as a landmark album between the psychedelic and art rock era of the late 1960's and the back to basics simple rock sound of the punk and new wave era of the late 1970's. Today it's widely regarded as one of the best, most influential and most important rock/punk albums in music history.

The record collects four of the group's hit singles: "Anarchy In The in the UK", "God Save The the Queen", "Holidays In The in the Sun" and "Pretty Vacant" and adds a handful of other songs. Guitarist Steve Jones played bass for the vast majority of the album, and the musically incompetent Music/SidVicious appears on only one song ("Bodies"). Former bassist Glen Matlock appears on "Anarchy in the UK".



!!! Pretty Vacant Tropes:

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!!! !! Pretty Vacant Tropes:



* {{Anarchy}}: "In the U.K.", but also on the entire album.

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* {{Anarchy}}: "In "Anarchy in the U.K.", but also a theme on the entire album.



* BitingTheHandHumor[=/=]TheManIsStickingItToTheMan "EMI", a jab against their former record company.

to:

* BitingTheHandHumor[=/=]TheManIsStickingItToTheMan BitingTheHandHumor: "EMI", a jab against their former record company.



* BurningWithAnger: Johnny Rotten.



* CountryMatters[=/=]LastSecondWordSwap: Rotten puts very deliberate and gleeful emphasis on the last syllable of "Pretty Vacant."

to:

* CountryMatters[=/=]LastSecondWordSwap: CountryMatters:
**
Rotten puts very deliberate and gleeful emphasis on the last syllable of "Pretty Vacant."



** "Submission" was born when manager Malcolm [=McLaren=] advised the group to write a song about submission in a sado-masochistic context. Just to annoy them the group took the title literally and wrote a song about a submarine mission.

to:

** "Submission" was born when manager Malcolm [=McLaren=] advised the group to write a song about submission in a sado-masochistic context. Just to annoy them the group took the title literally and wrote a song about a submarine mission. There's plenty of winking double entendres in the song to submission, but they're intentionally ridiculous exclusively to annoy [=McLaren=].
** There's also the line in "Anarchy in the UK" that can be understood as either "I use the enemy" or "I use the ''Magazine/{{NME}}''", the influential British music magazine.



--> ''AND WE DON'T CARE!!''

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--> ---> ''AND WE DON'T CARE!!''



--> ''I'm so laaaaaaaazy, I can't even be bothered''

to:

--> ---> ''I'm so laaaaaaaazy, I can't even be bothered''



* LocationSong: "Holidays in the Sun", where the band is near the Berlin Wall, though even Johnny Rotten isn't sure why they are there in the first place. "Anarchy in the U.K." sings how anarchy came to the United Kingdom. "New York", a PretenderDiss at the Music/NewYorkDolls.
* LoonyFan: Paulie, the girl who inspired Johnny Rotten to write the song "Bodies".

to:

* LocationSong: "Holidays in the Sun", where the band protagonist is near the Berlin Wall, though even Johnny Rotten isn't they aren't sure why they are there in the first place. "Anarchy in the U.K." sings how anarchy came to the United Kingdom. "New York", a PretenderDiss at the Music/NewYorkDolls.
* LoonyFan: Paulie, Pauline, the girl who inspired Johnny Rotten to write the song "Bodies".



* MyCountryTisOfTheeThatISting: "God Save The Queen" has "There is no future and England's dreaming!"

to:

* MyCountryTisOfTheeThatISting: "God Save The the Queen" has "There is no future and England's dreaming!"



* SarcasticTitle: "God Save the Queen" doesn't praise Her Majesty at all. It criticizes people for worshipping the Royal Family, while at the same time society is in ruins.

to:

* SarcasticTitle: "God Save the Queen" doesn't praise Her Majesty at all. It criticizes people for worshipping give reverence to the Royal Family, while at the same time society is in ruins.


The record collects four of the group's hit singles: "Anarchy In The UK", "God Save The Queen", "Holidays In The Sun" and "Pretty Vacant" and adds a handful of other songs. There is no pretentiousness. It's not a ConceptAlbum. [[MinimalisticCoverArt The album cover art is simple and lacks great detail or effort]]. The lyrics don't try to provide any socially redeeming values or messages. [[DarkerAndEdgier Nor do they sugar-coat anything]]. There is no attempt [[MultipleDemographicAppeal to appeal to the mainstream]]. Guitarist Steve Jones played bass for the vast majority of the album, and the musically incompetent Music/SidVicious appears on only one song ("Bodies"). Former bassist Glen Matlock appears on "Anarchy In The UK". The lead singer, Johnny Rotten, [[DreadfulMusician can't sing]] and doesn't try to hide his working class roots and [[NotEvenBotheringWithTheAccent accent]]. Each song is short and to the point. The music is primitive, not melodic in the traditional sense, but effective.

[[AlbumTitleDrop Never mind the bollocks]], indeed.

to:

The record collects four of the group's hit singles: "Anarchy In The UK", "God Save The Queen", "Holidays In The Sun" and "Pretty Vacant" and adds a handful of other songs. There is no pretentiousness. It's not a ConceptAlbum. [[MinimalisticCoverArt The album cover art is simple and lacks great detail or effort]]. The lyrics don't try to provide any socially redeeming values or messages. [[DarkerAndEdgier Nor do they sugar-coat anything]]. There is no attempt [[MultipleDemographicAppeal to appeal to the mainstream]]. Guitarist Steve Jones played bass for the vast majority of the album, and the musically incompetent Music/SidVicious appears on only one song ("Bodies"). Former bassist Glen Matlock appears on "Anarchy In The UK". The lead singer, Johnny Rotten, [[DreadfulMusician can't sing]] and doesn't try to hide his working class roots and [[NotEvenBotheringWithTheAccent accent]]. Each song is short and to the point. The music is primitive, not melodic in the traditional sense, but effective.

[[AlbumTitleDrop Never mind the bollocks]], indeed.
UK".


* BritishEnglish: "Seventeen"
--> ''I'm a lazy sod''


* [[AbsenteeActor Absentee Musician]]: Both Glen Matlock and Sid Vicious on this album. The former left the band prior to recording this album, but appeared on "Anarchy in the UK" before his departure. The latter was being treated for hepatitis (or at least that was a good excuse, considering that Sid couldn't really play) so he only appeared on "Bodies". As a result, it is Steve Jones that did most of the bass playing on this album.



* OneBookAuthor: This was the group's only album, brought out when the band was already falling apart. It is an iconic example of ShortLivedBigImpact, though!



* RealLifeWritesThePlot:
** "God Save the Queen" was written when Queen Elizabeth II of England celebrated her 25th Jubilee. Though the band wasn't aware that this celebration was on its way.
** "Bodies" was inspired by an encounter between Rotten and a LoonyFan who had spent time in an institution and had had several abortions.
** "New York" was largely aimed at band manager Malcolm [=McLaren=], who had previously managed the Music/NewYorkDolls and held them and other New York bands up as the punk ideal. The constant references to "pills" and a "kiss" are references to the New York Dolls songs "Pills" and "Looking for a Kiss".


[[caption-width-right:340:''Don't be told what you want. Don't be told what you need. There's no future, no future, no future for you.'']]

->''A million times more important than Music/TheClash. How do I explain that? Hmm. Both were always a bad imitation of Music/TheRollingStones, in love with America. But at least they took their girlfriends on tour with them (''The Slits''). Their music was terrible, though. I blame "Music/{{Sandinista}}" for not letting me get into punk until years after I should have done - it was so bad. The Pistols' album has the best production of any rock record I've ever heard. It's [[RefugeInAudacity totally in-your-face]] and compressed. All the hype The Sex Pistols had was totally deserved - they deserved everything they got. Johnny Rotten was the one I identified with, he was the sensitive one. The only reason I might agree with people calling our band "The Sex Pistols of the 90's" is that, for both bands, the music is a very natural thing, very sincere. But in terms of influence, fuck, no! Rock is too exhausted for that. We haven't produced a totally original sound like that. We might be uncompromising, but that's about it. We're an obvious metamorphosis.''
-->--'''Music/KurtCobain''', who put ''Never Mind The Bollocks, Here's The Sex Pistols'' on no. 14 in his personal list of Top 50 favourite albums.

'''''Never Mind The Bollocks, Here's The Sex Pistols''''' is the debut studio album by The Music/SexPistols, released in 1977. Discounting the soundtrack ''The Great Rock 'N' Roll Swindle'' as well as their live albums, it is also [[OneBookAuthor their only album]] [[note]]Though a lot of compilations have followed, mostly with singles and/or live recordings which didn't appear on this album[[/note]]. Infamous, controversial and very influential, it's seen as a landmark album between the psychedelic and art rock era of the late 1960's and the back to basics simple rock sound of the punk and new wave era of the late 1970's. Today it's widely regarded as one of the best, most influential and most important rock/punk albums in music history.

to:

[[caption-width-right:340:''Don't [[caption-width-right:340:''"Don't be told what you want. Don't be told what you need. There's no future, no future, no future for you.'']]

->''A
"'']]

->''"A
million times more important than Music/TheClash. How do I explain that? Hmm. Both were always a bad imitation of Music/TheRollingStones, in love with America. But at least they took their girlfriends on tour with them (''The Slits''). Their music was terrible, though. I blame "Music/{{Sandinista}}" for not letting me get into punk until years after I should have done - it was so bad. The Pistols' album has the best production of any rock record I've ever heard. It's [[RefugeInAudacity totally in-your-face]] and compressed. All the hype The Sex Pistols had was totally deserved - they deserved everything they got. Johnny Rotten was the one I identified with, he was the sensitive one. The only reason I might agree with people calling our band "The Sex Pistols of the 90's" is that, for both bands, the music is a very natural thing, very sincere. But in terms of influence, fuck, no! Rock is too exhausted for that. We haven't produced a totally original sound like that. We might be uncompromising, but that's about it. We're an obvious metamorphosis.''
"''
-->--'''Music/KurtCobain''', who put ''Never Mind The the Bollocks, Here's The the Sex Pistols'' on no. 14 in his personal list of Top 50 favourite albums.

'''''Never ''Never Mind The the Bollocks, Here's The the Sex Pistols''''' Pistols'' is the debut studio album by The Music/SexPistols, released in 1977. Discounting the soundtrack ''The Great Rock 'N' Roll Swindle'' as well as their live albums, it is also [[OneBookAuthor their only album]] [[note]]Though a lot of compilations have followed, mostly with singles and/or live recordings which didn't appear on this album[[/note]]. Infamous, controversial and very influential, it's seen as a landmark album between the psychedelic and art rock era of the late 1960's and the back to basics simple rock sound of the punk and new wave era of the late 1970's. Today it's widely regarded as one of the best, most influential and most important rock/punk albums in music history.

Added DiffLines:

* LastNoteHilarity: The whole album ends on a fart.


# "Liar (2:41)

to:

# "Liar "Liar" (2:41)


->''A million times more important than Music/TheClash. How do I explain that? Hmm. Both were always a bad imitation of Music/TheRollingStones, in love with America. But at least they took their girlfriends on tour with them (Music/TheSlits). Their music was terrible, though. I blame "Music/{{Sandinista}}" for not letting me get into punk until years after I should have done - it was so bad. The Pistols' album has the best production of any rock record I've ever heard. It's [[RefugeInAudacity totally in-your-face]] and compressed. All the hype The Sex Pistols had was totally deserved - they deserved everything they got. Johnny Rotten was the one I identified with, he was the sensitive one. The only reason I might agree with people calling our band "The Sex Pistols of the 90's" is that, for both bands, the music is a very natural thing, very sincere. But in terms of influence, fuck, no! Rock is too exhausted for that. We haven't produced a totally original sound like that. We might be uncompromising, but that's about it. We're an obvious metamorphosis.''

to:

->''A million times more important than Music/TheClash. How do I explain that? Hmm. Both were always a bad imitation of Music/TheRollingStones, in love with America. But at least they took their girlfriends on tour with them (Music/TheSlits).(''The Slits''). Their music was terrible, though. I blame "Music/{{Sandinista}}" for not letting me get into punk until years after I should have done - it was so bad. The Pistols' album has the best production of any rock record I've ever heard. It's [[RefugeInAudacity totally in-your-face]] and compressed. All the hype The Sex Pistols had was totally deserved - they deserved everything they got. Johnny Rotten was the one I identified with, he was the sensitive one. The only reason I might agree with people calling our band "The Sex Pistols of the 90's" is that, for both bands, the music is a very natural thing, very sincere. But in terms of influence, fuck, no! Rock is too exhausted for that. We haven't produced a totally original sound like that. We might be uncompromising, but that's about it. We're an obvious metamorphosis.''


* {{Homage}}: The title of the British panel TV quiz ''Series/NeverMindTheBuzzcocks'' is a dual homage to this album and, well, the Music/Buzzcocks.
* HotSubOnSubAction: "Submission" was intended as a bondage song on request of Malcolm [=McLaren=], but the group took it literally and wrote a song about a submarine- on purpose.

to:

* {{Homage}}: The title of the British panel TV quiz ''Series/NeverMindTheBuzzcocks'' is a dual homage to this album and, well, the Music/Buzzcocks.
''Music/{{Buzzcocks}}''.
* HotSubOnSubAction: "Submission" was intended as a bondage song on request of Malcolm [=McLaren=], but the group took it literally and wrote a song about a submarine- on purpose. submarine (on purpose).

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