Saturday, January 23, 2016

BCR





We are now living our lives through interminable weeks of existential dread, constant angst and the clinical obliteration of vintage pathways to social mobility. This exemplified in modern London with the grim pension timebomb awaiting millions of hard working - and often well paid - private sector workers trapped in the unregulated rental sector which devours so much dead money and which by right should be directed towards savings or even patronising the last surviving local butchers on the High Street at the weekend for retro-liver or cool fusion-sausages.

David Bowie's death has clearly emplaced a significant shadow across the beginning of another dreary and literally pointless groundhog year to come. Yet forging beyond Bowie's magnificent artistic output of the early Seventies - from Starman to TVC15 - for myself personally it is another song from that period that often penetrates the lunatic cultural marxist fog of mainstream media and the awkward mists of modern social observance to celebrate a lost Britain and a clearly soon-to-be forgotten people.

The antithesis of Bowie's mystic ramblings - across Crowley, the Kabbalah and Nietzsche - this particularly joyous combination of terrace chanting, glam stomping and Fifties romantic fluff would directly inspire what is arguably the greatest song in the history of punk rock. Yet ironically, alike the New Year's Eve European television comedy staple Dinner For One - a 1962 German recording of a Twenties British stage sketch which is virtually unheard of in this country  - the song is to this day largely unknown in Britain despite the band having ten Top Ten hits in the United Kingdom between 1971 and 1975.

Bay City Rollers' Saturday Night harks back to a period of British social history when the country was immersed in American culture from Starsky and Hutch to Hollywood action movies and from Marvel comic books to bubblegum rock. The cultural connectivity the average Briton would have felt for mainland Europe at this point would have been severely circumscribed so soon after the Second World War and with most male children of the period being raised on stories of Allied military glory in Victor, Valiant, Battle and Commando magazines before the sobering late-teenage rites of passage transition onto Sven Hassel Nazi pulp. Only ABBA's Agnetha Faltskog alone would eventually bridge this socio-political chasm in saint-like fashion.

A recent documentary about the Edinburgh group -  Rollermania - featured footage of the band peforming the track on American television. The song had been a flop in Britain in 1973 but got to Number 1 on the American Billboard chart two years later at the first attempt the group made to crack the US market.

It cuts to the quick of male teenage DNA of that time - a life guaged towards laughter, girls, physical attraction, friendship, washing your hair and making a bloody effort, young adulthood away from creepy and often violent teachers, dances, finding a life partner, smoking and drinking, working class communities and hope for tomorrow:

Gonna keep on dancin' to the rock and roll
On Saturday night, Saturday night
Dancin' to the rhythmn in our heart and soul
On Saturday night, Saturday night
I, I, I, I, I just can't wait - I, I, I, I got a date

At the good ole rock n' roll roadshow, I gotta go, 
Saturday night, Saturday night
Gonna rock it up, roll it up, do it all, have a ball
Saturday night, Saturday night

One must surely assume today - in a period when most children and adults under the age of 30 are catatonically connected to hand-held devices and idiot social media - that "a good ole rock n' roll roadshow" holds little attraction for many to getting off their arses, getting out the door into fresh air and trying to work on their personalities by getting their leg over.

Interestingly a BBC Northern Ireland programme in 2015 commemorating the 40th anniversary of the murders of three members of the Miami Showband in County Down between Banbridge and Newry - The Day The Music Died - incorporated a catchy track the band had recorded called Rock n' Roll Roadshow. Saturday Night in turn was co-written by Phil Coulter who would later write what is considered the definitive anthem of loss as surrounding the Ulster Troubles - The Town I Loved So Well.

Saturday Night's introduction of course directly inspired The Ramone's Blitzkreig Bop - Dee Dee Ramone having magnificently claimed that the group were as influenced by the Rollers, The Wombles and Shaun Cassidy as much as Iggy Pop, The New York Dolls and Alice Cooper. It garners so many memories for me of a period when British social culture - when guaged specifically to a youth demographic - was so encompassing in scope and attuned to market variables affecting pop, television, books, radio, comics, advertisements, toys and even food on such a highly creative and truly fun-packed level. However it also engages with that familiar melancholy that I often pick up upon when listening to British New Wave acts like Elvis Costello, XTC or Joe Jackson in particular nowadays when thinking of the current mauled and obliterated face of a finished London.

At my primary school in North Belfast The Bay City Rollers were without doubt the most beloved of all acts then marketed towards younger female audiences - beyond The Rubettes, David Essex and even The Osmonds. Understandably the rest of their material has little appeal to me beyond this one song though it is important to underscore that in that terribly difficult period of Irish history these five young Celts at least embedded a populist three-letter acronym into society that had nothing to do with murdering, maiming and generally hating the working classes of the other religion. I believe they played at the ABC Cinema in the city centre around 1975 for their legions of adoring fans - also the Tonic Cinema in Bangor.

The Seventies are often portrayed as the grimmest of times in popular television social histories that in turn present modern Britain as a country now luxuriating in broad affluence, sterling opportunity and exciting social fusion by comparison. The blatant fudging and misreading of British history in these smug, sickeningly bourgeois, sneering and politically skewed productions is too nauseating to dwell upon.

For indeed it was fundamentally a decade when only the working people of a then still-industrialised Britain kept the country alive in spirit and soul  - just as they had physically secured our cultural existence thirty years previously in time of war from the Arctic convoys to the Normandy beaches. Conversely those who have clearly destroyed our life security today have no doubt never met a working person in their lives and even if they had listened to the popular music in those days long ago - from BCR to Bowie and T Rex - they would never have really heard it.

They do not know us and they certainly will not miss us - Remember Saturday Night.


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