• Rip Rig And Panic God Rar

Anyone interested in tracing the extended branches of Bristol's avant punk/funk/jazz outfit The Pop Group has generally had an easy time of it thanks to CD reissues of albums by Mark Stewart and Maffia, Pigbag, even Maximum Joy managed to find their way into digital format. But until now, a huge and important puzzle piece has remained missing and the appearance at long last on CD of the entire discography of Rip Rig + Panic makes available once again three albums of some of the strangest and most inspired post-punk music ever recorded.Why did it take so long? There's only ever been one RR+P CD to speak of till now, a 1990 compilation disc called Knee Deep In Hits that was likely a cash-in Virgin put out after the phenomenal charting of Neneh Cherry's 'Buffalo Stance'. Mark Stewart rated a career retrospective when Soul Jazz put together Kiss The Future, a wide-ranging collection that even included Pop Group tracks. Whether it has something to do with recent Pop Group reunion shows drumming up interest or the surprising success of Neneh Cherry's project with free jazz stalwarts The Thing ( The Cherry Thing), it hardly matters. What matters is that it's all easy to find again and with it comes a peephole into a time when practically everything seemed possible.The group grew fairly organically out of the remains of The Pop Group: guitarist/saxophonist Gareth Sager and drummer Bruce Smith had brought bassist Sean Oliver into the group's orbit towards the end and pianist Mark Springer was a school friend who'd played support for them and even had his own track on the group's valedictory We Are Time.

Desc: Rip Rig + Panic were an English post-punk band founded in 1980, who disbanded in 1983. The band were named after a jazz album of the same name by Roland Kirk. The band were named after a jazz album of the same name by Roland Kirk.

If The Pop Group were a politically charged electric cattle prod filtered through P-Funk and Captain Beefheart, Rip Rig + Panic's debut God (even Sager couldn't believe the title hadn't already been used) was more interested in the humanistic aspects of some ultimate bohemia by way of improvised jazz, wherein Kerouac and Ginsburg rubbed shoulders with Cecil Taylor and Albert Ayler. This was soul music in the completely spiritual sense - even the seemingly non-sequitur song titles gave that game away: 'Constant Drudgery Is Harmful To Soul Spirit & Health', 'Change Your Life', 'Try Box Out Of This Box', etc. They may not have recited the torture techniques used on political prisoners (as The Pop Group did), but the endgame was the same. Freedom was the watchword, both lyrically and musically, and anything that crushed the human spirit was worthless. It was an aesthetic that would remain remarkably consistent from 1981 to 1983.Originally released as a double set of 12-inch 45 rpm discs, God featured occasional vocals from Neneh Cherry and Ari Up but it was Neneh, stepdaughter of famed trumpeter Don Cherry of the original Ornette Coleman Quartet, who would stick. She may have been rawer than sushi at this stage in her career, but marvel at the way she develops over the course of these records. In a way, the cognitive dissonance of this group's lead vocalist ending up with an international hit suddenly doesn't seem that strange at all.

Rip Rig And Panic God Rar

She finds a place in between Sager's bleating horns and Springer's elegant free form pianistics and by the time they get to 1983's Attitude it's become such a perfectly blended force that you wonder why more attention wasn't being paid to them. This was rock, this was pop, this was jazz, this was improv, this was funk. Why wasn't it more popular?Or perhaps the miracle is that they were released at all and by a major label who didn't have a problem with their first two albums being put out as 12-inch doubles. Cryptic song titles, songs that were difficult to distinguish from jams, b-sides that consisted of piano solos? Were the lunatics running the asylum?

But then there were the memorable singles that even non-fans from that era probably still remember: 'You're My Kind Of Climate', 'Do The Tightrope', 'Beat The Beast', songs that bounced Neneh's voice out of your speakers on beds of horns and sounded like nothing else (They even managed to pop up on an episode of The Young Ones). This isn't to say that there weren't precedents for what was going on here or that they were alone in their explorations. God, in its rough and ready way, shows its roots in The Pop Group and New York No Wave. Its follow up, I Am Cold, was a more meditative thing with a less agitated tone. Of all of the albums, it's the one that might have come out on boundary stretching jazz label ECM.

Neneh's stepfather Don is all over it as well, making it a must for those listeners who might have recognized that the group's name was taken from a Roland Kirk album. Attitude (which must have shocked fans when they realized it was merely a single album that you played at 33 1/3 - the ignomy!) somehow combines the best qualities of the previous two. It's simultaneously structured and spontaneous, abrasive and melodic, and perhaps the one you might send someone to first if you were looking to win over a new convert.

'Keep The Sharks From Your Heart' blasts it open and keeps it that way, touring through some of their most memorable tracks as well as unsung gems like the impossibly gorgeous 'Eros: What Brings Colour Up The Stem?' Marbled throughout all of it (and all three albums for that matter) is the sheer joy of inventiveness and creativity, of living and of Life. The sparkling piano solo from Springer that ends it all is as beautiful an exit as any group ever got.That being said, Cherry Red has done a wonderful job on these.

Most of these tracks are making their CD debut (not counting the unofficial discs produced by Progressive Line in 2005) and they sound terrific. There's the usual collection of extra tracks, singles and remixes as well as a lengthy interview with band members that runs through the three. All that remains is for someone to release the album by the band's final incarnation, Kill Me In The Morning by Float Up CP, basically Rip Rig + Panic without Springer. It's a fine and worthwhile record with just a little bit less of the magic one had grown accustomed to - which still puts it ahead of most. We need your helpRunning a website like The Digital Fix - especially one with over and an - costs lots of money and we need your help. As advertising income for independent sites continues to contract we are looking at other ways of supporting the site hosting and paying for content.You can help us by using the links on The Digital Fix to buy your films, games and music and we ask that you try to avoid blocking our ads if you can. You can also help directly for just a few pennies per day via our Patreon - and you can even pay to have ads removed from the site entirely.

.The free-jazz-punk-skronk-funk combo's three albums are released in remastered form(Cherry Red)It's not every day a free-jazz-punk-skronk-funk combo get to strut their stuff on a prime time BBC TV sitcom. This, however, is exactly what happened on 7 December 1982 when to perform their single, 'You're My Kind of Climate', featuring (mum of ) miming vocals in place of absent teenage chanteuse while roadie and performance poet similarly mimed trumpet.Granted, set in an anarchic student flat occupied by, and, was hardly, created as it was on the back of the burgeoning alternative comedy boom. Set alongside The Young Ones' other musical guests, who included, and, however, Rip Rig and Panic stood out like a mad uncle making a charming nuisance of himself at a wedding. So much so in fact that they were informed that their unruly behaviour would guarantee that they wouldn't be asked back onto BBC TV ever again.

As these expanded reissues of Rip Rig and Panic's trio of equally unruly albums prove, however, it was the BBC's loss.Here, after all, is one of the great missing links in post-punk, a free-thinking collective who tackled a melting pot of musical styles with a youthful loose-knit abandon that suggested they were learning their chops as they went, picking up some serious dance moves en route. Rip Rig's founder members – guitarist and clarinettist and drummer – had both been in, Bristol's most intense avant-provocateurs who similarly looked to funk and dub for inspiration before imploding in 1981.With singer forming Mark Stewart and The Maffia, other off-shoots as well as Rip Rig and Panic included and chart-bothering instrumentalists. With Sager and Smith hooking up with pianist Mark Springer and bass player Sean Oliver, who Sager had first seen busking, an invitation was sent out to Cherry, who had sung with The Pop Group's fellow travellers, and, with Smith, in the -affiliated. Cherry was also the step-daughter of jazz trumpeter, which gave her hipster kudos in abundance.The result of this unholy alliance was wilder and more eclectic than anything their peers were doing, and would sow the seeds for a multi-cultural stew that would tentacle out through and, right up to, Neneh Cherry's recent collaboration with Swedish saxophonist 's skronk trio, a band who, it must be said, sound at times not unlike Rip Rig and Panic.Without Rip Rig and Panic too, remember, we may never have witnessed, a six part cookery show hosted by Cherry and Andrea Oliver. Presumably the BBC executives who dreamt up the show weren't aware of Rip Rig and Panic's lifetime ban.There were two different strands to the Rip Rig and Panic oeuvre. The first was a kind of free-form party-time funk, pulsed either by squalling saxophone or else Springer's singular piano, sometimes both at the same time in a tug of love only anchored by Smith and Oliver's rock-steady rhythm section.

The second was a poppier if equally funky song-based affair that put Cherry at its centre. Both came with scatologically wild titles, usually care of Sager, who also penned the similarly scattershot lyrics.If ' and ' were riddled with counter-cultural references that sounded like interpretative musical pamphlets in miniature, the Springer-led ' sounded like a demented jamming with some just discovered African tribe on a mash-up in waiting. Just calling their debut album was an audacious act of provocation from the band. But then, given that Rip Rig and Panic had named themselves after by jazz saxophonist, why the hell not?God wasn't being put out on some esoterically inclined micro-indie label after all. Like its follow-ups, God was released on Virgin, which, while it still held on to its own hippy roots via a welter of post-punk signings, was undoubtedly a major.features ' and 'Storm The Reality Asylum', arguably RR&P's most commercial moments, and should've been squat-dance classics in waiting, as the two 12” versions that feature among an abundance of extras on these new editions make clear.