From that opening strum of Steve Jones’ guitar, Never Mind The Bullocks, Here’s The Sex Pistolsbecomes an instantly recognizable fuel for the gasoline of the 1970’s punk movement. Forerunners on the frontier; the Sex Pistols were a group of pure anarchic freedom. Heroes to the nobodies, the small guys, the ones who had enough with big government and oppression in the system.
A rock n’ roll rampage of fans attached to the Sex Pistols for their vibrant performance, attitude, and ability behind their sound. Anything with order was for the dead. Led by Johnny Rotten, Steve Jones, Sid Vicious, and Paul Cook. The band adapted to feed the need for a display of raw aggression, so unfiltered and pure, that Never Mind The Bullocks, Here’s The Sex Pistols became a topic of discussion before the album was even pressed onto wax.
Already banned in most of England, fired from two different labels, and having a reckless attitude, the Sex Pistols were monuments in punk music and the destroy-it-yourself attitude. Opening with two different pressings, resulting in two entirely different track listings; Never Mind The Bullocks, Here’s The Sex Pistols has an interesting background behind the strange presentation of the album. The simple, but effective cover was similar in fashion to how the band conducted themselves. Simplified, but able to move masses as they open with “Holidays In The Sun” on the American 12-track version. Similar to the 12-track United Kingdom version, but entirely different from the 11-track version. It becomes ultimately confusing from an outside perspective but understandable after realizing the history of the album.
“Holidays In The Sun” the marches of feet that synch with the playing of Paul Cook on percussion while the Sex Pistols open to “A cheap holiday in other peoples’ misery… I didn’t ask for sunshine and I got World War Three, I’m looking over the wall and they’re looking at me.” It is a protesting dream to hear the Sex Pistols come firing out of the gates with anti-fascism statements on both the U.K. and the world that surrounded. Unknown at the time, but the Sex Pistols would form the modern sense of punk and anti-speech music. Their animalistic outlook on the world would inspire artists around the globe to come together and form opinions about social issues around them. The Sex Pistols made it okay to be pissed off against the world and to be seen as an outsider of the ultimately dirty tricks and policies.
“Fuck This and Fuck That” Johnny Rotten screams behind the energy-instilled Sex Pistols on the grisly display of “Bodies”. Discussing the topic of abortion in 1977, especially in such detail was utterly shocking. It was exactly the emotion that the Sex Pistols could hold however and had no real sense of being afraid to speak the stories of what surrounded the band at the time. Hearing an assault of lyrics that explain, “She don’t want a baby that looks like that, I don’t want a baby that looks like that. Body, I’m not an animal, Body, an abortion.” Rotten also does this tongue flick and roll with his lyrics where he exaggerates certain vowels as he sings, forming an iconic distinction in his style.
This style follows the Sex Pistols through their sound in their only studio album, Never Mind The Bullocks, Here’s The Sex Pistols. The band with more controversy and more rule breaking moments than any before, there was something special about the band. It was their ability to display a middle-finger salute to the government, to the “fascist regime” of England, to burn everything around them and sound damn good doing it.