The Margin Of Sanity - Get What I Can
In the heart of the Eighties, Andy Smith and his cousin Adam are two teenagers obsessed with Sixties music. They are present at every Cannibals and Mighty Cæsars concert, dressed in perfect mod style, fiddling with a guitar and bass, trying to recreate the mood of bands like Pretty Things, Missing Links, and Them. Riding that wave of enthusiasm, they form a band and even manage to release a limited edition record.
Then, while the enthusiasm remains unchanged, the conditions shift, and the two give birth to the Mistreaters, another flash in the pan that lasted for a season and is documented by a single, formidable release. Later, swept away by the baggy wave, they will dive into the disastrous adventure of the Sidewinders.
But what we recount here is that magnificent polaroid published in 1987, which remains the only testimony of that season: those unique six songs that constitute the dossier of Margin of Sanity's passage through the Greenwich sundial. The record is one of the best English garage productions of the period, overflowing with an uncompromising attitude toward modernity, stubborn and tenacious in recreating that exasperating, brutal amalgam of trivial melody and frantic rhythm that characterized the great pioneers of Sixties punk.
The masterpieces are titled Narrowminded People and Get Yourself ‘Round Here, placed at the end of each side. A swirling garage sound with an explosive drumbeat and an endless sequence of guitar licks providing a backdrop to a voice reminiscent of a young Luca Re in the first, a classic white R 'n' B number in the style of the early Rolling Stones that does not betray the twenty years separating them from their forebears in the second. But extraordinary are also the electric whirlwind of Get What I Can, which seems to blend all the Texan sound of the Sixties into a single vortex of reverbs and shimmering effects, and What’s the Use of Trying?, a frenzied number in the style of The Remains with guitars that, on the contrary, are clear and sparkling.
A single record to testify to their faith in Sixties sound without compromise. Without kicking and screaming for a place in history, content to have one in the hearts and memories of enthusiasts.
In the heart of the Eighties, Andy Smith and his cousin Adam are two teenagers obsessed with Sixties music. They are present at every Cannibals and Mighty Cæsars concert, dressed in perfect mod style, fiddling with a guitar and bass, trying to recreate the mood of bands like Pretty Things, Missing Links, and Them. Riding that wave of enthusiasm, they form a band and even manage to release a limited edition record.
Then, while the enthusiasm remains unchanged, the conditions shift, and the two give birth to the Mistreaters, another flash in the pan that lasted for a season and is documented by a single, formidable release. Later, swept away by the baggy wave, they will dive into the disastrous adventure of the Sidewinders.
But what we recount here is that magnificent polaroid published in 1987, which remains the only testimony of that season: those unique six songs that constitute the dossier of Margin of Sanity's passage through the Greenwich sundial. The record is one of the best English garage productions of the period, overflowing with an uncompromising attitude toward modernity, stubborn and tenacious in recreating that exasperating, brutal amalgam of trivial melody and frantic rhythm that characterized the great pioneers of Sixties punk.
The masterpieces are titled Narrowminded People and Get Yourself ‘Round Here, placed at the end of each side. A swirling garage sound with an explosive drumbeat and an endless sequence of guitar licks providing a backdrop to a voice reminiscent of a young Luca Re in the first, a classic white R 'n' B number in the style of the early Rolling Stones that does not betray the twenty years separating them from their forebears in the second. But extraordinary are also the electric whirlwind of Get What I Can, which seems to blend all the Texan sound of the Sixties into a single vortex of reverbs and shimmering effects, and What’s the Use of Trying?, a frenzied number in the style of The Remains with guitars that, on the contrary, are clear and sparkling.
A single record to testify to their faith in Sixties sound without compromise. Without kicking and screaming for a place in history, content to have one in the hearts and memories of enthusiasts.
IlConte
12 apr 23
DeRank ™: 13,71
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