In 1988, U2 seemed to believe their roots lay with the Beatles, Hendrix, Billie Holliday and Bo Diddley. The album – and film – Rattle and Hum saw them referencing the above, as well as recording with Dylan, then BB King, at Sun Studio in Memphis. But where were their actual influences in this telling of the tale? The Rottens and Viciouses? The Curtises and Hooks? The Strummerses?

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The Known Pleasures Theme Song: https://www.youtube.com/watch?v=dvn2bfFxC-0

There was one particular genre that sprang from the post punk era that was all at once joyous, political, infectious, melodic, alternative and danceable.

It was a revival of the '60s Ska Movement that became known in the UK as Two Tone.

And in this multi cultural cafe, full of delectable delights and international flavours, we had the opportunity to taste a little Madness, try a little Selecter, indulge in the sweetness of The Beat and maybe order some Bodysnatchers to go.

But before ordering anything on the Ska menu, it's always good to see The Specials.

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In this episode we talk with one of the founding members of China Crisis, Eddie Lundon. We discuss their working with drum machines, working with synthesisers and working with fire & steel in the lead up to their first ever tour of Australia, 40 years after the release of their 1st album.

So sit back and witness the difficult shapes & passive rhythms of Eddie Lundon from China Crisis.

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Here is our interview with one of the founding members of Joy Division, New Order and The Light, Peter Hook.

Enjoy the insight, the ceremony and the atmosphere of one of the most influential bass player of the Post Punk era.

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https://www.facebook.com/100063297726030/videos/625143802696575

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When late night talk turns to the turbulent musical period known as “post-punk”, three names invariably crop up: Joy Division, Wire and Gang of Four. Like some sort of unholy trinity, they remain standing like not-so-silent sentinels, lighting the way forward. Here at Known Pleasures we’ve already twisted ourselves into knots over Wire and despite our name, are still afraid to tackle Joy Division, so…Gang of Four it is. From 1978’s spiky Damaged Goods EP through to 1983’s pop-tinged Hard we’ll try to explain why this Gang of for(mer) art students deserve their Champions League place at the post-punk table.

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https://open.spotify.com/user/1230971434/playlist/6kTznje9g7c1FQWfU1jQ3O?si=0fEgmwgFSg2ws_SKbozQ5Q

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In 1981, a yoghurt-factory worker, a window dresser, and two blokes employed by an insurance company and a bank, somehow conjured up one of the most irresistible songs of the decade. Forty years and a hundred million records later – including 35 Top 20 hits in the UK – Depeche Mode are solid-gold, electronic-rock royalty.   

In this episode, we join the band for the first part of their expedition – from the sparkling pop of ‘Just Can’t Get Enough’ to the industrial clank of ‘People Are People’, losing members, attracting the scorn of the media, and wearing a skirt or two along the way. So, let’s speak, and spell it out for our listeners about Depeche Mode.

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At the legendary CBGB’s in New York in the mid 70’s, I think it’s fair to say that Blondie were outliers. Still, they took enough from the attitudes and performances of their punk contemporaries to create a style of idiosyncratic pop that made them stand out from the crowd.

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Hit singles: nuh. Hit albums: nuh. Unusually charismatic singer? Unforgettable visual image? Brilliant band name? Nuh. Nuh. Nuh.

So why, 46 years after they formed, are we talking about Wire?

Pink Flag, Chairs Missing, 154 might sound like the opening line of a really good poem; it is, though, the list of albums – released between 1977 and ’79 – which, despite making only the barest dent in the charts, remain among the most influential of the era.

Beloved by everyone from Johnny Marr to Elastica, from REM to Henry Rollins to Sonic Youth, Wire are still, as Rolling Stone noted in 2017, ‘Punk’s ultimate cult band’.    

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In this episode Mark, Patrick & Graham hold a magnifying glass over Adam & The Ants. Not to set fire to them & watch them burn, but to illuminate them and watch them glow.

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Born like so many others out of 1977’s London punk scene, the Psychedelic Furs however seemed to deliberately stand out from the off. There was the name for a start - not very punk and more redolent of the despised 60s if anything,  and then there was the music. Never a huge critical or commercial favourite they nevertheless struck a chord with new wave hungry audiences around the world and continue to this day. Over the course of four albums released from 1980 to 1984 we’ll examine where the Furs went right or wrong, the hits and the misses and where they fit into post-punk rock’s rich tapestry.

Spotify Playlist:

https://open.spotify.com/user/1230971434/playlist/1URDN9AS8HshmsPjjkGgeq?si=PhUlVpf4R7mCNU5Pbe0CxA