reference in bio of Craig Leon (co-producer of Lovely)
...In the mid-80's, Craig relocated to the UK at the request of Statik Records (an independent subsidiary of Virgin) where he produced Jeffrey Lee Pierce, Flesh For Lulu and others including mixing for The Chameleons and The Sound. Since that time he has been active in both the major and alternative music scenes in the UK with over 40 chart records including Doctor and The Medics, The Pogues, The Go Betweens, The Primitives, Adult Net, etc...
reference in history of Son Volt/Uncle Tupelo
Tempest Magazine Nov 6, 1996
by Scott Hudson
...The Son Volt story can't be told without mention of Uncle Tupelo. Heidorn originally teamed up with fellow Tupelo-ites Jay Farrar and Jeff Tweedy while in high school in Belleville, Illinois. Their first band, the Primitives, was primarily a garage rock cover band that formed in the mid-80's and featured Farrar's brother Wade on vocals. After discovering that an English band had already had some success with the same name, they changed to Uncle Tupelo in 1987...
reference in Eurythmics bio
...As a Tourist, Lennox--who was later revealed to be a far more expressive vocalist--sang with strength but no character; her duets with guitarist Peet Coombes (the band's primary songwriter) resemble the Jefferson Airplane. Elsewhere, the group recalls It's a Beautiful Day, the Byrds, Mamas and Papas, the Who and others. The Tourists were so busy aping others that if they had had a personality to call their own, they probably wouldn't have known what to do with it. It's a shame, because some bands have successfully absorbed and adapted these same musical prototypes with much greater élan. At their best, the Tourists could only imitate. (Proof that derivation never ends, The Tourists' mod-pop "Blind Among the Flowers" could be the stylistic blueprint for The Primitives)...
reference in No Doubt review
New Musical Express Feb 9, 1997
No Doubt unleash a solitary spark of roundhouse-kicking, hook-gibbering, teeth- full-of-combat-boot pop brilliance from the mire of unrelenting ska toss that was their debut album 'Tragic Kingdom'. The phrase 'A Primitives' 'Crash'' (are you listening, The Yummy Fur?) for the '90s hovered at your correspondent's fingertips as the evacuation sirens cranked up.
Musical Express May 18, 1996
Plus De Cent
...Because, what you see with The Popguns (drippy pre-Wener frontwoman plus źberSleeperblokes) remains a long way removed from what you hear. Which is one of the sweetest, simplest, best pop groups on the planet, actually. No, really. True, anyone touting 'perfect pop' as a concept really should also be selling millions of records. But truly, Dame Fortune can be a fickle mistress. Why else would The Go-Betweens have never found their way out of the dustbin marked 'terminal obscurity'? Why else would the world steadfastly refuse to pay The Primitives a million quid each to reform? And, um, why else would The Popguns have to release a scrappy compilation of new tracks and old singles?
reference in Twinkie review
Musical Express Aug 8, 1998
It is at once ramshackle and tightly sprung, shouty and cooing, and demands to be danced to in an epileptic fashion 'til next Tuesday. It's like The Go-Go's discovering Pavement's rehearsal room and filling it with sunshine; a rampaging indie-pop outburst that, had this been 1988, would have been an instant classic in every bedsit in the land and would have made young Twinkie into The Primitives with bells on. As it is, they have a singing bassist named Moo, a devoted following of 63 and, unlike Kenickie, no personal pension plans to speak of. More, please.
reference in James review
New Musical Express Sep 6, 1990
If sympathy votes counted as units, James would undoubtedly be chart-toppers the world over. Few bands have sustained such a remarkable level of credibility in the twisted face of adversity over the past five years, whether it be at Factory, Rough Trade or wallowing in the mire at Sire. Touched by the Hand Of Moz (but hey, so were The Primitives) they were perceived as leftie-veggies-gone-bonkers, odd sods who were more into chunky sweaters than funky jitters, liable to inspire intellectuals but seemingly destined for the kind of commercial acceptance which has polluted John Otway's tragic career.
reference in Manic Street Preachers interview
New Musical Express Oct 18, 1998
...How would you have reacted to a girl wanting to join the band?
James: "We did have one once."
Nicky: "We changed our name to Betty Blue for a couple of weeks and got this girl singer in and we went for a Primitives sort of thing in 1986."...
reference in Heartthrobs bio
Sisters Rose Carlotti (guitar, vocals) and Rachel DeFreitas (bass), both siblings of Echo and the Bunnymen drummer Pete DeFreitas, formed the Heart Throbs in Reading, England with guitarist Stephen Ward and drummer Mark Side. A guitar-pop band similar to the Darling Buds or Primitives (albeit with an edgier perspective), the Heart Throbs made their LP debut in 1990 with Cleopatra Grip, which although inconsistent garnered raves for its best moments...
reference in My Bloody Valentine bio
... Later that year, the group moved to Kaleidoscope Sound, releasing The New Record By My Bloody Valentine EP, which illustrated a Jesus & Mary Chain influence. The following year, the band moved to the Primitives' Lazy Records, releasing Sunny Sundae Smile early in the year. That EP was the first My Bloody Valentine record to mesh airy melodies with grinding guitars, but the two EPs that followed in 1987 -- Strawberry Wine and Ecstasy -- were more focused and acclaimed. Conway left the band by the end of the year and was replaced by vocalist/guitarist Bilinda Butcher, whose breathy vocals fit the group's evolving sound more appropriately.
reference in My Bloody Valentine bio
Spiral Scratch 1991
by Nick Brown
...Lazy Records was the next piece in this series of events. Lazy was run by the same people who managed The Primitives and they had wanted to put the previous Valentines record out, but My Bloody Valentine had decided to go with Joe Foster at the time because Foster seemed to offer a better deal and because My Bloody Valentine were wary and cautious about the character that ran Lazy.
"Joe didn't want to release another record by us, I think because we hadn't made any money on the last one, he didn't want to put any more of his money into the next one. The deal Lazy offered was that we would pay for the recording and Lazy would pay for the promotion, and that's what happened. It didn't seem to be much but the record seemed to do all right."...
reference in My Bloody Valentine interview
by Martin Aston
...I think that's the result of 3 hours sleep a night and sitting around in studios like moles... do you feel any pressure to change your ways and live up to a 'next big thing', the big white British independent rock hope...?
K: We're definitely going to put a stop to that this year... we're certainly not going to work at anyone else's pace, because we move along in our own way as we always have. Bands have constantly passed us by, our so-called contemporaries like Pop Will Eat Itself, The Primitives, Voice Of The Beehive, we knew all these people because we grew up together in bands at the same level...
reference in My Bloody Valentine interview
New Musical Express Dec 10, 1988
..."Boring is the most frequently used description by MBV this afternoon. It's the litmus test they have used on their own music during their career: if it's a snore, pack it in and find a new format. Which is exactly what they've done when I caught an earful of the tepid wax of the early singles owned by the manager of The Primitives, fly guy Wayne Morris.
...Lazy Wayne, ever the hustler, hoped to make the Valentines bona fide stars. The band had their own ideas, however, while critics were trying to squeeze them into pigeonholes like "a garage band" or "a legacy or the C86 shambles", neither of which fitted.
"Wayne used to tell me all the things we should do to be more professional," says Kevin. "He said we had to make a commitment to him if we wanted to get on and off the dole. We just couldn't agree with what he said though. We didn't want to end up as second rate Primitives. That was the last thing on our minds."
reference in My Bloody Valentine bio
Blissed Out (1990 book)
by Simon Reynolds
...There's a certain kind of vocal pallor that's the mark of someone who's never lived, someone jejune: there's another kind of ashen voice that's the mark of someone who's come very close to being extinguished, who's lived to the limits of life. There are empty voices (the dinky, dainty power pop voice of The Primitives, Darling Buds, etc, ad nauseam). And there are emptied voices, drained by an access of bliss or dread. Spent ('to spend' used to mean 'to come' in Victorian slang. Now it means used up, ruined). Think of Alex from A.R. Kane, John Cale's 'Music for a New Society'.
reference in The Jesus and Mary Chain article
New Musical Express Feb 1, 1992
Eric Clapton's Worst *&@!ing Nightmare
...And here they are, talking about Rollercoaster, the stadium-sized touring venture which isn't actually hitting any hallowed turf, but may as well be for the sheer audacious size of the project in myopic UK terms. As live comebacks go, the Mary Chain's return is hardly likely to be regulated to the level of, say, The Primitives' last (non-) league performances, but, according to Jim, after all the work that went into bringing them together on a bill with Dinosaur Jr., My Bloody Valentine and Blur, that's the least the Mary Chain deserve...
reference in The Darling Buds bio
This Welsh quartet emerged in the late '80s as part of Britain's resurgent girl-group update. Along with Voice of the Beehive, Transvision Vamp and the very similar Primitives...
reference in Transvision Vamp bio
Besides a lame rendition of Holly Vincent's "Tell That Girl to Shut Up," the quintet makes a charmlessly self-conscious stab at rockabilly (Sigue Sigue style), attempts to ape T. Rex, Blondie and the Primitives and generally does some of the things worthless bands with no imagination are known for.
reference in Darling Buds review
The Tech Wednesday, January 23, 1991
Volume 110, No. 60
Indeed, from the beginning guitar riffs of "it makes no difference " to the last verse of "the end of the beginning," this is a well-executed album. It is complete in the sense that the band succeeded in what they set out to do. However, there could have been more exploration. They sound like the Primitives.
reference in We Are Going To Eat You bio
Pure pop lives in the luscious textures of this snazzy London quartet. Despite the stupid name, We Are Going to Eat You have a magic formula, blending Julie Sorrel's cool, heavenly voice, Paul Harding's bracing guitar chords and catchy, other-worldly tunes, largely written by drummer Chris Knowles, once the only male in a pop-punk band called Hagar the Womb. While the 12-inch EP is decent enough, Everywhen is a gas, with "If You Believe," "Glory" and "Each Life a Mystery" achieving a state of three-minute grace. File with Buzzcocks, Primitives, Darling Buds.
reference in Lush bio
Bowing with the six-song Scar, this winsome young London noise-pop quartet combines guitarist Miki Berenyi's wispy voice with wanton semi-freakout playing. Although some songs are not as tuneful as they might be (Lush stands well left of the Primitives), memorable items like the thick "Scarlet" and the float-away "Etheriel"--both co-written by Berenyi and guitarist Emma Anderson--arrange the band's basic components with naive ingenuity.
reference in Baby Gopal review
..."Ever wonder what 80's bubblegum new wave girlie vocals would sound like with a guitar driven mid-90's power pop band? I haven't either. At least, not without awaking in the middle of the night in a cold sweat. But New York's Baby Gopal pulls off the impossible with irresistible charm, poignant lyrics, and enough twisty song writing so that only occasionally does the high-sugar mixture glob into sap. Elements of No Doubt, Missing Persons, Bangles, The Primitives, Tilt, and a tingling few moments of "We Belong" Pat Benatar...Two gals, two guys- all rock."
reference in The Slingbacks bio
Back in the mid-eighties there was a wave of bands described as "blonde". The Primitives, the Darling Buds, the Heart Throbs... now all gone, or at least relegated to playing places like Glasgow King Tut's Wah Wah Hut and Bath Mole's. Blonde used to be about teenagers with June Whitfield hairdos singing inane lyrics to vaguely grungy backing.
Naturally, it died a death. Tracy Tracy of the Primitives dyed her hair red and some of the bands even learned to play a little.
Blonde itself is dead, but some of the buzz we used to derive from it is still alive. The Popguns are a kind of melancholic angst-Blonde, but we're not talking about them today...
reference from The Pyramidiacs review
Amplifier August 1997
...With "Teeter Totter" the band have all the ingredients right and in many ways its a return to their fresh is best "No Soul" sound. After starting off with "Call you round" perhaps the least appealing track on the disc the band hit stride with the brilliant Badfingerish "The Cleaner." The third track "Waiting" sees guitarist "Mr. Funter" re-write the opening chords to the Primitives (UK) "Way Behind Me" and retain all the charm of that song.
reference in Belle & Sebastian review
Belle & Sebastian
3 .. 6 .. 9 Seconds of Light EP
...Actually, it's competent 90's 60's folk, sort of like the Primitives performing Buck Owens (and I remind myself that in the first track, the band warned me "We're not terrific but we're competent").
reference in Gilroy review
Tweekitten ‘zine December 1, 1996
by Aurore Bacmann
...Fortunately it is not the case with Gilroy, a group made of various members of the McTells and Cathy Rodgers out of Heavenly on vocals. Here, it is a good old indie-pop recipe that is used: distortion for the guitars, but a clear voice following a nice melody. "Sophists" the 2nd track even bears a little resemblance with the best of the Primitives, which is a good reference after all.
reference in Martyn Bates bio
Encyclopedia of Popular Music
...In 1990, with former Primitives guitarist Steve Dullaghan, he moved back to a group format with the formation of the five-piece Hungry I, releasing an EP, The Falling Orchard , in the summer of 1991. A further EP, Second Step, was recorded in October of that year, before the group 'exploded in acrimony and frustration' in March 1992...