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ja volim sex pistols pa evo nešt o o njima

za sve koji vole sex pistolse intervju,ali malo sam zakomplicirala stvari i stavila ga na engleskom ..uživajte...đđ


After 20 years of long-distance bickering, the Sex Pistols' Johnny Rotten and Steve Jones reveal what it's like to kiss and make up.
By Alan Di Perna
40-year-old Johnny Rotten stands in the lobby of the Foghorn Hotel, in a Los Angeles boat marina, ready for a day of press interviews.
He looks younger than his age. His skin is as white as a fresh sheet of typing paper, its paleness intensified by his carrot-colored hair. After a terse greeting, he produces a nasal inhaler and rams it into one nostril. He plugs the other nostril with the inhaler's lid and breathes in deeply, arms back, his scrawny chest thrust forward like a rooster's. Ahhhhhh.
The Sex Pistols don't want your love. They want your money. Your hero worship doesn't interest them. Nor does your contempt. They don't care if Never Mind the Bollocks changed your whole life, or if you're grateful to them for radically altering the course of rock and roll with one big, loud, disruptive belch. And they certainly don't give a toss whether you think their current actions violate some notion of second-generation punk political correctness. No, they've come back for your cash, the one thing they got precious little of the first time 'round.
What they did get was plenty of publicity. The first time the world heard the term "punk rock," it was coupled with the Sex Pistols' name. They scandalized proper England by insulting the monarchy with their class war cry, "God Save the Queen." They were bounced off two consecutive record labels within months of being signed. Tabloids the world over just loved the Sex Pistols: The Spitting! The Puking! The Safety Pins!
The Sex Pistols even got respect, although most of it came after they broke up. Never Mind the Bollocks routinely appears on critics' "Ten Best Rock Albums" lists. Their angry, guitar-driven sound is essential to our idea of what rock is. The band's place in rock history is as substantial as the Beatles', the Rollings Stones' or David Bowie's. But not their bank accounts. The Pistols split up and Sid Vicious died long before public recognition caught up with them. Hefty amounts of cash went up in smoke during lengthy and bitter litigations with the band's former manager, Malcolm McLaren, leaving the four original Pistols-Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock-short on the very stuff that makes a working-class lad turn to rock in the first place: The Bucks.
They're hoping to correct that small omission with their much-publicized reunion tour, which began on June 21 in Finland, and a live album comprised of material culled from the first few dates of the tour.
It would have been so much more comfortable for everyone if the Sex Pistols had remained safely in the past tense. They wouldn't be around to outrage the kind of people who are easily outraged, or to shatter the illusions of adoring Pistols fans. But shattering illusions is what the Sex Pistols were put on this earth to do. And so they're back.
GUITAR WORLD: Rock and roll is arguably more boring, stagnant and self-indulgent now than it was in 1977. Do you think the Sex Pistols can have the same kind of revitalizing effect that they had then?
JOHNNY ROTTEN: I would hope not. I'm not doing this for anybody else but myself! Sod that. That's bollocks. We're not championing any cause here, or waving a flag and asking you to rally 'round. 'Cause that's what went wrong with punk in the first place. They all jumped on the bandwagon, so to speak, and started getting into uniforms and codes and strict disciplines, which was anti-punk. It's not what you wear, it's what you do and what you are that counts. And sod all the rest of that baggage.
Joey Ramone was slagging us off for reforming, saying we're too old. I mean that's hilarious. He must be 48, and he's apparently the youngest one of them. I love the way they like to point fingers and leave out the facts.
STEVE JONES: Oh, that's that old New York thing, isn't it? That they started punk. There's a real resentment I feel from that New York crowd.
ROTTEN: They were nothing but art school brats, the lot of them. Spoilt little middle-class kids.
JONES: With Brian Jones hairdos, you know what I mean? It was hardly punk, was it?
GW: Who made the first move toward this reunion?
ROTTEN: There's been endless talk over the past 15 years about the Pistols getting back together. We just started calling in some of these offers and seeing if they were real. And a lot of them weren't. But one thing led to another. It's a matter of convenience for us to do this now. It's not a problem. Whereas, years ago, it would have been, for me, I must say.
GW: What was the first meeting like?
JONES: For me, it felt like the 18 years since we were last together hadn't passed. Just like the next day. When you have the kind of chemistry we do, you don't particularly have to like each other. It's okay, as long as you know that, and you're not doing it to be friends or any of that other bollocks.
ROTTEN: None of that male bonding crap.
GW: Retrospectively, how do you rate [bassist] Glen Matlock's contribution to Never Mind the Bollocks [Warner Bros., 1977], from a songwriting point of view?
ROTTEN: Well, he was there for the songwriting, yeah. And that was it. I know a lot of Americans are into this Sid thing. If you want to know where the show business was in the Sex Pistols, it was with Sid. That's what Malcolm manufactured. That's when it all got kind of silly and wrong. This is the real McCoy. There's the difference. We wrote the songs with Glen.
JONES: When Sid joined, it got really dark and gloomy. Like the circus is in town. No one was interested in hearing us play, really. It was to see what was going on.
ROTTEN: [contemptuously] It became fashion, didn't it? And clone punks. And to this day, they're still into that. You see on them on the King's Road in London. The same studded leather jackets and the mohawks, but it's all just a uniform. Join the fuckin' army, if that's what you want.
JONES: As far as songwriting goes, Matlock had good ideas. But if he had done his ideas on a solo record, it would've sounded like shit. Because when they got molded through the four of us, they became great songs.
ROTTEN: I've said this too: if it was all me running the show, it would be bloody unlistenable. See, we know that about us. We worked off each other-against each other-and that's what made it such fun. The songs still stand. I haven't heard anybody come anywhere near it.
JONES: Half the time the Pistols was going, for the first part of it, fuckin' everyone hated us. wasn't like it is now, where everything's accepted. We were a real insult to people. Dumb fuckin' northerners up the north of England would be slingin' bottles and shit at us.
ROTTEN: And then waitin' outside. It would be the four of us and a driver. We'd go in a transit van up north. Load our own equipment in, set it up, play and leave. But they'd all be waiting outside to "sort us out." And this'd be nightly. Extremely unpleasant behavior. I don't think any of the other punk imitations went through that. We kind of cleared the road for them.
Romantically speaking, those were the best times. But what wasn't good was something like our show at Brunel University, when Sid was out of his face on drugs. A lousy P.A., no monitors, couldn't hear shit. Far too many people in that aircraft hangar. The whole thing became ugly.
GW: Did you ever get caught by any violent goons?
ROTTEN: Many times. I have a huge scar down one leg, and a knife was put through here [exhibits the scarred heel of his hand], and came out here [displaying another scar on his finger]. Done by guys who [thuggish voice] "loved their Queen, and how could I say something like that about the royal family?"
GW: Will you do new material on this tour?
ROTTEN: No. Not yet. Who knows? We don't sit down and go, "And next week, we're going to have a new song all formatted..." This ain't the Clash.
JONES: We never did write like that. We always wrote in a little rehearsal place we had. We'd all show up there and then we'd just write a song.
GW: What do you think of Green Day and Rancid?
ROTTEN: Rancid is a hilarious example of that uniform-grabbing. The tartan bondage pants, all neatly pressed and dry-cleaned. The "punk jacket" thrown over the top. It's bullshit. They look like they just come out of a boutique.
GW: On a musical level, what do you think of them?
ROTTEN: Same thing. Very, very Clash-like. The Clash is all those outfits can really deal with. They can never really deal with the Pistols. 'Cause we're a little bit too real, too odd, too full of content.
JONES: That Green Day Billie Joe guy is kind of funny. I just saw an interview with him last week on MTV. I like that kid. He's pretty smart.
GW: How do you rate them, musically?
JONES: They're poppy.
ROTTEN: Tra la la la la.
GW: To what extent did Malcolm McLaren encourage you to sound like the New York Dolls?
ROTTEN: None. Never.
JONES: He didn't have anything to do with the music at all.
ROTTEN: He never turned up for rehearsals. Hardly turned up for the gigs unless there was some way he could be fashionably seen.
JONES: If Malcolm was so great, how come Bow Wow Wow [another band managed by McLaren] wasn't a great success? How come anything he touched after the Pistols fell apart?
ROTTEN: He puts himself up as this great media and financial manipulator, and really the guy's penniless. Think about it. But the Dolls were a brilliant catastrophe. Their shame was that they were at the wrong end of glitter rock and glam.
JONES: I was really into the Faces. I would go to a lot of their gigs. Then I went to one where the New York Dolls were opening for the Faces. That was the first time I saw the Dolls. And I went, "Fuckin' 'ell, this is brilliant, 'cause it's so real and out of control." And that's what I liked about it. It wasn't the songs and the lyrics.
ROTTEN: It was the attitude. The attitude was A-1 on.
GW: What's your opinion of grunge?
JONES: Sounds like Black Sabbath to me.
ROTTEN: Yes it does. Worse, like Deep Purple-the sillier parts of Deep Purple, at that. When [grunge bands] get good, they kind of sound like Bad Company.
GW: Is there anything either of you guys could have done to stop Sid from ending up the way he did?
ROTTEN: No.
JONES: We broke up. And then it went on, and then he killed himself. I never saw him. I didn't really like being around him too much. It was all too fucking dark and depressing with him and that bird [Vicious's girlfriend, Nancy Spungen].
ROTTEN: Sid's problem was that he believed that New York myth-the glamour of heroin and the underground scene. But it was all fantasy. Sid was a romantic. And, as you know, romance always ends in grief.
There's so many myths about us. The film [The Great Rock and Roll Swindle] created a lot of that bullshit. And the Sid and Nancy film. I get asked from time to time-and it's hilarious, but fucking annoying at the same time-people come up to me and say, "Oh, are you the one that died in the Pistols?" Check out some of the Internet stuff too. It's hilarious. "Oh, the Pistols would be nothing without Sid. Everybody knows he wrote all the songs and sang 'em." Hee hee hee hee.
GW: Did [British session guitarist] Chris Spedding play any of the guitar tracks on Bollocks?
JONES: No! God, I hate that fucking question.
ROTTEN: Ask Chris. He'll tell ya. No.
JONES: Before we did Bollocks, we did a three-song demo at this studio, and Chris Spedding kind of produced. And that was it. He didn't play on them. That was the first time we'd ever been in the studio. We did three songs in one day: "No Feelings," "Pretty Vacant" and "Problem."
JONES: Also, Sid didn't play on Never Mind the Bollocks. Or actually he's on maybe one track, farting away underneath the other bass.
ROTTEN: Yeah, but we had to replace it.
JONES: He was in hospital with hepatitis, thank God. He kept wanting to come down. [mimics fucked-up voice] "Let me pway the bwass on that."
GW: Last time we spoke, I think you told me Matlock played . . .
JONES: He's on "Anarchy in the U.K." We cut "Anarchy" before we did Never Mind the Bollocks, with Chris Thomas.
GW: And all the other bass parts are played by you?
STEVE: Yeah. Fumblin' away there.

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TITLE: Basket Case
Green Day

WORDS: Do you have the time
To listen to me whine
About nothing and everything all at once
I am one of those
Melodramatic fools
Neurotic to the bone no doubt about it

Sometimes I give myself the creeps
Sometimes my mind plays tricks on me
It all keeps adding up
I think I'm cracking up
Am I just paranoid?
Or am I just stoned

I went to a shrink
To analyze my dreams
She says it's lack of sex that's bringing me down
I went to a whore
She said my life's a bore
And quit my whining 'cause it's bringing her down

Sometimes I give myself the creeps
Sometimes my mind plays tricks on me
It all keeps adding up
I think I'm cracking up
Am I just paranoid?
Or am I just stoned

Grasping to control
So you better hold on

Sometimes I give myself the creeps
Sometimes my mind plays tricks on me
It all keeps adding up
I think I'm cracking up
Am I just paranoid?
Or am I just stoned


............................................


When I Come Around

I heard you crying loud
All the way across town
You've been searching for that someone and it's me out on the prowl,
as you sit around feeling sorry for yourself.
Well don't get lonely now,
And dry your whining eyes.
I'm just roamin' for the moment
sleazin' my backyard so don't get-
so uptight you've been thinkin' about ditchin' me...
No time to search the world around
Cuz you know where I'll be found..
When I come around
I heard it all before
So don't knock down my door
I'm a loser and your user so I don't need no accuser,
to try and slag me down because I know your right.
So go do what you like
Make sure you do it wise...
You may find out that your self doubt means nuthin' was ever there.
You can't go forcing something if it's just not right.....
No time to search the world around,
Cuz' you know where I'll be found..
When I come around
No time to search the world around,
Cuz' you know where I'll be found..
How now brown cow...
When I come around..
When I come around..
When I come around..


......................................

HLADNO PIVO: CELICNE ZAVJESE


Kuci se obicno vracam kasno
Negdje u zoru poslije nocne smjene
Skidam se onda i ljubim strasno
Tijelo svoje vjerne zene.

Onog tipa u krevetu nasem
Nikad ja zaboraviti necu
Sigurno sam trebao
Da mu pozelim srecu.

Ujutro ti si spavala
Mladica svog pozivala u snu
A ja ti nozem mila moja
Presjekoh grkljan, presjekoh grkljan.

Celicne zavjese u mom manastiru
Pocivala u miru, pocivala u miru.
(Back)
Na zidu moje celije pise
Metak u celo i nema te vise.

.......................................................................







































NEBO
/Sandy

Dm
Tu večer se prolilo na čitav grad,
B
nabacujem jaknu izlazim van.
C
Večeras te tako trebam,
još uvijek te nikome nedam.

Razbit ću svakoga koga vidim s tobom,
u gradu ću večeras napraviti lom.
Kada te tako trebam,
još uvijek te nikome ne dam.


Em
Nebo je noćas ogromno,
D
nebo zna gdje je moje maleno.
D
Nebo je noćas krivo za sve,
o da si barem ovdje, ali nema te.

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