Two policemen run in and smash the record player] Policeman 1: Right, the music's too loud! Rate it: 0. Select another language:. Notify me of new comments via email. Cancel Report. Create a new account. Log In. Powered by CITE.
Know another quote from The Young Ones, Series 1? Don't let people miss on a great quote from the "The Young Ones, Series 1" movie - add it here! Add a Quote. Browse Quotes. Quiz Are you a quotes master? Terminator 2. Terminator 3. Terminator 4. A few seconds later, a member of the local constabulary bursts through th e door and smashes both album and turntable, on the premise that the neighbours have compla ined that the music is too loud.
During the mid to late 70s, the Sheffield music scene was thriving, with the likes of Cabaret Voltaire, and Vice Versa an early incarnation of ABC - see recent post , waving the Sheffield b anner as local representatives of the burge oni n g British synth-pop movement. In , Martyn Ware and Ian Craig Marsh both had d ay jobs as c omputer operators, but had a keen interest and love for pop music, and a fascination fo r the work of avant-garde electro-pop exponents like Kraftwerk.
As with the likes of electro-wiz kids like Daniel Miller The Normal , and Thomas Dolby see previous posts , Ware and Marsh decided to combine thei r love of music.
By the mid 70s, syn thesizers were within the fiscal r each of budding musicians, and the pair pooled their financial resources to p urchase a pa ir of Korg 7 70S synthesizers.
After learning to play the things, Ware and Marsh set about impressing friends and acquaintances with their new found electro-pop skills. Within a few months, the duo became a trio with the addition of Adi Newton and another synthesizer.
Now dubbed The Future, the trio began exploring the possibilities of electronic music, writing and recording a series of demo tapes in their own home studio setup. The duos first choice was Glenn Gre gory, but he was, at the time, unavailable. Gregory would eventually team up with War e and Marsh, but that comes a little bit further into the Human League story, well, a related chapter a t any rate. Enter former school friend turned hospital porter Philip Oakey. They were soon supporting a punk band with glam rock overtones, called The Rezillos, who originally hailed from Edinburgh.
The Rezillos, at that time, featured a young guitarist by the name of Jo Callis, w ho would in time be drawn into the Human League universe.
Ware, Marsh and Oakey revelled in the chance to create an album as cold, and as stark, as any synth-pop album to have evolved out of that era. But part of the reason for the conflicting stylistic tendencies on the album, no doubt lay in a widening chasm between vocalist Oakey, and his synthesizer cohorts Ware and Marsh. Oakey and Ware, in particular, had always had, an at times, tempestuous relationship, and by October of things came to a head. Just prior to a proposed U. Ironically, Heaven 17 would adopt a more commercial element within their own music.
Meanwhile, Philip Oakey now had complete creative autonomy over the Human League name, and it was his to make, or break. Posted by A.
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