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Sex Pistols: 90 Days At EMI
Here is the story of how the Sex Pistols shocked and shamed EMI—the UK's most revered and profitable record company—and ended up £40,000 the richer thanks to manager Malcolm McLaren's cunning business strategy. A must read for any punk or Sex Pistols music fan, written by a true insider, Brian Southall, the former EMI PR executive who was there during the whole affair.
- GenresMusicPunkNonfiction
160 pages, Paperback
First published October 1, 2007
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42 people want to read
About the author
Brian Southall
61 books2 followersBrian Southall worked as a journalist with Music Business Weekly, Melody Maker and Disc before joining A&M Records. He moved to EMI Records and EMI Music, where, during a 15 year career, he served in press, promotion, marketing, artist development and corporate communications. From 1989 he was a consultant to Warner Music International, HMV Group and both the British Phonographic Industry (BPI) and the International Federation of the phonographic Industry (IFPI). Among other books, he has written are the official history of Abbey Road Studios and the Story of Northern Songs, both published by Omnibus Press.
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Displaying 1 - 13 of 13 reviews
May 27, 2016
The Sex Pistols were a band whose influence rises far above their short lived recording career. However, few recording careers – or contracts – have lasted a shorter time than their infamous ninety day contract with EMI. This book aims to tell the tale of one of the most surprising music stories in the UK; the time when the establishment, in the shape of the ultra-successful EMI (with acts like Cliff Richard and the Wurzels) signed the unpredictable, anti-establishment bad boys that were the Pistols.
The Pistols exploded onto the music scene, with their early beginnings in 1973 in a group largely put together by their manager, entrepreneur Malcolm McLaren. John Lydon (Johnnie Rotten) joined in 1975 and by 1976 they had been banned from two clubs and a rock festival and the industry was buzzing about which label would get to sign them. There were, of course, other punk bands – but The Sex Pistols were the Beatles of their era (even if they disapproved of Glen Matlock’s admiration for Paul McCartney…). They were THE punk band and when they played in Manchester they had an audience comprising of members (or future members) of the Buzzcocks, the Fall, Joy Division, and the Smiths. It was like skiffle all over again, with something new and original inspiring a whole new generation of musicians. They were the band on everyone’s lips, in every newspaper and denounced at every possible opportunity.
With EMI searching for new talent and Malcolm McLaren gleefully playing off one record label against another, several of those involved at EMI could see the potential of the Pistols. It is fair to say, though, that others were concerned and anticipating trouble. When the disastrous Bill Grundy interview aired live on television (a show I can still remember watching as a child, while my mother was thankfully out of the room!) the media descended gleefully to blame the band for everything and anything. Before long there were reports of them trashing hotels, egged on by the press, and abusing people at airports (they didn’t). When those on the top floor of EMI looked below at outraged staff, escalating complaints and worrying reports, they quickly pulled the bands contract.
If you have any interest in music, this is sure to interest you. As well as telling the story, the author adds lots of humorous quotes; both from the time this is set, and in retrospect. Ironically, the band would end up being represented by EMI in the future, but this is the story of their short lived time at a record company which largely did not only misunderstand them, but seemed to glory in doing so.
The Pistols exploded onto the music scene, with their early beginnings in 1973 in a group largely put together by their manager, entrepreneur Malcolm McLaren. John Lydon (Johnnie Rotten) joined in 1975 and by 1976 they had been banned from two clubs and a rock festival and the industry was buzzing about which label would get to sign them. There were, of course, other punk bands – but The Sex Pistols were the Beatles of their era (even if they disapproved of Glen Matlock’s admiration for Paul McCartney…). They were THE punk band and when they played in Manchester they had an audience comprising of members (or future members) of the Buzzcocks, the Fall, Joy Division, and the Smiths. It was like skiffle all over again, with something new and original inspiring a whole new generation of musicians. They were the band on everyone’s lips, in every newspaper and denounced at every possible opportunity.
With EMI searching for new talent and Malcolm McLaren gleefully playing off one record label against another, several of those involved at EMI could see the potential of the Pistols. It is fair to say, though, that others were concerned and anticipating trouble. When the disastrous Bill Grundy interview aired live on television (a show I can still remember watching as a child, while my mother was thankfully out of the room!) the media descended gleefully to blame the band for everything and anything. Before long there were reports of them trashing hotels, egged on by the press, and abusing people at airports (they didn’t). When those on the top floor of EMI looked below at outraged staff, escalating complaints and worrying reports, they quickly pulled the bands contract.
If you have any interest in music, this is sure to interest you. As well as telling the story, the author adds lots of humorous quotes; both from the time this is set, and in retrospect. Ironically, the band would end up being represented by EMI in the future, but this is the story of their short lived time at a record company which largely did not only misunderstand them, but seemed to glory in doing so.
January 31, 2019
I have to admit that I was dubious that there was an entire book contained in such a short segment of the career of a band famous for, among other accomplishments, the brevity of said career. But Brian Southall comes through, even if the book is barely longer than … okay, I’m already tired of jokes about the length of the Sex Pistols’ existence as a band.
Anyway, the basic facts: October 8, 1976: The Sex Pistols sign a contract with EMI to release their records. November 26, 1976: Their first single, “Anarchy In the UK,” is released. December 1, 1976: The infamous Bill Grundy interview, which sets the national tabloids onto an anti-punk crusade. January 6, 1977: With the media controversy still raging, EMI releases the band from their contract.
What this book does is reveal the inner workings of EMI. At the time, EMI was just one large corporation. There wasn't any attempt to keep the medical research separate from the defense contracting or either separate from the music. Southall himself was the head of EMI’s press office at the time, and he gives us a real insider’s perspective.
The focus of this book is narrow enough in scope, that I think you really have to be into the history of the Sex Pistols and/or punk rock in general to get much out of it. Recommended for such folk, but probably not for a more general audience.
Anyway, the basic facts: October 8, 1976: The Sex Pistols sign a contract with EMI to release their records. November 26, 1976: Their first single, “Anarchy In the UK,” is released. December 1, 1976: The infamous Bill Grundy interview, which sets the national tabloids onto an anti-punk crusade. January 6, 1977: With the media controversy still raging, EMI releases the band from their contract.
What this book does is reveal the inner workings of EMI. At the time, EMI was just one large corporation. There wasn't any attempt to keep the medical research separate from the defense contracting or either separate from the music. Southall himself was the head of EMI’s press office at the time, and he gives us a real insider’s perspective.
The focus of this book is narrow enough in scope, that I think you really have to be into the history of the Sex Pistols and/or punk rock in general to get much out of it. Recommended for such folk, but probably not for a more general audience.
December 8, 2012
I thought this book was a bit of a bait and switch - written more as an "oral history" than unique in viewpoint. The best observations come in quotes from other books. The subject matter is absolutely fascinating to me, however it would not be the first or even fifth recommendation I would make concerning this most important of times in music history.
April 11, 2011
Uneven and kinda dull "insider" account of the events leading to the Pistols signing with EMI and their rocky ill-fated relationship.
April 22, 2024
It’s that time again when I’d love to revisit something I’ve reviewed before (on my personal page, not here). I decide to take a look at “Sex Pistols: 90 Days At EMI” once again not only because I listen to the band’s material recently, but I also realise that, so far, I’ve read FIVE books on the same subject! There’s Steve Jones autobiography (which has Drama/Comedic/Adventure tone), Glen Matlock autobiography (which is more like a documentary of himself and that decade), two John Lydon books (“Rotten” is just a grumpy old man whining for 200-300 pages, while “Anger Is My Energy” is way better in storytelling), and this one. Surprisingly enough, it surpasses those books from the band members themselves since it provides us unique perspective that you don’t normally see in books about music: a viewpoint from record label itself.
.
For those that don’t know, Sex Pistols got their first record deal at EMI in late 1976, but due to their shocking antics the company dropped them 3 months after that before receiving another deal from A&M Records and Virgin Records, respectively. While many books or articles usually sum up this EMI period in a few paragraphs, this book does something beyond that since we learn how the A&R team of EMI found this band, how the contract was written, and how they promoted as well as controlled the media after they did controversial interview on TV. Nonetheless, since this book is jam-packed with useful information, here are some highlights…
.
-They almost got a deal with Harvest, a sub-label from EMI, but they refused due to its image as hippie label. The band also preferred staying with big record company to spread their message easier.
-The contract was written in only one day, since the band’s manager, Malcolm, was so rushed about the deal.
-Roger Taylor, Phil Collins, Freddie Mercury, Cliff Richard, and Ross Stagg of the band Stapps are artists who hated the band at that time.
- Johnny Rotten almost got punched by Marc Bolan for making fun of his tie
-Their first single, Anarchy In The UK, and their TV interview were so controversial, not only did it cause a strike from EMI workers but also protests from local people wherever the band was about to play, With the song being banned, the tour being stopped, and record itself has supply problems, it generated low revenue and caused financial strife within a band.
-Media manipulation was one of the most difficult issues EMI had to deal with. There were lots of time the events were exaggerated or event flat-out lie just to sale the newspaper. For instance, there was a time when they were in Leeds and they were asked by photographer to drop flower pots from their hotel balcony. It went fine, Malcolm paid the compensation to hotel manager, and the band behave nicely. However, the tabloid newspapers reported that they wrecked the place everywhere. Another example is when they took a flight to other country in Europe. Again, tabloids lied that they annoyed other flight passengers and insulted everyone. None of which is true!
-The real reason why they were fired from EMI is NOT because of the music department of the company. Remember, EMI at the time was so enormous, it also had Radar and Equipment Accounts and Defence Systems departments as well! These parties were nervous that Sex Pistols, their behavior, and their single could severe their tie with government and cause the sale of these equipment to plummet, due to EMI’s ties with notoriety and filthy behavior.
.
So what’s the moral of the story here? Well, the big corporate always wins if it has enough bullshit explain about profit and revenue. While Sex Pistols went on to become the UK’s hottest band of 1977, EMI finally caught up with Punk/New Wave trends with artists like Tom Robinson Band, Rich Kids (formed by ex-Pistols bassist), The Saints, and Kate Bush. They (except Kate, IMO) were awesome, but the sales and reputation were nothing compared to Pistols. So was it the right choice for EMI? Does the end justify means? It’s up to the readers to come up with.
.
But for the book, it’s entertaining and informative. Since the writer worked in PR department at the time, it’s filled with insider details, secret letter from an artist who hated Pistols, anecdote evidence of what media said about the band, this book is a must for fans of Pistols and people who interest in music industry history. Oh, it also sums up why you shouldn’t trust the media as well!
=================
Score: 4.5/5
.
For those that don’t know, Sex Pistols got their first record deal at EMI in late 1976, but due to their shocking antics the company dropped them 3 months after that before receiving another deal from A&M Records and Virgin Records, respectively. While many books or articles usually sum up this EMI period in a few paragraphs, this book does something beyond that since we learn how the A&R team of EMI found this band, how the contract was written, and how they promoted as well as controlled the media after they did controversial interview on TV. Nonetheless, since this book is jam-packed with useful information, here are some highlights…
.
-They almost got a deal with Harvest, a sub-label from EMI, but they refused due to its image as hippie label. The band also preferred staying with big record company to spread their message easier.
-The contract was written in only one day, since the band’s manager, Malcolm, was so rushed about the deal.
-Roger Taylor, Phil Collins, Freddie Mercury, Cliff Richard, and Ross Stagg of the band Stapps are artists who hated the band at that time.
- Johnny Rotten almost got punched by Marc Bolan for making fun of his tie
-Their first single, Anarchy In The UK, and their TV interview were so controversial, not only did it cause a strike from EMI workers but also protests from local people wherever the band was about to play, With the song being banned, the tour being stopped, and record itself has supply problems, it generated low revenue and caused financial strife within a band.
-Media manipulation was one of the most difficult issues EMI had to deal with. There were lots of time the events were exaggerated or event flat-out lie just to sale the newspaper. For instance, there was a time when they were in Leeds and they were asked by photographer to drop flower pots from their hotel balcony. It went fine, Malcolm paid the compensation to hotel manager, and the band behave nicely. However, the tabloid newspapers reported that they wrecked the place everywhere. Another example is when they took a flight to other country in Europe. Again, tabloids lied that they annoyed other flight passengers and insulted everyone. None of which is true!
-The real reason why they were fired from EMI is NOT because of the music department of the company. Remember, EMI at the time was so enormous, it also had Radar and Equipment Accounts and Defence Systems departments as well! These parties were nervous that Sex Pistols, their behavior, and their single could severe their tie with government and cause the sale of these equipment to plummet, due to EMI’s ties with notoriety and filthy behavior.
.
So what’s the moral of the story here? Well, the big corporate always wins if it has enough bullshit explain about profit and revenue. While Sex Pistols went on to become the UK’s hottest band of 1977, EMI finally caught up with Punk/New Wave trends with artists like Tom Robinson Band, Rich Kids (formed by ex-Pistols bassist), The Saints, and Kate Bush. They (except Kate, IMO) were awesome, but the sales and reputation were nothing compared to Pistols. So was it the right choice for EMI? Does the end justify means? It’s up to the readers to come up with.
.
But for the book, it’s entertaining and informative. Since the writer worked in PR department at the time, it’s filled with insider details, secret letter from an artist who hated Pistols, anecdote evidence of what media said about the band, this book is a must for fans of Pistols and people who interest in music industry history. Oh, it also sums up why you shouldn’t trust the media as well!
=================
Score: 4.5/5
September 25, 2020
An excellent, tidy package of a book detailing Sex Pistols's 90 days signed to EMI. Equal parts record-label tell-all, defense industry disvesture adventure, and punk rock history.
August 20, 2022
A single flight kinda book. Lots here I didn’t know in detail but this is narrow where “Englands Dreaming” is broad. Worth a couple of hours.
November 13, 2022
More about business.
January 17, 2023
Grundy? Absolute classic television . Almost made me invest in a licence.
May 12, 2020
Very thorough and first-hand account of the tumultuous 90 days that the Sex Pistols spent at their first music label, EMI. The author was the senior PR executive at EMI Records at the time, so he knew very well all of the wild details - not just what the band and their outspoken manager Malcolm McLaren did (and didn't do) but also the goings-on at the corporate level and at the records division of EMI at the time. Many can report on what the Pistols did - swearing on national TV, etc. - and many many have, but very few can provide the insight of how the executives at EMI reacted on a daily basis. Southall does an excellent job of striking that balance and providing intimate high-level details and a fair and balanced account of the hiring and firing of the band. Very enjoyable read.
March 30, 2013
Interesting book about the Sex Pistols time at EMI. The politics are fascinating
December 16, 2010
A biography telling about the 90 days the Sex Pistols were on EMI records, before being kicked off. They later wrote a song about it, making fun of EMI, called "EMI".
January 12, 2011
A book that I thought I would really be interested in, but ended up boring me because it was too much business information of the Sex Pistols instead of about the band. It was a slow read for me.
Displaying 1 - 13 of 13 reviews