Eddie 2002 When it came to V2 we decided to get a producer more used to the studio environment, and many names were suggested including Mick Ronson who was busy with the Rich Kids. Vic Maile was eventually chosen due to his work with Dr. Feelgood and Tom Robinson. With a bigger budget we spent a whole month in the studio, including a whole day singing "Troops Of Tomorrow" over and over again to get the crowd effect. The strings on "Nazi Baby" were put on back at CBS Studios, and the part was written by Nicky Graham who was our A & R at CBS. Vic's influence and his care and attention to detail made the album tar more polished, and got us our first top 40 hits with "Automatic Lover" and "Judy Says".

John Ellis 2002 This album was an altogether different kettle of fish. We went to live in reconstruction Berlin and put together songs for the album. Then we decided to demo the material and try some out live. So by the time we got into the studio with producer Vic Maile we knew the stuff pretty well. Once again, the tracks were laid down as a live 'performance and then guitar solos, vocals etc were over dubbed.

From my point of view, I had decided to go with a much "thicker" guitar sound using a Les Paul with a Mesa Boogie combo. Since Pat Collier had left to star in "The Boyfriends"; Gary Tibbs had taken on the Bass Guitar mantle. Gary's style also brought something new to the feel of the band. Once again the album consisted of some interesting material, slightly more adventurous than Pure Mania. One of the high points for me was when we heard the string section, arranged and recorded by Epic A & R man Nicky Graham, added to 'Nazi Baby'.

The late Vic Maile did a brilliant job with the album. Mixing it was real fun especially the first track perversely named 'Pure Mania'. We flew in some Jimi Hendrix guitar solos, bits from the previous album and synth noises. I still think V2 is a classic. By now the credibility problem had polarised the press. They mostly hated us. However one or two writers gave the album the coverage it deserved.

The stereo picks up the drone of a V2 closing in for the kill. Cut out.

The dull empty thud of an explosion and the Vibrators cut in to action with Pure Mania', the first track on their new album and named after their first (confused, huh?). They're out and fighting, - hitting you where it hurts most - no feinting, this is the real article. Eddie's drumming is a relentless driving staccato with Knox and John Ellis tearing your hair out by the roots with their blistering guitar attack.

But hang on, this isn't just formula crash bash, there's some synthesiser twirling away in there too, and weirdo paranoia striking deep with the sound effects of a manic laugh, Howard The Duck on a bad trip. Mania. Pure.

The single, Automatic Lover', vocals hung around a repetitive title hook, simplicity itself. A hit.

The Vibrators always threatened to be bigger than anyone wanted them to be, looks like they've finally decided to go for broke. Their recent time in Berlin has etched strong impressions on their music, not militaristic, but often desperate and savage. The child of tomorrow crying in anger this may not be -- but they can see a future and since they've always been somewhat ahead of events, I reckon they must be at least half way there by now.

`Flying Duck Theory' is John's contribution to the album and his stage guitar forte. Opening with the wide-spread of a transistor wave band, snatches here and there- `Are you sitting comfortably?'. Let's go. A fine sweat-shaking beat, no quarter given. `Public Enemy Number One' switches the riffing to a 'Little Girl' bass beat, bubble pop with some acid guitar overlay. A hydrochloric pop song for 1980. `Destroy' is a vicious piece of negativism, not my favourite cut but a harsh and slashing climax, with the title word sten gunned over and over, Ellis's drums shooting in the bullet belts.

Side one closes up with the old stage favourite, one of the Vibes' first songs, 'Nazi Baby'. Opening with archetypal fuzz it defies expectations - by breaking wide apart with no holds barred. Ellis's persistent rhythm lacerates your senses and Knox spits venom from somewhere deep under the mix - 'I'm gonna be your Nazi Baby, I'm gonna make you feel alright'. Touches of the early Velvets' mental assault, with EIIis ripping out some searing white guitar licks.

This ain't no run of the mill New Wave/Power Pop package, hear the strings start to weave in, gradually edging out the band until all you're left with is a menacing cello and soaring violin work. Crawl out of the debris and switch sides, Wake Up' (To the Twentieth Century ...were gonna smash your toys), fit to peak, it's off and running again Bounding along with a choppy instrumental hook chorus line, pop organ and all oohing and oohing- a New Wave death songs with a heart rending angelic finale- `Now he's up there with the angels, he's really flying high. I bet by now he's talking with Jesus way up in the sky'. `24 Hour People' is neatly framed with some Berryesque guitar licking from Ellis, sandwiching a neat pop tune with brief and tantalising guitar runs (a la `Here Comes The Weekend') nibbling at the heels of each chorus.

Rock 'n' roll, you're not dead yet -and so let's `Fall in Love'. A Pure Love Song For Today, crew cut, bubble gum and spitballs wrapped up in some mean assed guitar work, spreading itself out in virtuosity that snubs its nose at two chord anarchy. `Feel Alright' intrigues with a cocky, semi-classical guitar run, here comes the cavalry ... short but varied. `War Zone's' the only track that I don't drool over, all heavy attack and empty echoing, I'll skip it past.

So to the highpoint of the album, of a whole genre if it comes to that: `Troops of Tomorrow', psyche shattering. If you've seen the Vibes live you can almost recreate the naked power they project, the red-V glowing behind them, strobes flashing. From the distance the rumbles come, pounding drums, empty and aching, interspersed with the muted screams of a paranoid guitar gradually filling the horizon, building, hammering, inexorably steamrolling its way through the ruins of a dying world. The troops of tomorrow are on the march and there isn't anything gonna stand in their way as their fists smash through your speakers and the whole ankle grabbing, pride burning light whips into your face. This is power, undeniable; one of the strongest anthems from a desperate youth ... left, right, left, right back into your stereo, you following in step.

At long last the Vibrators are going to reap the praise that's slipped them by, along with Vic Maile, producer, they've come up with the pop album the New Wave was created for.

Dave Keemis

THE VIBRATORS V2 (CBS) NME 8.4.78

THERE'S A rumbling from the record player; something's going wrong. Is the album going to self-destruct in five seconds? No, it's only The Vibrators being noisy. That's something the band's always been quite good at. There's always been a certain cold, unsubtle strength about their stage act, which some people hate and plenty of V fans love. It's only ever transferred to grooves as raw, impenetrable riffing.

This second-attempt is different and better. Although the lyrical content remains emphatically dumb, most of the songs are tuneful in an obvious bang-crash way.

The reason the project falls flat, is apart from a couple of love songs, the material is concerned with creating an image of a cruel, frightening, militaristic future. You know the scene, a boot stamping on a human face forever, pure 1984. They've been strongly influenced by their German sojourn and they've produced the first new wave marching album.

Actually, it isn't quite that silly, it's just that "Destroy", "War Zone", "The Troops Of Tomorrow" and the rest are about as menacing as a toothless chipmunk.

"It's a war zone baby, ooh, yeah!" Fab, let's all play soldiers. The Vibrators produce lyrics of death, insanity and fear but they haven't learnt the musical language of menace. "Troops Of Tomorrow" starts with a jackboot beat and continues with a slow, chanted, no future tirade. It's a dull song. You can't dance to it and the words aren't worth the effort of listening for.

The opening cut, "Pure Mania", illustrates the band's tendency to deal with serious subjects with the sensitivity of a Sherman tank. The Ramones are so amusingly naive and the inoffensively ridiculous that they can get away with it. The Vibrators try to write coherently about psychosis and finish by glorifying it in a very negative way.

"Automatic Lover" and "Flying Duck Theory" are examples of The Vib's recently developed melodic sensibility. The latter, with sneering vocal and snapping beat, is the most enjoyable track on the album and the suburban boredom theme is treated with some perception.

"Sulphate" and "24 Hour People" are the punk lifestyle anthems. The first isn't as fast as the subject and ends with a hilarious "Now he's up there with the angels ... narration straight out of "Ernie".

"They don't want their new subculture messed around by cash ... "No, of course they don't. "She's livin' in a fallout zone of new wave music and a broken home The Vibrators are parodies of street kids.

"Nazi Baby" has been waiting a long time to go down on record. Maybe they were too shy to put it on the first album. Despite the implications of the title it's no more than a bout of ineffectual juggling with a dangerous term over repetitive riff.


So that's The Vibrators, the unashamed, loud and fast punk band and their second musical statement - it's quite a step - forward and it may be the right direction for a steadily growing audience. It's an okay headbang/pogo record but the portentous overtones fall flat.

Kim Davies

VIBRATORS: `V2' (Epic) Record Mirror 15.4.78

THEY DO have some irritating aspects, The Vibrators: a lead singer who for some reason uses the word "honey" on nearly every track; a lead guitarist who leaves the band as soon as they make a decent album; a terribly homogenised musical frame.

Also, they take a rather outmoded approach to subject matter. I'm beginning to find songs about Nazis, speed, wanton destruction and all those 1977 idols, a mite ragged at the edges.

Then, The Vibrators are a very double edged band. I've seen them on nights when they bombed like a hundred V2s, and on others when they've been threatening, deadly exciting. This album is more of the latter than the former.

Oddly, and depressingly, the best song on 'V2' comes from John Ellis the lead guitarist who has just left the band. In his one and only contribution, 'Flying Duck Theory', despite its hackneyed radio dial twirling intro, Ellis' rounded cockney yells have the edge on Knox's clipped vowels and his summing up of suburban blankness is an improvement on Knox's Lou Reed-isms. Ellis offers the band identity, and seems badly under represented on'V2'.

But it's too early to write off Knox, who, though lyrically crass, composes songs with a visceral energy that pooh-poohs the dictates of fashion. 'V2' is, incidentally, an unfashionable album, all power power power and whip sneer. Who cares! You do, huh? Your problem, and your loss; `V2' is ', better than you expect.

+ + + + TIM LOT