FORGET ME NOTS
Transvision Vamp Little Magnets Versus The Bubble Of Babble
TRANSVISION VAMP HAD THE WORLD AT THEIR FEET AFTER REACHING NO.1 WITH SECOND LP, VELVETEEN. BUT THANKS TO THE VICIOUS MUSIC PRESS AND AN INTERFERING RECORD COMPANY, ITS FOLLOW-UP SANK ALMOST WITHOUT TRACE. THIRTY YEARS ON FROM ITS NON-RELEASE IN THE UK, JON O’BRIEN EXPLORES WHETHER IT DESERVED SUCH A FATE.
“I’m not their favourite person, but I’d be very worried if I was,” Wendy James told the Chicago Tribune while promoting Transvision Vamp’s difficult third album in 1991. “Because they’re typical womanhater, pretend-to-be-leftfield journalists who really should go back to public school and get whipped some more.”
You can’t blame the ever-outspoken James for being so dismissive towards the British music press. Despite defying flash-in-the-pan predictions with chart-topping second LP Velveteen and attracting the attention of everyone from musical hero Lou Reed to Betty Blue director Jean-Jacques Beineix, the Putney quartet were treated like pariahs by the media. And their frontwoman – who combined the naked ambition of Madonna with the peroxide blonde style of Debbie Harry and punk swagger of The Clash – inevitably bore the brunt. Time Out even splattered her face with a custard pie (digitally) on the cover of their Hated 100 issue, the type of mean-spirited stunt that would rightfully get social media up in arms in 2021.
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