They are commonly regarded as an important influence on the Manchester music scene, the independent record label movement and the punk rock, power pop, pop punk and indie rock genres in general. They are primarily remembered for their singles, a string of would-be hits that combined a strong grasp of pop song craftsmanship with rapid-fire punk energy. These singles were collected on Singles Going Steady, described by critic Ned Raggett as a "punk masterpiece" The widely covered "Ever Fallen in Love?" remains one of their best-known songs.
The name "Buzzcocks" partially comes from the Manchester slang term cock meaning youngster, and its use in the 1970s ITV drama serial Rock Follies which included the catch phrases "that's the buzz, cocks" and "give me a buzz, cock!"
Buzzcocks were one of the key first generation British punk rock bands to form in the wake of the Sex Pistols in 1976. They were founded by Mancunians Pete Shelley and Howard Devoto, however Devoto left soon after the group released their Spiral Scratch EP (on their own independent label), leaving Shelley to take over vocals.
They are best known for their catchy, poppy punk sound, which has been widely influential, which was adopted as Peter Shelley took over on the vocals, singing about what the whole punk rock scene opted not to sing about: love. Devoto in the meanwhile formed Magazine.
They rehearsed in a friend's kitchen and played at the all-day 100 club punk "festival", in London. At the end of 1977 the band signed to United Artists and released "Orgasm Addict", with Shelley's high-pitched vocal delivery and Ramones-esque fuzz-guitar sound ensuring the controversial single would be played over again. Later came "What Do I Get?" which hit the UK charts and showed Shelley's brilliance in songwriting.
An LP was then released, Another Music in a Different Kitchen which came with its own carrier bag, labelled "Product". In 1978-79 five chart-hitting singles were released including "Ever Fallen in Love?" and had captured a pop-loving audience by this time. Love Bites, their second LP was released later on, which had less excitement than the last album, though it did sell well, with Steve Diggle taking over lyric-writing.
October 1979 saw A Different Kind of Tension which was panned by some critics, quite unfairly, as it contains some excellent songs, the title track being the stand-out. It perhaps suffered from being the second album to be released that year, with the record company keen to capitalise on the band's chart success at the time.
3 more singles followed in 1980, but the spark had clearly gone out for a while. Musical differences and the long slog behind them led to the band splitting in early 1981. Pete Shelley embarked in a solo career..
He released three dance/electronic influenced solo albums: Homosapien, XL1 and Heaven and The Sea - all with the same fine songwriting skills. Meanwhile, Steve Diggle formed Flag of Convenience - a power pop combo - and toured with some success.
A 5 album/CD set was released in 1989 called Product, which contained all the albums to date, plus the greatest hits and B sides album, Singles Going Steady, and the last non-album singles, Why She's A Girl From the Chainstore, Airwaves Dream and Running Free, plus the B sides
In 1992 the Buzzcocks reformed, without original drummer John Maher and bassist Steve Garvey, and releasd Trade Test Transmissions in 1993, quite different from their earlier material, with nods to the power pop scene popular at the time. All Set in 1996 saw a return to form with familiar riffs and pin sharp lyrics pop-punk. Next year Chronology was released, the missing album, including outtakes from the three United Artists albums. In 1999 they released Modern, which saw Shelley in reflective mode and Steve Diggle taking over more of the vocal duties.
Then followed another brief break in 2000, with Shelley teaming up with old band-mate Howard Devoto to release a largely disappointing album, Buzzkunst. Compilations followed, including Inventory in 2003, which contained every single to date, and 30 in 2005 to celebrate 30 years performing
2005 saw the Buzzcocks back touring and in 2007 they released the superb Flat Pack Philosophy, widely agreed to rank up with the best of Buzzcocks output
2008/9 saw a short tour where the band played tracks from Another Music and Love Bites.
In August 2011 they headlined the first night of The Rhythm Festival in Bedfordshire.
In November 2011 it was announced they would be playing two shows in 2012 that would feature the original line-up as well as the classic line-up of the band reunited for the first time in many years; these shows took place on 25 May 2012 in Manchester at the O2 Apollo and on 26 May in Brixton at the O2 Academy. It was announced on 26 May 2012 that, for the first time, they would headline Thursday night in the Empress Ballroom at the Rebellion Festival in Blackpool sharing the stage with the likes of Rancid, Public Image Limited and Social Distortion.
On 1 May 2014 Buzzcocks released the album The Way via PledgeMusic. On 13 September 2014 Buzzcocks played "a brief but triumphant set" at Riot Fest 2014 in Chicago, Illinois, USA. In October 2014 Buzzcocks toured the U.K. for three weeks with The Dollyrots as main support.
In 2016, the band embarked on their 40th-anniversary tour (dubbed "Buzzcocks 40"). In 2017, "Why Can't I Touch It" was featured in the opening segment of the Telltale game 'Guardians of the Galaxy.
Buzzcocks continue to be a huge influence on many bands and are still enjoyed by a large, and very loyal, fanbase.
Pete Shelley died on 6 December 2018.
You Tear Me Up
Buzzcocks Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But have you gotta beat the daylights out of me
I'm getting so god-damned bruised
I'll soon be softer than a stoned cherry
And when you let your flesh creep over me
You know I don't know what's come over me
Something about the way you drool and kiss
You tear me up
You grab what's mine
You tear me up
Every single time
You tear me up
What a hideous crime
You tear me up
You're a bloody swine
All this slurping and sucking
You know it's putting me off my food
You're noisier than a motorway
And about two times, three times as rude
You know you got such big eyes
They make me feel so small
My heart is only one mouthful
But you, you can have it all
You're just as hard as a pavement
And I don't know where my passion went
You think that maybe I could walk on you
You'd make a damned good anesthetic, I'll say that for you
The lyrics to the Buzzcocks’ song “You Tear Me Up” describe a toxic and abusive relationship. The singer seems resigned to being mistreated and used by their partner, who is physically and emotionally violent. The repeated phrase “you tear me up” suggests that the singer is being torn apart by this relationship, both physically and emotionally. The use of violent imagery such as “beat the daylights out of me” and “softer than a stoned cherry” reinforces this sense of being damaged and hurt.
The second verse describes the physically intimate aspect of the relationship, painting a picture of a partner who is rough, unloving, and uninterested in the singer’s pleasure. The lines “Something about the way you drool and kiss/Makes love seem nothing like this” imply a sense of disgust and shame at the way the partner behaves. Despite this, the singer feels powerless to resist, saying “you can have it all”. The final verse suggests a kind of detachment or numbness on the singer’s part, with lines like “You’re just as hard as a pavement/And I don’t know where my passion went”. The reference to the partner as a “damned good anesthetic” emphasizes the idea that being with them is a way of dulling one’s senses and escaping from reality.
Overall, the song paints a bleak and uncompromising picture of an abusive relationship, with lyrics that are raw and honest in their depiction of violence and degradation.
Line by Line Meaning
Well I know it's the night
Even though it's nighttime, you're still treating me violently.
But have you gotta beat the daylights out of me
Is it necessary for you to physically harm me so severely?
I'm getting so god-damned bruised
Your abuse is causing me significant pain and injury.
I'll soon be softer than a stoned cherry
Your violence is weakening me to the point where I'll be vulnerable to further harm.
And when you let your flesh creep over me
Your touch makes me uncomfortable and uneasy.
You know I don't know what's come over me
Your actions are confusing and distressing me.
Something about the way you drool and kiss
Your sexual advances are repulsive and unappealing to me.
Makes love seem nothing like this
Your behavior is so far from what love should be like.
You tear me up
You cause me emotional and physical pain.
You grab what's mine
You take things from me without my consent.
You tear me up
Your actions are painful and damaging to me.
Every single time
This is a repeated pattern of behavior.
You tear me up
Your behavior is a truly terrible thing to do to me.
What a hideous crime
This is a truly despicable and awful thing to do to someone.
You tear me up
Your actions are unbearable and unforgivable.
You're a bloody swine
You are behaving like a terrible and disgusting person.
All this slurping and sucking
Your over-the-top sexual behavior is a major turn off to me.
You know it's putting me off my food
Your actions are making me physically ill and unable to eat.
You're noisier than a motorway
Your behavior is loud and obnoxious, like the sound of a busy highway.
And about two times, three times as rude
You are being incredibly offensive, way beyond what is socially acceptable.
You know you got such big eyes
Your eyes are large and intimidating to me.
They make me feel so small
Your presence makes me feel insignificant and belittled.
My heart is only one mouthful
My feelings for you are small and insignificant compared to your behavior.
But you, you can have it all
You demand and take everything from me, regardless of my feelings.
You're just as hard as a pavement
You are cold and unfeeling, like a hard surface.
And I don't know where my passion went
Your behavior has made me lose my connection to you and my own emotions.
You think that maybe I could walk on you
You suggest that I can treat you as terribly as you have treated me.
You'd make a damned good anesthetic, I'll say that for you
Your behavior is so numb and unfeeling that it could be used as a powerful painkiller.
Lyrics © Universal Music Publishing Group
Written by: HOWARD DEVOTO, PETER SHELLEY
Lyrics Licensed & Provided by LyricFind
Leahflower
One of their best songs the drummer is awesome
Petr Jirsák
And he was just 18.
Jawbreaker
Who'd have thought the Buzzcocks of all bands would be the ones to invent hardcore punk
Aborygen
What about a band named Blast? They played something that sounds like HC in early 70's, what's pretty incredible.
Monty Ryan
Aborygen We’re specifically talking about the D-beat
Miguel Quazar
@Aborygen Blast had an awesome and taboo sound for sure. But it was not what the living humans know as D-Beat. But it was hard as hell considering the time.
slowmutant8
@Miguel Quazar Can you explain what makes the drum pattern in Damned Flame different from a d-beat?
Low Bottom Laughs
Wow, the main riff here sounds exactly like Master's self titled song "Master". The death metal band I mean. Master were probably influenced by them to a certain extent, that's badass!
mroldnewbie
Interesting. I just listened to Master and it seems you're right!
JT DC
Who ever had this album original better save it. This is real art