Name: Failure Not Success
Brand: Wild Billy Childish

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2023-02-24

Format multiplier

Catalogue number

156877

UPC / Barcode

5020422058811

156878

5020422058828

Artist

Wild Billy Childish

Label EU

Damaged Goods

Genre EU

Garage / Surf / Trash

Damaged Goods is a record label from the UK that was formed in 1988 by Ian Damaged. With over three decades of experience, this label has established itself as a prominent player in the music industry. Specializing in various genres including punk, garage rock, and indie pop, Damaged Goods has consistently delivered high-quality releases from both established and emerging artists. Their commitment to supporting independent music and their impressive catalog make them a go-to destination for music lovers and collectors alike.

Since its inception, Damaged Goods has been dedicated to promoting talented musicians and helping them reach wider audiences. The label's diverse roster includes iconic bands such as Thee Headcoats, Holly Golightly, and Johnny Moped. By providing a platform for unique voices within alternative music scenes, Damaged Goods continues to contribute to the evolution of these genres.

With an extensive discography spanning multiple formats including vinyl records, CDs, and digital downloads, Damaged Goods offers something for every type of music enthusiast. Whether you're searching for rare punk gems or exploring new sounds within the indie scene, this label's carefully curated releases are sure to satisfy your musical cravings.

Newest Listed Items

New studio album by Billy and CTMF! Featuring Billy at his song writing best! Includes covers of Richard Hell and Jimi Hendrix songs, along with a newly recorded version of "Bob Dylan’s Got a Lot to Answer For"! We asked Billy a few questions about this mighty fine album… Q: It will seem counter-intuitive to some but why do you favour failure over success? A: "If the Pop Rivets (the first group I was in in 1977) had been “successful” in the formal sense, then it would have been a disaster - no learning about sound, growth, and independence. Luckily, we considered ourselves successful from the outset by doing what we wanted the way we wanted. We believed the hype of punk rock – do-it-yourself and lived it, unlike the “successful” leaders of the movement. I’ve always wanted small gigs where your open and exposed. The same with recording - excitement, mistakes, humour, and hopefully joy. The reason to become “successful” is to cut yourself from your origin and roots. In short, we'll decide what success is, not a critic, the world, or public opinion." Q: The album opens with a cracking cover of Richard Hell’s ‘Love Comes in Spurts’. You’ve previously recorded this with Thee Headcoats on Brother Is Dead… But Fly Is Gone! from 1998. What made you want to revisit the song? Has Richard heard it? If so, what did he think? A: "I forgot that we did it with Thee Headcoats. If I had that LP, I’d give it a listen. I do remember covering it live with The Pop Rivets in 1978. Richard said he liked it a lot and told his girlfriend he only wants my tunes at his funeral. I said, “not too soon I hope." He assured me he's well."Q: We’re digging the instrumental track "Walk of the Sasquatch". Is this track in honour of the North Kent Sasquatch Research Group? What do you know about that mysterious organisation? A: "The track is more about the pacific Northwest cousin of the English version (the Woodwose). The North Kent Sasquatch program has gone a little quite of late, but I believe they are still trying to get Cobham Woods - nearby across the river - to be designated as a reserve, though of course this poses some danger to the public during the spring breeding season."Q: The album closes with a version of previous single ‘Bob Dylan’s Got a Lot to Answer For’. What would you say is the biggest thing Bob has to answer for? And what do you most admire him for? A: "It’s a different take from than the 45 version. The single was recorded in full lockdown. What has Bob got to answer for? I guess a lot and nothing. It’s not his fault he is famous, it is the fans and enablers that should be strung up for turning poor little pop stars into demi-gods. He seems to be one of the few in the mainstream music industry, who has remained in charge of his own recordings, sounds, and writing. Besides writing a few very good songs, I also liked his pronouncement: “I made bad records on purpose.” Now that’s a great line - so maybe he deserves his Nobel prize after all." Q: You have a couple of CTMF shows coming up at the Lexington in London in February. Given you have such a great hat collection, have you decided what stage gear you’ll be wearing yet? A: "Billy’s “fashion box” will have to be investigated. I first got “into” fashion in thee Headcoats days. Thee Headcoatees started attracting members of the gay community to our gigs, that’s when I saw an opportunity to “go for the pink pound.” There was much excitement in the dressing room, pre-show, especially from Holly, to see “what fashion Billy might have in his bag this week.” Hats are of course top of all fashion requirements, and I’ll give my best thought and attention on the day."

Failure Not Success

Music EU