Hiljaiset Levyt: PUNKNET 77 - 100 Best Punk LP's". Hiljaiset.sci.fi. 4 March 1996. Archived from the original on 22 November 2007 . Retrieved 29 June 2014. X-Ray Spex: Germfree Adolescents". Uncut. p.132. [T]he heat and intensity of this debut has never been repeated. Nearly 30 years after it was recorded, Germfree Adolescents is as timely as ever. In 2020, Rolling Stone ranked the album at number 354 in their list of the 500 Greatest Albums of All Time. [23] Cover versions and cultural references [ edit ] Murray, Charles Shaar (1978). "No Pop, No Style Poly Styrene is Still Strictly Roots". NME (published 13 May 1978). Archived from the original on 27 October 2009 . Retrieved 19 January 2008. Pelly, Jenn (15 January 2017). "X-Ray Spex: Germfree Adolescents". Pitchfork . Retrieved 15 January 2017.

MercuryPrize (15 September 2014). "FKA twigs Q&A – 2014 Mercury Prize". Archived from the original on 13 December 2021 – via YouTube. In 1994, The Guinness Encyclopedia of Popular Music named Germfree Adolescents the eighth best punk album of all time. [19] Seven years later, in May 2001, Spin magazine ranked the album at number five on its "50 Most Essential Punk Records" list. [20] In March 2003, Mojo magazine ranked the record at number 19 on its "Top 50 Punk Albums" list. [21] Germfree Adolescents is listed in the reference book 1001 Albums You Must Hear Before You Die. [22]

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X-Ray Spex played at 'Front Row Festival', a three-week event at the Hope and Anchor, Islington in late November and early December 1977. [24] This resulted in the band's inclusion, alongside the likes of Wilko Johnson, 999, The Only Ones, the Saints, The Stranglers, and XTC, on a double album of recordings from the festival. Then, in February 1978, before the release of their second single, X-Ray Spex recorded the first of two sessions for John Peel at BBC Radio 1. [31] Their profile was further enhanced by playing a fortnight's residency at New York's CBGB's, even though the album Germ Free Adolescents was not released in America until 1992. Oh Bondage Up Yours!" / "I Am a Cliché" (September 1977: Virgin Records, VS 189); also released as a 12" single (VS 189–12)

The same reviewer in The Virgin Encyclopedia of Popular Music sums up the band's 1970s contribution as "one of the most inventive, original and genuinely exciting groups to emerge during the punk era". [33] Reformation [ edit ] Hiljaiset Levyt: PUNKNET 77 - X-Ray Spex". Hiljaiset.sci.fi. Archived from the original on 4 March 2012 . Retrieved 29 June 2014. Her inspiring story encapsulates what should be the legacy of punk: not simply spiky rebelliousness, but a self-aware sensitivity to the world that can help shape how we navigate the music industry and our lives as a whole. I Am a Cliche shows how Poly’s innate sensitivity was often misunderstood and exploited – yet for me she remains a radiant symbol of defiance, luminous rage and joy. I believe that she dreamed of reaching a higher level of consciousness through art and wanted to examine a more spiritual route to identity. Her music and lyrics transcended the everyday, stretching the limits of the imagination. During their first incarnation (1976–1979), X-Ray Spex released five singles and one album. [1] Their 1977 single " Oh Bondage Up Yours!" and 1978 debut album Germfree Adolescents are widely acclaimed as classic punk releases. [sources 1] The band has briefly reformed several times in the 1990s and 2000s.In keeping with its subject, the new film Poly Styrene: I Am a Cliche is not your average music documentary. It shows Poly struggling to deal with fame at a young age, disbanding X-Ray Spex and abandoning the limelight to live in a Hare Krishna commune. It thoughtfully reflects on themes of creativity, identity, spirituality, motherhood, loss and mental health. The central voice is that of Poly’s daughter, Celeste Bell, confronting the difficulty of mourning the loss of a mother who had been so loved, yet so complicated. Through archival footage and interviews, the film examines the uneasy line between how the music press categorised and celebrated Poly Styrene as a rebel and a figurehead, overlooking the vulnerability of Marianne Elliott-Said. Strong, M.C. (2003). The Great Indie Discography . Edinburgh: Canongate. p.184. ISBN 1-84195-335-0. a b Larkin, Colin (2002). Virgin Encyclopedia of 70s Music . London: Virgin Books. p.503. ISBN 1-85227-947-8. In an age of burgeoning A.I. and rampant outsourcing, the sci-fi poetry of “Genetic Engineering” is even more prophetic, as Poly declares that “genetic engineering could create the perfect race… could exterminate/introducing worker clones/as our subordinated slave.” Her grim propositions have lost none of their daunting edge. Punks were screaming “NO FUTURE,” and fair enough, but Poly went further, deeper; her songs dared to imagine just how bad hellish normalization could be. And here we are.

Larkin, Colin (1994). All Time Top 1000 Albums . Enfield: Guinness Publishing. p.236. A colourful explosion of sound The album was not a large commercial success, and never charted, however it was critically praised, with the prolific Robert Christgau of the Village Voice regretting the fact that Poly Styrene’s “irresistible color” was not released in the US, rather released only in Britain by label EMI. The album was also produced by Falcon Stuart, who also housed all the band’s members, advertised, and even photographed for them. Stuart would also go on to spawn Adam Ant’s career, and others. Live @ the Roundhouse London 2008 (November 2009: Year Zero, YZCDDVD01); CD and DVD of live recordings from September 2008A spokesperson for Styrene confirmed her death this morning, saying everyone around her was saddened by the news. A full statement is expected later today. X-Ray Spex weren’t revolutionary fellow travelers like the Sandinista fans in The Clash, nor were they indiscriminate nihilists like the Sex Pistols. X-Ray Spex were political in the way that Marshall McLuhan was political, less concerned with whoever’s in power at the moment than the capitalist system, and the insidious ways it controls ordinary peoples’ lives. This dystopian, almost sci-fi streak is most prevalent on “The Day The World Turned Dayglo”; opening with chugging power chords and a wailing sax riff, the song lives up to its B-movie title with Poly’s vision of a world where even the trees are artificial: “The X-rays were penetrating / Through the latex breeze / Synthetic fiber see-thru leaves / Fell from the rayon trees.” Dolan, Jon (May 2001). "The 50 Most Essential Punk Records – 5. X-Ray Spex: Germfree Adolescents". Spin. Vol.17, no.5. p.108 . Retrieved 23 October 2020. Staunton, Terry (May 2009). "X-Ray Spex – Germ Free Adolescents: Deluxe Edition". Record Collector. No.362 . Retrieved 5 September 2016. Christgau, Robert (26 April 2011). "Poly Styrene, Punk Pioneer, Dies at 53". NPR . Retrieved 23 October 2020.