London’s Denmark Street – aka Tin Pan Alley – the epicentre of the capital’s music heritage, currently under threat from developers – is to be immortalised in a new documentary.

Henry Scott-Irvine, Chairman-Founder of the SAVE DENMARK STREET CAMPAIGN, has been in touch with Vive Le Rock to update us on current events and the upcoming film.

“Save Denmark Street as a campaign has had some significant successes. We have gained upgraded Historic England status at three addresses. 6 Denmark St – where the Sex Pistols lived, rehearsed and recorded their early demos in the out building to the rear – is now ‘Grade 2 Star’ listed since March 22nd 2016. Notably, Hipgnosis the album sleeve design company for albums by Pink Floyd and Led Zeppelin was also based at 6 in the main listed building. Next door at 7 is also protected to ‘Grade 2 Star’ and 26 the former 12 Bar Club has seen The Old Forge (or Smithy) stage moved, while a new 200 standing-room-only venue is built beneath it. This will reside above an ‘Event Gallery’ or multipurpose underground 2000 capacity venue if old Denmark St north can withstand all the digging under it, because Crossrail itself also goes beneath both venues.

“Meanwhile, the music shops and some music spaces above now have new protections granted under an ‘S106 Deal’ that we influenced. This was signed-off between Camden Planning Depts. and Consolidated Developments in July 2015 and extended in July 2016. So we are now calling for the Street to become a ‘Music Heritage Zone’, but thus far both Camden Council and The GLA’s Music Officers have been resistant to this idea, which we will continue to tout for vociferously.

Tin Pan Alley Tales – The Film is a documentary project currently in pre-production. The film will be a chronology of this unique street, spanning some 300 yards and some 300 years. Presented as an urban Canterbury Tales our 75 minute film will be told by approximately 12 key characters that have had an historic association with Denmark Street. Expect exclusive untold tales pertaining to David Bowie, The Small Faces, Marc Bolan, Black Sabbath,  The Rolling Stones, The Sex Pistols, amid secret histories outside of music but from within the street itself. These ‘Tin Pan Alley Tales’ will feature alongside those key characters who’ve either lived or worked in Britain’s only music street.

“Denmark Street is formed of some 28 addresses and was affectionately known as Tin Pan Alley – the home of British music publishing and song writing from 1911 until 1991. It was originally named after its Manhattan counterpart. Since then it has continued to be a home of 2 venues, 11 music shops, guitar makers, guitar repairers, rehearsal spaces, agents, producers, studios, and production companies.

“Since we started running the ‘Save Tin Pan Alley Campaign’ the true ‘unsung heroes’ of Tin Pan Alley – the musicians, the technicians and the people behind-the-scenes –  have come out of the woodwork, out of history and out of retirement to approach us. People that would be very hard to find in any other circumstance have literally come forward from across the globe. They’re saying, “We want to be in your film!” And we have them here now. They’re ‘Ready, Willing, and Able’. And so are we, but we need your donations!

“Please pledge here for rewards of t-shirts, badges, DVDs, posters, gigs, screenings and downloads, or go to phundee.com and look for Tin Pan Alley Tales.”

For more on the campaign visit http://tinpanalleytales.co.uk/

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Vive Le Rock can refute the recent rumours that Anne Pigalle, The Last Chanteuse, was dead!

The Last Chanteuse – who grew up with punk in Paris, came to the UK, released a revolutionary European album of torch songs, and created some of the most exciting soirées in London in the 80s – seemed to have vanished from the public eye.

But far from it. While all culture has slowly been crushed and erased and cultural buildings closed or destroyed, Anne Pigalle has certainly been more than active.

Coming back from LA, where she spent most of the 90s working on a visual and musical concept with the likes of Donald Cammell (Performance), Anne returned to London and unleashed her bag of new found ammunition.

From experimental amérotic poetry filled soirées (âme means soul in French) to exhibitions such as her influential and infamous self-portrait polaroids ‘Amérotica’at the prestigious Michael Hoppen Gallery, as well as painting shows with the Aquarium gallery (home of Jimmy Cauty and Jamie Reid), she also added her own brand of art performance.

Anne Pigalle has been more alive than alive, and influenced a new London cabaret scene by creating a fresh market promoting freedom and eroticism. A lot of her visual work is reminiscent of religious ex votos with an esoteric and sensual take, often decorated with objets trouvés. People in the know have compared Anne’s work as somewhere between a surrealist Claude Cahun with a mix of Toulouse Lautrec and Jean-Michel Basquiat.

This period was followed by the release of the Madame Sex Art CD, a collection of erotic and surrealist poetic vignettes, where each CD cover was painted individually.

In the last couple of years Anne has also been very active as an activist in terms of her involvement with the slow demolition of Soho, participating in demo protestations and films, lecturing and explaining how Soho was built with the knowledge of the Huguenots immigrants and organizing multiple events with Soho related performers.

NOT DEAD is an exhibition about our spirit – the spirit of the people who believe in, and stand for, a worthwhile sentiment of a civilized society, the spirit to fight and save our right to a human life.

Anne Pigalle dead? No. NOT DEAD.
 Come and see for yourselves…
The Last Chanteuse is Dead, Vive The Last Chanteuse!


Exhibition open: 13 – 14 August 2016 from 12 – 8pm

G511ERY, 511 Seven Sisters Road N15 6EP

Seven Sisters tube (White Hart Lane Exit)



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As THE VIBRATORS gear up for a tour-de-force show celebrating 40 years of the band, including appearances from the classic line ups, original guitarist John Ellis takes Vive Le Rock back to his formative days as an aspiring musician.

“I was a lover of music, the thing is probably my mum actually, she was a big Lonnie Donegan fan; every time we were on holiday, in places like Great Yarmouth, at that time bands used to play those kind of gigs, summer residences, on the pier. Cliff and the Shadows had been around a long time as well, so I saw Cliff and The Shadows do pantomime, so I was well into the twangy guitars! And also the Beatles were coming through when I was eleven or twelve, and that was pretty amazing. But prior to that I’d seen Lonnie Donegan live a few times.

“Now I teach blues guitar workshops and I’m a massive fan of the blues, it’s one of the main musics for me; but what I didn’t realise when I was a young man, eight or nine years old – and why would I have done – but I was actually witnessing the birth of the British blues boom. Lonnie Donegan was almost single handedly responsible for creating what you could call that blues revival, him and Alexis Corner, and those few people were responsible for bringing over those blues greats. And out of those little bands, you’ve got your Eric Claptons and your Jeff Becks and your Jimmy Pages. You’ve got your burgeoning birth of the British blues. And of course British blues went on to become rock music and then went on to become, eventually, punk and everything else.

“That was my background as a musician and I’d fiddled around with a guitar – my gran had bought me a guitar and everything. But I never really got into guitar (until) I started Bazooka Joe with my friend Daniel. You’re probably talking about ‘68, we were probably doing those Hampstead Town Hall gigs. After I left (Daniel) carried it on, so he’d have much more understanding of the history of the band, and of course Adam Ant became a member of Bazooka Joe – and the first ever Sex Pistols gig was supporting Bazooka Joe!”

The Vibrators play the O2 Academy Islington on February 27th.

john ellis

John Ellis on Facebook

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Peter Perrett Only Ones

With a short series of live solo dates scheduled over the next couple of months, ONLY ONES frontman PETER PERRETT revealed to Vive Le Rock his intentions for some forthcoming new material:

“The tentative plan is to get an album recorded, hopefully ready to release for February/March. All I’ve done so far is one day in the studio with the band (STRANGEFRUIT) doing backing tracks; five backing tracks and then three or four days doing overdubs and vocals. And there was two songs that I was happy with, to release. Since then, the bass player – Peter, my son – and the drummer (Jake Woodward), who are both at college doing a music degree, they both finished their finals half way through June. It’s really intensive, music degrees, they really work you hard, they’re having to play, every night, things in 9/8 and things, it really is intense – I couldn’t really call on them! So, after they finished, we had four days rehearsal before going to Amsterdam.

“And so, every day it went up a level, the way we were playing. Although I’m happy with the two songs I thought I was going to (release), I was going to go back into the studio and mix them… but, part of me enjoyed playing the other new songs that I did, so much that I thought, ‘If we have a few more days rehearsal…’ – although they’re great musicians, it doesn’t give the songs enough time to develop. I just felt it went up a level, so… Jamie (Peter’s younger son, guitar) was a bit upset, because he spent loads of time editing everything ready to go in and mix it, and I said to him ‘Ah, I want to redo it!'”

While further Only Ones activity is by no means out of the question, Peter will be backed up by Strangefruit for his upcoming shows. Fans can expect a balance of old and new material on the night:

“The band are a really tight band, cos they play together as Strangefruit, but we haven’t had that much rehearsal time doing my new songs. We did a gig in Hebden Bridge where we had some rehearsal time, but that was mainly learning Only Ones songs, because that’s what the audience expects. In the nineties, I had a band (The One) and I wanted to not trade on my past, I wanted my new songs to stand out, so to begin with I did a third Only Ones songs, two thirds new songs. But the last gig (The One) did, it was in the Roadhouse Manchester, and someone put the setlist on line, and first song, ‘Another Girl, Another Planet’, get that out the way, and all the other songs were new songs; that’s the way I used to be then.”

“Now I understand, from a fan’s point of view, because I’ve been in the audience since then, seen people, and I quite like it when I recognise the song. From a fan’s point of view, especially people that’ve never seen you play the old songs, you’ve got to be a bit more giving. I used to think it was like taking the easy way out, playing the songs that everyone knew and wanted to hear, I always cared more passionately about new songs, and thought maybe it was playing the game too much, being a bit more like a cabaret or a nostalgia trip, or a heritage band or whatever they call it… I used to think that that was somehow selling out.

“Now I realise that maybe I’m a bit too radical in my ideas as to what a performance and a gig should be, and they should be a bit more give and take. There’s nothing wrong with playing old songs. So to begin with they had to learn the Only Ones songs so I could function giving the people the songs they’ve liked over the years. But really my passion is about getting them to learn the new songs as soon as possible.

“Really all I want to do is record. To begin with, I thought it would be a distraction doing gigs; but it’s been good, because when you’ve got a gig it forces you, ‘Oh I’ve got a gig next week, I’d better rehearse’; so four rehearsals in a row, I actually started feeling like a musician, and so I wrote four songs over the three week period. Without feeling like a musician, I don’t want to write new songs, because I’ve got a bunch of new songs that aren’t recorded yet, ones that were played over the Only Ones (reunion) time, and other ones as well, and I’ve got this dread that I’ve got these great songs that I’m proud of that’ll never get recorded… and so it’s a deterrent to writing!

“The thing of having a gig to do is you think ‘I’d better get into musician mode, I’ve got to walk out and be a musician’, and so feeling like a musician, rather than someone who used to be a musician a long time ago, I’ve actually started enjoying writing again. And the feeling of writing a song and three days later playing it with a band, and it happens… sometimes songs take a while, but occasionally there’s a song that is just so simple, and that’s why I did this new song ‘Living In My Head’ in Amsterdam, cos as soon as I started playing it with the group, it just sounded amazing.

“And it just gave me a buzz, and inspired me to write more songs, so since I got back from Amsterdam I’ve written two and a half songs. Which is quite a lot for me, after going years and years without…”

See next month’s edition of Vive Le Rock for more from Peter. The revised edition of Nina Antonia’s The One And Only biography is available now through Thin Man Press. Peter will be playing live on:

24 July, Garage, London

8 August, Rebellion Festival, Blackpool

15 August, Ruby Lounge, Manchester

29 August, The Fleece, Bristol

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Gearing up to promote his new Command Performance album over a series of UK dates, TAV FALCO shares some thoughts with us on his relationship with Alex Chilton and the formative stage of Panther Burns:

“When Alex and I started to make music, I turned him on to something he’d really never considered, which was blues. It was around in Memphis, but you know, the sort of music can be around you, you’re just not particularly drawn to it; it’s not that Alex didn’t like it, he just hadn’t been drawn to it for any particular reason. And also some of the avant-garde music I was listening to, he got into that and he got into the video tapes we were making, that was another thing that drew him into our interest in the blues. And then Alex turned me onto rock’n’roll. Prior to that I never thought about playing rock’n’roll, I’d wanted to learn a little blues guitar, but didn’t think about doing much with it, I’d done a little bit with blues artists in Memphis, in a folkloristic kind of way, and I’d also studied folklore. And was very much into John Fahey… and the folklore work of John Lomax, and his research and books. John was the real theoretician in Harvard on folklore. Anyway, Alex showed me some simple things in rock’n’roll, I never thought I could play rock’n’roll, to me that required a real musician. For me, blues, you didn’t have to be a musician. You didn’t have to be a musician that knew how to read music or a chord chart, you didn’t have to be a trade musician, is what I’m trying to say. You could do beautiful things. I tried to teach myself music notation, I tried to read it, learn it, I couldn’t do it on my own. And I never got in the position to study music. So when Alex started to turn me onto rock’n’roll, he didn’t read music either, at that time. And Frank Sinatra only knew the intervals, like a lot of jazz people. So I tried to make a couple more stabs at it once Panther Burns started. And thought, well this is gonna hang me up, I wanna play music intuitively and I know I’m gonna be limited in what I can do, but it’s gonna be my work and it’s gonna be more a stamp of who I am. So that’s what I did in Panther Burns, I have had the privilege to work with some trained musicians, and that’s also part of the explosive nature of some of our work. Because, it’s like Marshall McLuhan said, if you get two clichés and you rub ‘em together, you get an explosion. Take a trained musician and you take a musician who is untrained, a musician who plays intuitively, you get something you do not get otherwise, whether all-intuitive aboriginals, or all trained musicians working together.

“So to further that on the first album, Behind The Magnolia Curtain, we had developed musicians in the group; we had Alex, we had Jim Duckworth the jazz player, we had Ron Miller on avant garde jazz bass, a symphony player who knows music very well and studied with some great jazz artists, who knew Pharoah Sanders and all those people. We had them on the sessions and we brought in the Mississippi Fife and Drum Corps, only the drummers, that was Jessie Mae Hemphill on marching snare drum, and she came from a musical family, her father Sid Hemphill was a blues artist in the area. Later she became known as the She Wolf, on guitar, she played drums on that record with two marching snares and one bass drum, and this music has more African retentions than any American music.”

Tav Falco and Panther Burns play Stroud UK Goods Shed Artspace on Tues 9th, Cardiff Moon on Weds 10th, Manchester Ruby Lounge on Thurs 11th, London Oslo on Fri 12th, Edinburgh Mash House Sat 13th, Glasgow Poetry Club on Sun 14th and Middlesborough Westgarth Social on Mon 15th. See the current issue for further conversation with Tav.


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The film’s directors Iain Forsyth and Jane Pollard spoke of the impact the band and their music has had on them and their debut feature 20,000 Day On Earth since shooting Nick Cave & The Bad Seeds live at Sydney Opera house on their 2013 Push The Sky Away tour.
"’Jubilee Street’ forced its way into our film. We’d planned to end with ‘Push The Sky Away’ and it’s pertinent lyrics about rock ‘n’ roll getting you right down to your soul; but after the band played ‘Jubilee Street’ at Sydney Opera House we didn’t stand a chance. Only four songs in and there was Nick, transforming in front of us. Our lives haven’t been the same since."
The film constructs a narrative and cinematic reality that seamlessly blends performance and storytelling with emotional truths. Neither a music documentary nor a concert film, 20,000 Days On Earth contains not just electrifying performances, but also keen insights into the creative process: we see a song grow from the tiniest of ideas sketched out by Cave in his office to a monstrous epic performed by the peerless Bad Seeds on stage at Sydney Opera House.
View the lyric video to “Give Us a Kiss” here: http://smarturl.it/ncandtbskissvid
Listen to Jubilee Street (live Sydney Opera House):
Nick Cave & The Bad Seeds fifteenth studio album Push The Sky Away was released in 2013 to a chorus of laudatory global reviews, charting at number 1 in seven countries. With their recent US shows were extolled as “utterly spectacular” in NME, and hailed by their fans as their best yet, the Nick Cave & The Bad Seeds story continues to unfold and grow.
Nick Cave & The Bad Seeds are Nick Cave, Warren Ellis, Martyn Casey, Thomas Wydler, Jim Sclavunos, Conway Savage, Barry Adamson and George Vjestica.


The impetus for the added recording came from the recent reintroduction to The Saints of Barrington Francis, who played in the band from 1979 to 1989. “There’s magic that happens when Barrington, Peter [Wilkinson, the drummer] and I get together,” says Chris. “In this technological world where everything is nine million tracks on computer it’s very important to retain the immediacy of rock’n’roll, to keep that earthy, organic, primitive side. If you can type, you can type an album these days, but there’s something that happens when you rely on people playing together.”

The Saints have reached a huge new audience thanks to Bruce Springsteen, who covered their ‘Just Like Fire Would’ on his 2014 global No 1 album, High Hopes. “Bruce told me: ‘I bought the album when it came out and I’ve always really loved that song’,” says Chris. “I’d known that he’d done the song live on his last tour, but I never in my wildest imagining thought he’d release it”.

It’s the latest development in the career of a band that found themselves at the forefront of the punk revolution with the release of their era-defining single ‘(I’m) Stranded’ in 1976, (NME made it Single of the Week; Sounds made it Single of the Year; and EMI executives raced to sign them), that led to Top of the Pops, and a stack of classic albums. Since then The Saints have one moment blasted out the most raucous rock’n’roll, and the next created some the most affecting, emotional lyricism, and often even done it at the same time.

Chris Bailey’s songwriting has always been key to The Saints. “My job is to come up with vignettes that make sense on a poetic, intellectual and artistic level, and in the context of a rock’n’roll band, which is what I always want The Saints to be,” he says. “The Saints aren’t your average rock band. Never have been, never want to be. This is another manifestation of that.”

King of the Sun / King of the Midnight Sun out 17 November on Fire Records

“Worshipped… a truly great band” – NME

“More stage presence than an army of attitudinal hipsters and a back catalogue to kill for” – The Independent

“Chris Bailey, a distillation of [John] Lennon and… Van [Morrison], and one of the great punk larynxes” – Uncut

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The former garage-punks, recently covered by Bruce Springsteen, break new ground with two albums that are the same – but different…

Why would a band re-record their new album in its entirety and then release them both at the same time? Because, as leader Chris Bailey puts it, “it’s both sides of The Saints in one package”. And so the deluxe debut European release of their King of the Sun features not only that album – a beautiful, expansive collection that harks back to Saints high points like ‘Ghost Ships’ – but also a freshly recorded rock’n’roll take on exactly the same set of songs, recorded as live, and called King of the Midnight Sun.

“I’m very proud of the studio album as a listening piece,” says Chris. “It’s lyrical, musical, an exploration of songwriting. Midnight is more a celebration of the strengths of a rock band. There’s a swagger on it that there isn’t on the original.”



Watch video with Modrake’s Theme here:

"You’ll probably hear it again in your nightmares." EOnline
"One surprising music supervision choice reared its creepy little head last night … post-punk vets Pere Ubu."  Wondering Sound

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‘Live from KCRW’ album line-up:
Nick Cave:             Piano, vocals
Warren Ellis:             Tenor guitar, violin, piano, loops, backing vocals
Martyn Casey:             Bass                                                    
Jim Sclavunos:             Percussion, drums, backing vocals
Barry Adamson:         Organ, backing vocals
‘Live from KCRW’ album track listing:
1.   Higgs Boson Blues            7.   Mermaids
2.   Far From Me            8.   People Ain’t No Good
3.   Stranger Than Kindness         9.   Into My Arms (limited vinyl only)
4.   The Mercy Seat                      10. God Is In The House (limited vinyl only)
5.   And No More Shall We Part        11. Push The Sky Away
6.   Wide Lovely Eyes             12. Jack The Ripper
View the Trailer Here: http://www.youtube.com/watch?v=t0yLsDnnLgE
Nick Cave & The Bad Seeds have scored 6 Australian ARIA nominations for ‘Push The Sky Away’. The album reached number one in Australia and nominations include – Best Live Act, Album of the Year, Best Group, Best Adult Contemporary Album, Best Independent Release & Best Video (for ‘Jubilee Street’)
UK Tour:
October 24th     DOME, Brighton – SOLD OUT
October 26th    HAMMERSMITH APOLLO, London – SOLD OUT
October 27th      HAMMERSMITH APOLLO, London – SOLD OUT
October 28th     HAMMERSMITH APOLLO, London – SOLD OUT
October 30th      APOLLO, Manchester – SOLD OUT
October 31st      BARROWLAND, Glasgow – SOLD OUT
November 1st     USHER HALL, Edinburgh – SOLD OUT

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KOKO  Monday 14th  Stagetime   20.15
“A finely tuned Punk reggae party”

RUTS DC Headline  Bristol Exchange Friday 18th October


Ruts DC will be Special Guests on the forthcoming UK Damned tour (dates below).

The Ruts and Ruts DC have a long history with the Damned completing several tours with them in the past. This promises to be an excellent line-up; who knows what will happen as they share a tour bus around the UK!
      Date     Venue     Location
      Nov 28     O2 Academy Bristol     Bristol, United Kingdom
      Nov 29     Portsmouth Pyramids     Southsea, United Kingdom
      Nov 30     The Assembly     Leamington Spa, United Kingdom
      Dec 01     Tivoli     Buckley, United Kingdom
      Dec 03     O2 Academy Leicester     Leicester, United Kingdom
      Dec 04     Winding Wheel     Chesterfield, United Kingdom
      Dec 05     Corn Exchange     Cambridge, United Kingdom
      Dec 06     Wulfrun Hall     Wolverhampton, United Kingdom
      Dec 07     The Picture House     Edinburgh, United Kingdom
      Dec 08     O2 Academy Newcastle     Newcastle Upon Tyne, United Kingdom
      Dec 11     U.E.A     Norwich, United Kingdom
      Dec 12     O2 Academy Leeds     Leeds, United Kingdom
      Dec 13     Roundhouse     London, United Kingdom
      Dec 14     The Ritz     Manchester, United Kingdom
      Dec 15     Roadmender     Northampton, United Kingdom

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The Vinyl Collection will include all the studio albums, along with a booklet featuring interviews with the band and photos. Demon will be working with the band & their fans, with no expense spared on full reproductions of the original albums, re-mastering from the original tapes in original cardboard sleeves on 180-gram vinyl.
Three bonus LPs exclusive to the box set will also be included. For the first time on vinyl the BBC sessions will be released together. A bespoke deluxe gatefold package will contain   John Peel Sessions and additional Janice Long sessions that appeared across the Demon CD re-issue packages. Also, through a fan-lead competition on social networks across the world, fans will vote for their favorite The Jesus & Mary Chain B-Sides & Rarities, the most popular of which will feature on a bespoke LP. Contributors to this Anniversary competition will have the chance of their profile pictures inserted into a mosaic poster of an iconic The Jesus And Mary Chain image exclusive to the package via the bands D2C store.
The Jesus And Mary Chain Vinyl Collection – The numbered and limited box set will include the following all six studio albums in their original formats re-mastered to lacquers and pressed on heavyweight vinyl from lacquers:
LP 1: Psychocandy (1985)
A1 Just Like Honey 3:00            
A2 The Living End 2:14            
A3 Taste The Floor 2:54            
A4 The Hardest Walk 2:36               
A5 Cut Dead 2:45                    
A6 In A Hole 3:01                    
A7 Taste Of Cindy 1:39
B1 Never Understand 2:58
B2 Inside Me 3:08
B3 Sowing Seeds 2:47
B4 My Little Underground 2:30
B5 You Trip Me Up 2:22 
B6 Something’s Wrong 4:00
B7 It’s So Hard 2:35
LP 2: Darklands (1987)
A1 Darklands 5:29                            
A2 Deep One Perfect Morning 2:43        
A3 Happy When It Rains 3:36              
A4 Down On Me 2:36                          
A5 Nine Million Rainy Days 4:29
B1 April Skies 4:00
B2 Fall 2:28
B3 Cherry Came Too 3:06
B4 On The Wall 5:05
B5 About You 2:31
LP 3: Automatic (1989)
A1 Here Comes Alice 3:52               
A2 Coast To Coast 4:13            
A3 Blues From A Gun 4:44                
A4 Between Planets 3:27            
A5 UV Ray 4:04                        
B1 Her Way Of Praying 3:46
B2 Head On 4:11
B3 Take It 4:34
B4 Half Way To Crazy 3:41
B5 Gimme Hell 3:18
LP 4: Honey’s Dead (1992)
A1 Reverence 3:39                    
A2 Teenage Lust 3:05            
A3 Far Gone And Out 2:49                
A4 Almost Gold 3:16                   
A5 Sugar Ray 4:37                  
A6 Tumbledown 4:10                    
B5 Gimme Hell 3:18
B1 Catchfire 4:45
B2 Good For My Soul 2:59
B3 Rollercoaster 3:44
B4 I Can’t Get Enough 2:56
B5 Sundown 4:57
B6 Frequency 1:19
LP 5: Stoned & Dethroned (1994)
A1 Dirty Water 3:05                    
A2 Bullet Lovers 3:37                    
A3 Sometimes Always 2:32        
A4 Come On 2:12                    
A5 Between Us 2:37                    
A6 Hole 2:13                        
A7 Never Saw It Coming 3:32          
A8 She 3:06    
B1 Wish I Could 2:40
B2 Save Me 2:41 
B3 Till It Shines 3:15
B4 God Help Me  2:45
B5 Girlfriend 3:15  
B6 Everybody I Know 2:12    
B7 You’ve Been A Friend 3:34
B8 These Days 2:14               
B9 Feeling Lucky 2:15
LP 6/7: Munki (1998)
A1 I Love Rock ‘N’ Roll            
A2 Birthday                      
A3 Stardust Remedy                  
A4 Fizzy       
B1 Moe Tucker
B2 Perfume
B3 Virtually Unreal                    
B4 Degenerate
C1 Cracking Up                        
C2 Commercial                        
C3 Super Tramp                
C4 Never Understood                    
D1 I Can’t Find The Time For Times                                   
D2 Man On The Moon
D3 Black
D4 Dream Lover
D5 I Hate Rock ‘N’ Roll
The Jesus And Mary Chain Complete Vinyl Collection also includes the following LPs exclusive to the box set:
A1 In A Hole 2:42                   
A2 You Trip Me Up 2:07            
A3 Never Understand 3:08              
A4 Taste The Floor 3:07             
Tracks A1 to A4 recorded 23/10/1984.    Tracks B1 to B4 recorded 29/10/1985.
A5 The Living End 2:14            
A6 Inside Me 3:00                   
A7 Just Like Honey 2:48            
(Tracks A5 to A7 recorded 03/02/1985).   
B1 Some Candy Talking 3:12
B2 Psycho Candy 2:00
B3 You Trip Me Up 2:41
B4 Cut Dead 2:46 
B5 Darklands 
B6 Down On Me
B7 Deep One Perfect Morning
C1 Fall 3:11                
C2 In The Rain 2:27            
C3 Happy Place 2:21            
Tracks C1 to C3 recorded 25/11/1986.   
C4 Sidewalking 4:22           
C5 Coast To Coast 3:19            
C6 Take It 3:06                       
C7 My Girl 3:05                 
Tracks C4 to C7 recorded 31/05/1988.   
C8 Far Gone And Out 3:03        
C9 Silverblade 3:11
C10 Here Comes Alice 2:47
D1 Come On
D2 God Help Me (William Vocal)
D3 Everybody I Know
D4 The Perfect Crime
D5 Reverence 4:40 
D6 I Love Rock’n’Roll 2:45 
D7 Degenerate 5:30 
D8 Mo Tucker 3:06
Tracks B5 to B7 recorded 23/11/1986
Tracks C8 to C10 recorded 26/11/1989.
Tracks D1 to D4 recorded 06/07/1994.
Tracks D5 to D8 recorded 04/1998.
A1 Catch Fire 4:36        
A2 Blues From A Gun 4:20       
A3 Head On 4:02        
A4 Reverence 4:55          
A5 Far Gone And Out 2:48    
A6 Halfway To Crazy 3:09        
A7 Sidewalking 8:02        
B1 Reverence 5:19                      
B2 Snakedriver 3:49                      
B3 Come On 2:48                                    
B4 Happy When It Rains 3:22
B5 Teenage Lust 3:39
B6 The Perfect Crime 1:38                              
B7 Everybody I Know 2:10
B8 Girlfriend 3:13 
B9 Hole 2:05 
B10 Head On 4:14                                   
B11 Sugar Ray 4:3
B12 I Hate Rock ‘N’ Roll 3:43
Tracks A1-A7 recorded 28th March, 1992 at Sheffield Arena
Tracks B1-B12 recorded 19th April 1995 at Trinity, Bristol
Fan selected, 8 track Anniversary LP.
In addition to fan voted favorite tracks, there will be a 32-page, hard back 12” x 12” book housing all the interviews from Demon CD Deluxe Editions, an exclusive mosaic poster, along with additional photography, plus up-to-date content from the band. A glossy memorabilia photo card with numbering will be included in every box in the limited run.

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“Cited by nearly every group in punk’s long lineage and by more than a few arty types, the Velvets defined New York rock, poised between street-level grit and literary irony, rock simplicity and minimalistic drones, clarity and noise.”– The New York Times

On December 3rd, 2013, Universal Music Enterprises (UMe) will release The Velvet Underground – White Light/White Heat 45th Anniversary Super Deluxe Edition, a three-disc, 30-track set featuring both the original stereo and mono releases, completely remastered, with bonus tracks including alternate versions, unreleased outtakes, John Cale’s last studio sessions with the band, and the official release of their show at The Gymnasium in New York recorded on April 30, 1967, which includes five previously unreleased performances culled from John Cale’s personal copy.  The 45th anniversary set was developed in conjunction with Lou Reed and John Cale, the exclusive material is as follows:
*New 2013 mixes of “Guess I’m Falling In Love,” “Hey Mr. Rain (version one), “Hey Mr. Rain (version two), “Beginning To See The Light” (also a previously unreleased early version)

*Unreleased versions of “The Gift” (vocal version) and “The Gift” (instrumental version)

*Never-before-heard tracks from Live At The Gymnasium, New York City, April 30, 1967– “I’m Not A Young Man Anymore,” “I’m Waiting For The Man,” “Run Run Run,” “Sister Ray,” and “The Gift”

*New liner notes from David Fricke

Originally released by Verve Records on January 30, 1968, the LP cracked Billboard’s Top 200 albums chart on March 16, entering at No. 199. Forty-five years later, The Velvet Underground’s White Light/White Heat is considered one of the most influential albums of all time, laying down the blue print for punk and experimental rock, critically acclaimed and included on many “Top Lists” including Rolling Stone’s 500 Greatest Albums Of All Time and on Rolling Stone’s Greatest Artists List.

Disc one of The Velvet Underground – White Light/White Heat 45th Anniversary Super Deluxe Edition starts with the original six-song stereo version of White Light/White Heat, with the album’s title track plunging head first into 40 minutes of unprecedented, transgressive rock storytelling, propelled by epic distortion, lacerating guitar drone and severe, rhythmic purism – "the Statue of Liberty of punk," Lou Reed contends, "with the light on top. It’s beyond unique and wonderful. No other group can touch what that is. You can’t try to be that."

Other tracks include the airy yearning of "Here She Comes Now," one of the Velvets’ finest ballads which gives the listener a two-minute breather with its “almost” serene beauty before being launched back in; the upbeat, hard-hitting proto-punk track "I Heard Her Call My Name,” punctuated with Reed’s biting guitar soloing, intertwined with a wall of distortion and feedback; the experimental sung and spoken noir of "Lady Godiva’s Operation" and "The Gift”; climaxing with the propulsive, distorted eternity of sexual candour and twilight drug life, rendered dry and real in Reed’s lethal monotone, in the 17-minute-plus "Sister Ray."  Bonus tracks include an alternate take of “I Heard Her Call My Name”;  the instrumental version of “Guess I’m Falling In Love,” recorded during the White Light/White Heat sessions but left unfinished; plus the original mixes of tracks “Temptation Inside Your Head” and “Stephanie Says”;  two different recordings of “Hey Mr. Rain”; and a previously unreleased early version of “Beginning To See The Light” recorded during John Cale’s last studio session with the Velvet Underground in May of 1968.

Disc two contains the original mono version of White Light/White Heat plus mono single mixes of “Here She Comes Now” and “White Light/White Heat,” as well as an instrumental and a vocal version of “The Gift,” both of which had been unreleased.

The Velvet Underground – White Light/White Heat 45th Anniversary Super Deluxe Edition also includes a third disc featuring the official release of the revelatory Gymnasium tape, recorded live during the Velvets’ residency at a short-lived New York club in April 1967, five months before the White Light/White Heat sessions. This show was previously only available on bootlegs and includes the complete version of the instrumental “Booker T.,” plus the tracks “I’m Not A Young Man Anymore,” “I’m Waiting For The Man,” “Run Run Run” and a version of “Sister Ray” that clocks in just under 19 minutes.


Many have tried. Some have come close. More will try again, in the wake of this definitive reissue, The Velvet Underground – White Light/White Heat 45th Anniversary Super Deluxe Edition.


Initial pre-orders of the Super Deluxe Box Set on the Boxset Store will received a limited edition white flexi disc featuring “Booker T – Live at the Gymnasium NYC. Limited to availability whilst stocks last.  http://po.st/u7C94N







WHITE LIGHT/WHITE HEAT (stereo version)








7    I HEARD HER CALL MY NAME (alternate take)

8    GUESS I’M FALLING IN LOVE (instrumental version) *


10 STEPHANIE SAYS (original mix)




unreleased early version) * 


* New mixes





(mono version)










7    WHITE LIGHT/WHITE HEAT (mono single mix)

8    HERE SHE COMES NOW (mono single mix)

9   THE GIFT (vocal version)

10 THE GIFT (instrumental version)









1    BOOKER T. 







7    THE GIFT*


* Previously unreleased






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Walter Lure plays;

    Thurs 8th August – BLACKPOOL, Winter Gardens (Rebellion Festival – www.rebellionfestivals.com)
    Fri 9th August – BRISTOL, Exchange (w/Healthy Junkies). Doors 7pm / £12 adv
    Sat 10th August – LONDON, The Underworld (w/The Parkinsons, Electric River & The Terraces)  Doors 6pm / £15 adv.

‘Rent Party’ is released on August 12th via Jungle Records, Cat No. FREUDCD114

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Vinyl-only label, Demon Records release rare reissues and original releases
of Foghat, Jim Croce, Sugar, Ian McCulloch, The Beat, Deacon Blue, Marc
Bolan and Saxon

This summer, Demon Records return with audiophile-friendly heavyweight vinyl
releases from a broad spectrum of influential and adored artists across
several genres. The rare and incredibly limited runs of releases are only
available once, and represent a number of Demon’s illustrious catalogue
artists plus exciting new third party projects with What Records. The
releases are as follows:

Artist: Foghat

Title: ‘Fool For The City’

Cat No: DEMREC08

Quantity: Strictly limited to 500 copies

Info: Reissued for the first time since it’s astounding initial release
which earned a double platinum certification for over two million copies
sold. The breakthrough album is a rock classic which features the huge "Slow
Ride" amongst a killer batch of often criminally overlooked classics.

Artist: Sugar

Title: ‘Beaster’

Cat No: EDLP1002

Quantity: Strictly limited to 500 copies

Info: Recorded at the same sessions that produced their classic debut Cooper
Blue, this sophomore collection was very much the dark flipside to the
album’s widescreen powerpop. Retaining his gift for great hooks, Beaster saw
frontman and songwriter Bob Mould screaming confessional and rawly emotional
lyrics against a raging torrent of noisy guitars. Ably backed by the by
David Barbe and Malcolm Travis the songs combine a wall of sound dynamics
with powerfully religious imagery and carefully layered arrangements. Sugar
were vindicated in issuing such an extreme sonic statement but the album
entered the UK charts at number three and cemented their reputation as
uncompromising but brilliantly creative outfit.

Artist: Saxon

Title: ‘Dogs Of War’ – 12" Picture Disc

Cat No: DEMREC07

Quantity: Strictly limited to 750 copies

Info: Recorded on Boston England, the twelfth studio album "Dogs Of War",
orginially released in 1995, was Saxon’s third for Virgin Germany and was
the last album to feature guitarist Graham Oliver. The 10-track epic is a
move in the heavier direction for Saxon and features rock powerhouses
‘Burning Wheels’ and ‘Demolition Alley’ with monstrous artwork and trademark
pounding riffs.

Artist: Ian McCulloch (What Records Exclusive & Demon)

Album Title: ‘Holy Ghosts’ – Triple transparent yellow vinyl

Cat No: DEMREC15

Quantity: Strictly limited to 500 copies worldwide

Info: Celebrating the releases of McCulloch’s new double album package Holy
Ghosts – Demon Records are releasing an exclusive triple pack of the album
featuring 15 brand new orchestral reworkings of classic Echo & The Bunnymen
produced and mixed by Youth along with the new studio album.

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Having spent the last year and a half playing truant – as the rhythm section in a French band – Bailey and drummer, Peter Wilkinson, dust off their halos and re-focus on The Saints.

‘King of the Sun’ was produced by Fortunato Luchresi and engineered by Sean Carey. The title track will be the first single taken from the album. Initially released in Australia November 2012 to coincide with the band’s Australian tour

Chris Bailey says of the album, “The Saints have always been my main passion, despite my promiscuity and desire for musical experiment I feel that The Saints are an unfinished musical journey. This album is one step closer on this road.”
The tracks are subtle metaphors, disguised in nostalgia or cherishment of a time gone by; they capture the difficulties and the despair of our times.

The Saints continue to entertain crowds far and wide, throughout the world. Details of UK/European live dates will be announced soon.

Over the years the band have released 15 studio albums, 17 singles, 6 EPs, 2 live albums and 10 compilation albums, not to mention Bailey’s solo output and collaborations with other artists.

And they have done a shitload more but this is just PR, listen to the music….

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Ready To Die finds Iggy Pop, guitarist James Williamson and drummer Scott "Rock Action" Asheton reunited for a full album of all-new material for the first time since the legendary Raw Power sessions, with Mike Watt filling in for the late Ron Asheton on bass. The results are the closest thing to a time capsule to 1973 – or at least to Iggy’s subsequent efforts with Williamson, including 1977’s Kill City and 1979’s New Values – that rock ‘n’ roll is likely to proffer in this millennium. The new album’s opening one-two of ‘Burn’ and ‘Sex & Money’ pair sublimely blunt and self-explanatory subject matter with back alley razor-blade guitars and a troglodytic rhythmic stomp as intensely single-minded as Iggy’s lyrical statements of intent. Elsewhere on the album, anthems abound in the form of the most dead-on rallying cry for the lower-working-class dispossessed to date–the succinctly and aptly titled ‘Job’ – as well as a title track that mixes a signature Iggy Pop mission statement of angry desperation with guitar pyrotechnics that recall those halcyon opening salvos of ‘Search & Destroy’.
Just as Iggy exhumed the original Stooges name when he reunited in 2003 with the Asheton brothers, the revival of the Iggy and the Stooges moniker that first appeared on the cover of Raw Power heralded the return of guitarist James Williamson to the fold in 2009, or as Iggy put it then "although ‘the Stooges’ died with Ron Asheton, there is still ‘Iggy and the Stooges’." As far as the decision to record and release a new Iggy and the Stooges album for the first time since 1973, Iggy recently commented:
"My motivation in making any record with the group at this point is no longer personal. It’s just a pig-headed fucking thing I have that a real fucking group when they’re an older group they also make fucking records. They don’t just go and twiddle around on stage to make a bunch of fucking money…"
Iggy and the Stooges will begin the Ready To Die live assault shortly.

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