ROSE TATTOO – Blood Brothers


Part of the Australian rock ‘n’ roll royalty that includes ACDC and the Angels, Angry Anderson and the Tatts’ first 2 albums are classics. But now, with 2 members dying last year, Angry singing like some heavy metal banshee and the blues, punk riffs of old long gone, this is a great disappointment. The bonus DVD just about makes up for it with some good live and TV stuff.
Eugene Big Cheese

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THE TIM VERSION – Decline of the Southern Gentleman



(No Idea)
Tampa anthemic punks with whiskey fuelled, gruff third studio album.
The Tim Version have been tearing out awesome punk songs for years. With driving songs such as the belting opener ‘Shin Splints’ (complete with guitar solo!), the bouncing confessional of ‘Murder’ and the sing along of ‘W.H.A.’, as well as the dirty country punk of ‘Where the Wildmen Are’ and ‘Bitter Greens’, this album bursts with energy and tension. This is accentuated by Russ VanCleave’s incredibly raw vocals and honest lyrics about scrapes with the law and drinking. It’s nothing new but The Tim Version do this sound better than most. The Tim Version are raising the bar (or should that be drinking it dry?) for gruff punk. 
Ian Chaddock

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THE TURNPIKE CRUISERS – Rockin’ Possessed 1984-1986


(Cherry Red)
Lesser known psychos, but check ’em out.
Psychobilly crew The Turnpike Cruisers’ roots can be traced back to a bizarre but entertaining early ‘80s outfit called Zanti Misfitz from the Blackpool area. No less bizarre, but certainly more focussed, the Cruisers never really rose above the status of mid-afternoon slots at psychobilly all-dayers, but they always put on a great show and are fondly remembered by many psycho old-timers. This set rounds up three recording sessions from, you’ve guessed it, 1984 to 1986, at Park Lane Studios and Tin Pan Alley, and if you’ve never heard the Cruisers before, the eighteen tracks reveal a quirky, diverse, and, yes, always Rockin’ band. And their cover of ‘I Wanna Be Like You’ is a killer.
Shane Baldwin

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TV SMITH – In the Arms of My Enemy


(Boss Tuneage)
Militant folk-punk from the former Ads man.
An indefatigable graduate of UK punk’s class of ‘77, TV Smith continues to write and perform with the same spirit of poetic social consciousness that informed his work both with The Adverts and TV Smith’s Explorers. The occasionally shambolic punk clatter of the Ads has long since given way to a more acoustic approach and Teev’s latest sees him very much in folk-punk troubador mode. Railing against consumerism, pollution and capitalism’s other more noxious by-products, Smith’s songs still reveal an unabated yearning for social values, most poignantly here with the reflective I Wish I Could See Clearly and the title track, whose spag-west stylings conjure-up Leone-esque visions of do-or-die standoff. 
Hugh Gulland

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VARIOUS ARTISTS – 20 Tracks of UK Punk and Ska


Oh yeah baby, 20 tracks of, well you know…
How can you not love an album that proclaims on the sleeve that it contains ‘Music by people who drink cider in the gutter’? Exactly, this rocks and does indeed contain 20 tracks of the genres described. This is one of those ‘help ourselves’ releases that embraces the true punk ethic and showcases a load of bands that don’t get a look in, but should. There isn’t a shit track on here but some stand-outs in the shape of The Hyperjax and Buzzkill amongst plenty of others. TNS stands for Thatsnotskanking, check them out on MySpace.
Simon Nott

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WELT – Ashes to Ashes EP


(Cider City)
Corking punk rock from Sacramento’s finest.
Sacramento based WELT have been knocking out top notch punk rock ’n’ roll since 1994. Bristol’s Cider City have come up trumps with this long-awaited follow up to 2001’s critically acclaimed ‘Brand New Dream’. Produced, engineered, and mixed by the dream team of Bill Stevenson (of Descendants/ALL/Black Flag fame) and Jason Livermore (Wretch Like Me), this EP really delivers the goods in the form of mid-paced melodic punk rock somewhere between latter day Social Distortion, Reno Divorce and Face to Face; chock full of pop hooks and even a hint of country. It’s as shame they’ve only come up with a 4-track EP though, as a full-blown LP would go down a treat.
Lee Cotterell


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Nifty debut from the sartorially impeccable ‘Leaves.
Utilising their regular Parliament Club in west London as a centre of operations, Fallen Leaves employ a distinctly old-school punk tactic in creating one‘s own scene and building it up from there. It adds up then that ‘Leaves guitarist Rob Symmons was the original guitarist with first-wave brit-punks Subway Sect, and is now back from an over-extended sabbatical with his distinctive high-slung Telecaster technique gloriously intact. With fellow class of ‘77 cohort Rob Green on vocals, Fallen Leaves have turned in for their debut full-lengther a brace of tuneful, high-powered mod-pop bursts executed with a punky sense of economy and a straight-from-the-garage lack of fuss. While up tempo belters like All That You Chose bring to mind the powerhouse drive of the early Who, Seven Years or Days of Summer reveal an agreeably Kinks-y sense of tune-age.
Hugh Gulland

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Old school sophistication at pre-war prices!
The vampish Ms Rocola has been prowling the capital‘s garage rock underground these past few years, bringing more than a touch of sultry sophistication to the party, whether fronting Joe Whitney‘s trash-exotica project The Tropics of Cancer or the swing-jazz ensemble Lady And The Tramps. The Tropics’ Under The Covers, as the title suggests, throws together originals like the bewitching Sylvia’s Gate with class takes on such classics as Cry Me A River, plus a take on The Buzzcocks’ Get On Our Own that’s pure Wicker Man in execution. Lady And The Tramps meanwhile take a stricter jazz path, shaking up a batch of retro-faves from Weill and Brecht’s Mack The Knife to the GI-jive of the Andrews Sisters’ Rum And Coca Cola. Book ‘em for your next party, and make mine a Cuba Libra.
Hugh Gulland

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With over 30 years of punk celebrated on this stunning documentary, ‘Punk’s Not Dead’ takes you into the sweaty underground clubs, backyard parties, recording studios, and yes, the shopping malls and stadium shows where punk rock music and culture continue to thrive. This incredible Susan Dynner film features Bad Religion, Buzzcocks, Good Charlotte, Sham 69, Green Day, The Business, Billy Idol, My Chemical Romance, NOFX, The Offspring, The Ramones, The Adicts, Henry Rollins, The Sex Pistols, Sum 41 and many more for an in-depth and fascinating look at a genre, past and present.

To be in with a chance of winning this great prize, just answer this easy question:

Q: Which UK punk group had a song called ‘Punk’s Not Dead’?

Send your answer, name and address to

Good luck!


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REBELLION FESTIVAL Vienna, Austria, April 28th 2008


Vienna, host to this year’s Spring Rebellion festival, and the venue ‘The Arena’ is as punk rock as it gets. Formally an abattoir and used for the horror film ‘Hostel’, the old rundown slaughter house was a prefect setting for the two day festival, with over 50 bands including Ska legend Neville Staple from the Specials and American punk rockers the Dwarves.


The sun was shining and the day had only just begun, and by noon punk rockers were itching to enter the doors of the Arena. The first outstanding band of the day was GOLDBLADE (4/5), with catchy, sing along choruses and a unique rock and roll rhythm, Goldblade performed a blinding set, with the audience singing every word to ‘Psycho’ people couldn’t help but dance, giving an opening show to the festival punters.
However the street Dutch Oi! band DISCIPLINE (4/5) wrecked the stage as they followed on with an aggressive and fast performance, with heavy thrashy guitars and powerful shouting vocals, the show just seemed to get better.

Discipline tear it up at Vienna Rebellion

On the other hand a quite rigid set from PETER AND THE TEST TUBE BABIES (2/5) with not much charisma on stage, the excitement died down a bit, and the smoke machine wouldn’t stop smothering the drummer! However the boys classics such as ‘Banned from the Pubs’ and ‘Student Wankers’ were definitely the tunes their fans paid to see.
Ska Legend NEVILLE STAPLE (5/5) bopped on stage full of energy, with the crowd cheering him on performing classics such as ‘Monkey Man’, ‘Too Much Too Young’ and ‘Ghost Town’. Staple had no problems pleasing the crowd as he non-stopped skanked through the strewn hay pit, boots were getting muddy but no frowns were to be seen.
However, it was Saturday night headliners, also known as the godfathers of Oi!, COCK SPARRER (5/5) that made the festival come alive. The 1970s reclaimed Oi! legends delivered a set of pure raw rock and roll, combining with thumping working class anthems, and sing along lyrics. Soaring their way through infamous classics such as ‘Riot Squad’, ‘Working’ and ‘Watch Your Back’, Sparrer also threw in their new sound from current album ‘Here we Stand’, performing ‘Gotta Get Out’. The boys gave a classic ending with ‘England Belongs To Me’ giving a true sing-a-long vibe to the show, giving the old boys a thumbs up from me.


With the festival coming to a close, another day dawned of punk rocking in the tranquil city of Vienna. The first big act of the day was London’s SONIC BOOM SIX (4/5). The ska punk rock sensation produced a sing a long set with ‘Piggy in the Middle’ and ‘Monkey See, Monkey Do’. However, with them being on so early, Sonic Boom Six didn’t get the crowd they deserved.
Austrian punk rockers SKEPTIC ELEPTIC (3/5) got the crowd going with a cover of Blondie’s ‘Call Me’. Climbing on the stage’s scaffolding, this band definitely knows how to entertain a crowd.
Watford’s Oi! boys ARGY BARGY (5/5) made a groundbreaking performance with fast shouting Oi! rhythms and a distinct sharp edge of street class punk. Delivering a set of their original Oi! anthems, Argy Bargy also gave the crowd of Vienna a taste of their new album with two tracks ‘There’s Gonna Be A Riot” and “No Regrets”. Receiving a brilliant response the show only got better as lead guitarist Mickey Beaufoy from Cock Sparrer joined on stage for the performance of ‘Argy Bargy’.
American long-haired thrash punk rockers MDC (3/5) had no problem entertaining the crowd at this year’s festival, with crazy head banging and soaring through heavy guitar riffs, blasting the Oi! fans away.
However the closing headlining act of Spring’s Rebellion Festival 2008, didn’t exactly go off with a bang. The American punk rockers THE DWARVES (1/5) didn’t exactly hold a crowd, and even the crazy antics of the guitarist being naked with a thong did not help. With a bad sound and a half empty crowd, the closing of Rebellion’s Spring festival came to an anti-climatic end. The weekend belonged to Cock Sparrer, Neville Staple and Argy Bargy.

Samantha Bruce

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Former Adverts mainman TV SMITH, the hardest gigging man in punk rock showbiz, has just released his new ‘solo’ album ‘In The Arms Of My Enemy’. TV kindly found time while (inevitably) on tour to respond to Vive Le Punk’s questions.

VLP: Just in general terms, how would you compare ‘In The Arms Of My Enemy’ with ‘Misinformation Overload’?

“I think they both share a very strong selection of songs but have quite a different approach musically. ‘Arms’ is less reliant on electric rock guitar. On ‘Misinformation’ I played all the guitars myself, and it was a fairly straightforward rock sound, but on the new album I wanted to broaden the musical spectrum and integrate some more interesting instruments while still keeping the power and energy of the last album.

VLP: Haven’t you made a rod for your own back here? Just in terms of your prolific work as a solo performer, how on earth are you going to recreate some of those cross-current guitar lines on stage, or will you have to simplify them for performance? I’m presuming a lot of the lead lines are played by Tim Renwick (I have to say, stuff like ‘Open Up Your Heart’ (especially), ‘My Trojan Horse’ and ‘In The Arms Of My Enemy’ reminds me of Jimmy Wilsey’s work with Chris Isaak. There’s a definite country influence too. That should shock the punk nostalgics!

“Basically I don’t try and recreate my albums on stage. In fact it’s the other way round: I write the songs on acoustic guitar, then go out and road test them at gigs solo. By the time I come to record the songs I have a good idea of the way I want them to sound and I try and aim for that. I like having a full band on the records because I think you get more out of repeated listenings that way, whereas a solo record is not something I’d personally listen to very often. Luckily over the years I’ve built up a collection of musicians and friends who I can call on when I want to make a record, depending on the sound I’m after – people like Tim Renwick who I know understands my songs and can put them across with his playing. The guy is a genius and I think he’s played some of his best ever guitar on this album.”

VLP: I noticed the unmistakable aroma of self-doubt on ‘I Wish I Could See Clearly’. I’ve always thought one of your songwriting strengths, going back through Adverts days and beyond, was in your ability to express confusion as much as certainty. You’re no stranger to phrasing a line of a lyric as an interrogative, are you?

“Well, if you’re going to be honest in your lyrics you have to take on board the fact that you basically don’t know what the fuck is going on. Anything else is just arrogance or self-deception.”

TV Smith in the Adverts days

VLP: Okay, other themes. ‘Get It Now’ – defiant, dance while your knees will still support you kind of thing – the album’s most optimistic song and a very different take on ‘consumption’ to that expressed in, say, ‘Clone Town’.

“Yeah, I’ve writtten a few songs around this theme and I have to keep coming back to it to make slight adjustments. I think this one fits in with songs like ‘The Future Used To Be Better’ from ‘Not A Bad Day’ and The Adverts’ ‘We Who Wait’, among others. The idea of the song is: consumerism as a lifestyle is clearly destructive, but you have to remember to enjoy your own life while you have it. Most people want more all the time and forget to enjoy what they already have, so they wouldn’t actually be capable of appreciating ‘more’ if they had it. I often find myself coming back to the same subjects when I’m writing songs. It’s a bit like hammering down a plank – you get to one end and find the first nails have popped up so you have to go back and have another swing at them.”

VLP: ‘It’s Warming Up’ – it’s about that old Egyptian river de nile ain’t it? Was very pleased you just stuck to the line of taking the piss and not sneaking in some silly homily at the end.

“Heh heh! I just decided, for a joke, to make a blatant statement that I didn’t actually believe myself: that mankind isn’t responsible for global warming. There have been a few theories like that going around, and when one of them gets made public you can almost hear the collective sigh of relief – back in the gas guzzler, no need to bother with any more recycling! Life would be so much easier if we didn’t have to be responsible so if someone tells us we’re not responsible we’re desperate to believe them.

VLP: ‘Backstage Bob’ – so how many of these phrases were genuine quotations? Because you’re a very warm performer, I would guess people see you as approachable offstage. But it sounds like you feel uncomfortable with unadulterated flattery as well as the falseness of the whole ‘backstage’ premise.

“This might shock you, but ‘Backstage Bob’ is actually totally sincere. It’s about a fan who was a great friend and willing to help me out at gigs, give me lifts in his car, even researched publishers for my ‘Tour Diaries’ book because I didn’t have time and would probably have never got round to doing it. He never wanted any thanks for it, he just said it was the least he could do to repay me for what my music gave him. When he died from a brain tumour a little over a year ago I decided to write a song for him. The only irony in it is that he would never have tried to “get backstage” – he just wasn’t that kind of pushy type of person – and his name wasn’t really Bob.”

VLP: Have you ever written a more musically complex song than ‘In The Arms Of My Enemy’? Some observations, which may of course be hugely wide of the mark – the lyric here reminded me of Justin’s early New Model Army work (he was very good at painting pictures of the slow death/suffocation of the individual), but also, to an extent, Mike Scott of the Waterboys (probably cos you’ve got all epic, like). I do think it works terrifically well though. I presume you do as well, hence making it the album’s title.

“I often get compared with Justin and Mike, I think it’s fair to say we’re fellow travellers. As for ‘most complicated song’, I think ‘I Looked At The Sun’ on the Adverts second album, and some of those Explorers songs must be in the running! The structure of ‘Arms’ isn’t all that complex but the arrangement and musicianship on it is, and the lyrics are pretty devious. It’s nice every now and then to stretch out a bit and not feel you have to get a song over with in three minutes.

VLP: And your voice sounds uncannily like Vi Subversa’s on ‘Open Up Your Heart’, strangely enough.

“Good lord!”

VLP: Are you, in terms of spirit and intent, the trojan horse of the title of the last track – is this what you do, effectively?

“Yes. Obviously when you’re over fifty years old and still out there playing music with no particular mass appreciation of what you do there’s a certain feeling that you’re slipping your ideas into the culture undercover. Over the last few years I’ve been getting more and more people to gigs and selling more records than ever before but it’s purely through word-of-mouth – there’s no media push, no big business backing. Another reason that Trojan Horse is important to me is that it’s a song I originally wrote and recorded with Tim Cross and Tim Renwick as a demo in the mid-‘80s, at a time when no one was interested in what I was doing and I’d pretty much slipped off the musical map, kicked out of the music business by the charlatans who run it. I always thought, one day I’ll get this song our there and people will hear it…and now, my audience has found me again and it’s the right time. To me, that song is a symbol of survival.

‘In the Arms of My Enemy’ is out now on Boss Tuneage.

Alex Ogg

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The undeniable godfather of British punk, Charlie Harper and his UK SUBS have set the benchmark for every home grown band that’s followed in their wake…

"We were playing the sold out Rainbow theatre, five thousand people there and we nicked this ladder and had it up to the dressing room, getting everyone in for free" says Charlie Harper, man of the people, punk rock legend and singer for the UK Subs for the last twenty nine years. We are in a Holloway Road pub talking to the man who is widely regarded as the grandfather of punk rock. A man who has played in nearly every country around the world, to literally hundreds of thousands of fans. He’s had his songs covered by Guns N’Roses and shortly after our interview will head off on tour to Russia to play a festival with Kiss! And the great fact about all this is that when I saw the band recently Charlie and the Subs played with more fire than most kids half his age (he’s sixty two!). From his early days in pub rock bands in London in the ’70s with people like Thin Lizzy’s Scott Gorham, Charlie has remained one of the most approachable, genuine and friendly guys on the scene. So just how did he get started?

"I wasn’t just playing what’s called punk rock, one year I was in five different bands. I was in a band with horns, I was also in a kind of Irish folk band. I love it all, there’s just good music and bad music, that’s all there is. I love ’50s stuff, there’s a great ’50s revival right now."

VLP: So how did you get into punk? The Subs were pretty much right there at the start.
CH: "It was a complete accident, really. My heroes at the time were people like Wilko Johnson and Doctor Feelgood, but no one really coined the word punk in those days. I was a big Wilko Johnson fan. He’d break a string and get a string pack out of his top pocket of his old mohair suit while he was still playing and singing and change the string while he was still playing and singing. And then there was the Kursaal Flyers and the bass player just kinda stood there staring at someone in the crowd like they were a real oddity. And then suddenly you’ve got the Sex Pistols and word went round ‘Have you seen this band?’ They kinda dressed really stupid, ’cause you know we used to go down to the Old Piccadilly Market and buy suits for fifty pence and put a couple of safety pins in the lapel, otherwise the suit was solid you know. And the Sex Pistols used to go for real sassy ten pence suits. They were the kind of characters which we don’t get now, there’s no real characters in bands."

UK Subs – classic second line-up

VLP: Today punk seems a bit faceless with kids doing it for a career almost…
CH: "I really try and encourage any kid I see with a bit of talent and say, ‘I’ve had a great life, I’ve toured just about every country in the world’, but to make a great band there’s got to be some great characteristics about the band and when The Clash came out for instance, they didn’t know a lot about politics, but the people around them were giving them all these ideas about the political situation and everything. So the young ‘uns have got to wake up – maybe they haven’t got it as hard as we had it.
When we played the Rainbow theatre, we had good line-up, and the place was full up, but in those days it was a strange kind of business music. We were pop stars, rock stars and we were poor as hell at the time. After that show I stayed at this party at a pub and next morning I had to get my ass up to Brent Cross and start hitching to Manchester while on a sold-out tour!"

VLP: You have had a lot of success, and music’s kind of taken you all over the world…
CH: "Yeah, there’s always ups and downs in every kind of career, life, whatever, but I wouldn’t change it for the world-it’s been brilliant. Yeah, we continue to go round the world and looking back it’s all worth it. We played a really big show in Poland, when no one had ever been there before. That’s when it was closed. I think we were invited because the government said if we didn’t go there’d be a revolution or a civil war! They listened to all our songs, but they didn’t really want us to play ‘Warhead’ -they thought that was too rebel rousing. We weren’t allowed to wear our solidarity shirts, but when we went on stage our drummer kind of snuck one on cause these were huge gigs with ten or twenty thousand people .It caused a few arguments because it was a kind of dangerous situation. Our drummer Kim Wylie insisted on wearing one. He lives in France now in a big farmhouse with a few acres and at the end of his drive he has a bit of old rotted bark nailed to a tree, and it’s got carved in it ‘Punk Cottage’. Born a rocker, die a rocker!"

VLP: So who is the most punk rock person you’ve ever met?
CH: "Well I’ve always said Wattie (singer from The Exploited) because they just took it a stage further than the Sex Pistols, the next batch was meaner and that’s what happened to punk. You’ve got bands like Discharge and Broken Bones with Terry Bones-far more dangerous people, and it went on and on from there."

VLP: Green Day, My Chemical Romance- its all termed punk but kind of different- what do you think of punk now?
CH: "I think it’s good you know ’cause you can’t go along the same old cranked up guitar level. I love it. I think punk is like a wild animal, you know stripped down-music stripped to the bone. I look at it like a tame domestic cat to a wild cat- and that’s punk rock. And the wild cat is far more beautiful cause it’s just stripped down, basic."

VLP: Have you ever played the Warped Tour in America?
CH: "Oh no, that’s commercial shit. Horrible commercial shit, probably sponsored by McDonalds and KFC. MTV for sure. That’s the music business that’s above us, and what we hate, but we are going on a big American tour with the Misfits and the Adicts soon. We’re very excited about it-this will be the biggest thing we’ve done since we went on tour in Europe with the Ramones."

VLP: So you’ve done thirty five US tours and this will be the last?
CH: "No, no. A couple of years ago I said that’s it, we’re finished, but then someone comes up with a good idea. We’ve been going over there every year since ’79 and we said we just wouldn’t go anymore. Then someone offered this Misfits, Adicts and Subs tour… It’s gonna be a great tour."

VLP: Any chance of you slowing down?
CH: "No not this year, and next year is the thirtieth anniversary of the UK Subs and we wanna do an album and a tour. If it all dies down after that we don’t care. You know I’ve gotta slow down a little bit."

VLP: How many gigs a year do you do?
CH: "I wear out a few wheelchairs, I’ll tell you that! We’re a band, we love gigging. It’s the most simple thing to us to be performing, whether its two to three hundred or a thousand. We’re always looking for ways to make our music more exciting. In our attitude towards music, it’s got to be exciting."

VLP: You’ve taken quite a few people under your wing in the band…
CH: "There’s a film coming out called ‘Punk’s Not Dead’-it’s about history through punk and there’s Alan and Ryan from the Subs in it and they’re counting who was in the UK Subs – ‘Oh after Nicky, Captain Scarlet, and that guy who died but he didn’t really die,’ and they come back and read off another ten people. It’s a really funny bit. Lars from Rancid is doing well and he was with us for a while too."

VLP: What does punk mean to you these days?
CH: "They always said if you want a job done proper do it yourself, and the whole DIY idea I love. We’re kind of doing our records ourselves now with Jett, our guitarist, and his tiny little record label-so it’s all gonna be like DIY-isn’t that what punk music’s all about. Forget the middle man, the middle man just runs off with all the money."

And with that Charlie is off down Holloway Road. There are more gigs to play and more fans to meet and you just know that as long as there’s a good band on he will be there, checking them out. Because punk’s in Charlie’s blood.

‘Warhead’ is out now on Jet13.
The UK Subs play this year’s Rebellion festival.

Eugene Big Cheese


Formed 1977 in London.

‘Crash Course’ was their biggest selling album reaching No 8 in U.K charts.

Seven singles made the UK Charts, with ‘Stranglehold’ having the highest position at 26 (1979).

Charlie Harper was born David Charles Perez on April 25th 1944

Prior to forming the UK Subs, Harper was in five other bands, including R&B band The Marauders.

Two punk legends in their own right explain what Charlie’s contribution to punk means to them…

"The first record of an English punk band I ever heard was the UK Subs’
‘Another Kind Of Blues’. Little did I know that, at the age of nineteen, years later I would be playing guitar right beside one of my all time heroes Charlie Harper.
Charlie is one of the most humble people you can ever come across. He is the first guy at the party to greet you and normally the last one to leave. We have stumbled home many a late night together so I know this from my own experience. I’ve learned so much from him over the years and I hold him in high regard. I feel that he has helped me become the man that I am today – don’t know if that’s saying much! He is more of a father to me than anyone has been in my life, to the point where people have stopped us in the street and asked if he was me dad…Is there something I should know Charlie? You lived in Campbell in the early ’70s…
For that I will always love and respect him. His voice is unique and parallel to none. He has a style that has been often imitated, but never duplicated. In my opinion, his stage presence has made him the most exciting singer to watch in all of punk rock, much less in all of rock ‘n’ roll. I don’t know anyone who can do it with such consistency and still keep the audience at the edge of their seats night after night after night. He’s the Dean Martin of punk, only better.
For those of us who have been graced by his presence, you will know they don’t make ’em like that anymore, but that’s fine. I’m sure we wouldn’t want it any other way. Because there’s only one Charlie Harper!"
RANCID’s Lars Frederiksen

"Charlie Harper is a living legend who defined the punk experience. He was one of the first guys to put the audience on an equal footing and reject the stardust approach of being aloft and removed. He gets down there in the mosh pit and shares in the blood, sweat and cheers of Joe Public. That is the way to do it. If there is anyone from the old school I’d model myself after, then it would be Charlie Harper."
THE MASONS’/Former BUSINESS guitarist Steve Whale

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Four singles and an album. That’s all it took for THE SEX PISTOLS to become the most infamous punk band of all-time. Vive Le Punk takes a closer look at those defining moments in the Pistols story.


The Sex Pistols’ debut single was released in November 1976 on EMI and was a clarion call all for a generation. It was actually the second proper punk single to get released (a week later than The Damned classic ‘New Rose’) but that didn’t lessen its impact one iota. From Rotten’s manic cackle over the intro and Steve Jones’ huge guitar sound, ‘Anarchy’ sounded like no record ever before. Sure, there were touches of The Who or the New York Dolls in its raunch but this was another level.

Lyrically it was spot on. It was a mangle of ‘70s political confusion, with the singer looking for total personal freedom, “I wanna be anarchy” he sneered in the songs white heat meltdown. Few debut singles have ever been this good or had this much impact. Within a few weeks the band had been banned from most venues on their tour, record label EMI dumped them in a total panic and they lost a member when in February 1977 Glen Matlock was out of the band. Matlock was replaced by Rotten’s mate Sid Vicious, who couldn’t play bass but was the ultimate rock ‘n’ roll icon. After ‘Anarchy’ things were never going to be the same again. The Pistols’ Steve Jones has always maintained that after Bill Grundy they stopped being a band and became a freak show- he’s right of course but for one brief year it was the best ‘freak show’ in the history of rock ‘n’ roll.


For many this is the best ever single in pop history. It ticks every single box – fiercely exciting, brilliant production, a neat line in psychosis and a brilliant tune to boot. Add to this a great guitar sound and raw power and what else do you need? On a new label, Virgin, the band were stoking the fires of controversy releasing this anti-royal diatribe and nihilistic take on the rubbish state of Britain one week before the Queen’s silver jubilee. Whilst most people in the UK had tatty street parties and celebrated the rubbish German family that get away with sitting on top of the pile there were many dissenters. The Pistols was the rallying call for all those that didn’t agree with the decadence of the royals and they gleefully sent it to number one.

A psychotic rush of sound with some of the greatest guitar riffs ever, the Sex Pistols were firing on all cylinders for this single, which is a concise and deadly explosion. It’s hard to think of another number one that sounded so dangerous. Hardly any rock music sounds this powerful and intense. The record was kept at number 2 by the terrified authorities whilst everyone else knew that by far it was the number one selling record. A perfect pop moment.


The closest the Sex Pistols came to pure pop was the anthemic ‘Pretty Vacant’. With words and lyrics by the ousted Glen Matlock it intros with that fantastic guitar arpeggio – the one that everyone learns on their guitars and then crashes into a deceptively simple four chord churning verse half-inched bizarrely off Abba’s ‘Knowing Me Knowing You’. The chorus is sublime. It’s a classic football terrace sing-along. ‘Pretty Vacant’ may not have been as immense as ‘God Save The Queen’ but it was still a delicious, nihilistic anthem for a generation fed up with crap Britain.


The best album title of all time was coined by guitarist Steve Jones as a joke. It was the perfect title for the autumn 1977 album from the band who, by now, were dangerously surrounded by the bollocks of the media and the states attempts to crush them. The album was greeted with mixed reviews on release as the notoriously snooty music press was trying to push the band aside, but the record, which they had spent the summer working on, was a fantastically executed work. Again Jones’ guitars (and bass – as Sid was not very busy on the sessions) and Paul Cook’s great drums provided a perfect platform for Rotten’s sneering vocals). There’s a terror and neurosis in his singing that no-one has got close to since. The Sex Pistols were not a direct political band – this was the sound of a supremely intelligent, sharp individual with a chaotic and terrifying imagination. The songs are powerful, personal tirades and they were easily identified with that particularity weird and wonderful generation of psychotic mid-‘70s youth. Never has pop music sounded this vital and dangerous.


Weeks after the album came the Sex Pistols’ proper last single. Yeah, we all know about the later cash-in albums but they are the work of a different band. Quite literally as they had already imploded by early ‘78 and the Pistols existed in name only for the next album, ‘Rock ‘n’ Roll Swindle’ – a footnote to manager Malcolm Maclaren’s situationist showbiz theories. There were to be great moments after ‘Holidays’ but this was the real Sex Pistols in action for one last time. The fourth and last single release came in the autumn of 1977. Ostensibly a ranting jackboot stomp about a trip to Berlin that year it could also be about the traps of the band’s image and reputation that Rotten felt especially after getting slashed by royalist thugs that summer. This is the singer at his most paranoiac and the ad-libbed “looking over the Berlin wall” vocal at the end is almost terrifying – and bizarre for a top ten hit. The song is many people’s favourite Pistols song from the mighty intro to the song’s chanting, churning psychodrama. Forget all the bullshit, the Sex Pistols were a genius rock ‘n’ roll band. Few bands have ever matched them for their intensity or had their influence.

The Sex Pistols have oddly become a classic British band sitting alongside the Beatles, Pink Floyd and the Stones – the very groups they set out to destroy. History still can’t make its mind up about them, the mythology sometimes drowns up the truth – people will still tell you that the band had no talent and couldn’t play but listen to ‘…Bollocks’ and you are listening to one of the best hard rock albums aver made – a powerful mix of guitar action with one of the greats vocalists of all time.

They existed for two short years but they packed more incident and controversy into that time than every other band does in a whole career. Luckily they could back it up with their music.

John Robb

For the story of the Sex Pistols from 1975-1978, check out the Vive Le Punk mini-mag that’s free with the new issue of Big Cheese! (out July 24th)


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THE RATS (Formerly-Boomtown) played this years Rebellion festival.

Here’s 15 Things You Should (or maybe shouldn’t) Know About…THE BOOMTOWN RATS

1) The Boomtown Rats were a legendary Irish New Wave group with Live Aid mastermind Bob Geldof on vocals.
2) The band, featuring original guitarist Garry Roberts and original drummer Simon Crowe, will be reuniting and are confirmed to play this year’s Rebellion Festival in Blackpool on August 8th followed by more tour dates. Geldof will not be participating…
3) The band originally started out as a rhythm n’ blues pub rock band before switching to New Wave years later
4) Their single ‘Rat Trap’, released in 1978, is widely considered to be the first New Wave hit to reach number one on the charts

5) ‘Rat Trap’ was also the first rock song by an Irish band to hit number one in the UK
6) The name ‘Boomtown Rats’ comes from a gang featured in legendary singer/songwriter Woody Guthrie’s autobiography, Bound for Glory
7) One of the band’s most famous songs, ‘I Don’t Like Mondays’, was written in response to a school shooting in California carried out by Brenda Ann Spencer in 1979. When asked why she shot up her school, Spencer replied: ‘I don’t like Mondays. This livens up the day.’

8) ‘Banana Republic’ was released in 1980 and became the band’s last top 10 hit. It was written in response to the band not being allowed to play in their home country of Ireland due to fear of riots breaking out in the crowd

9) On the band’s 1981 album, ‘Mondo Bongo’ – which featured the hit ‘Banana Republic’ – the band began to experiment with more drum and keyboard based music, marking a distinct departure from their early guitar-driven sound
10) In 1985 the band released their final album, ‘In the Long Grass’ and the band performed at Geldof’s Live Aid – a mammoth global music festival that raised money for famine relief in Ethiopia
11) The band made their final performance in 1986 at Self Aid, a concert to benefit poverty-stricken people of Ireland. Geldof also assumed lead vocal duties with a reformed Thin Lizzy at the festival, which was held 4 months after lead singer Phil Lynott passed away
12) Before recently reuniting with Garry Roberts, drummer Simon Crowe was playing in the Celtic instrumental band Jiggerypipery
13) Roger Waters was sceptical in casting Bob Geldof as Pink in the 1982 movie Pink Floyd: The Wall. Apparently, he was unsure if Geldof could sing the vocals
14) In 2005 the band’s albums were all remastered, and two DVDs of past live performances were released along with a ‘Best-Of’ CD compilation

15) The newest incarnation of the band will feature Roberts, Crowe, Peter Barton of The Animals on bass and Darren Beale of The Electric Shepherds on lead guitar

‘The Best of The Boomtown Rats’ is out now on Mercury/Universal.
The Rats play The Rebellion Festival.

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Exploding out of East London and influencing the evolution of street punk to date, COCK SPARRER are back with their first album in ten years, produced by Lars from Rancid, to show the young pups just how it’s done.

Cock Sparrer were formed way back in 1972, four East London school friends who had known each other since the age of about 11, with a penchant for West Ham United and the street-wise boogie of the Small Faces. Colin McFaull (vocals), Mick Beaufoy (guitar), Steve Burgess (bass) and Steve Bruce (drums), were eventually joined by Burgess’s cousin Garrie Lammin on rhythm guitar.
Gigs at the fabled Bridgehouse in Canning Town (owned by Terry Murphy, father of Gary Murphy, star of TV show ‘London’s Burning’) gave the fledgling band some experience of live shows, albeit often to one man and his proverbial dog, and thanks to another useful contact, a chap called Archie who was a doorman at the even more fabled Marquee, even graced the West End playing numerous support slots.

By now Cock Sparrer were supplementing their Faces covers with self-penned material, gritty-but-tuneful tales of life on the streets and football terraces, and building a following of like-minded hooligans. Famously, none other a personage than Malcolm McLaren got wind of this, and characteristically tried to get in on the act. He went along to the rehearsal room above The Roding pub in East Ham to check the band out, offered them a management deal and the chance to support his protégés the Sex Pistols at a strip club in Soho (presumably El Paradiso) but committed the ultimate faux pas by failing to get the beers in. Naturally, the boys turned him down, and who can blame them, the bounder.

However, when the punk explosion came, Sparrer, despite never really dressing the part, were ideal for the new movement: genuine street kids with attitude and great songs. A punk feeding-frenzy began among the record labels, either truly enthused by it, or, more often, just scared of missing out on the next big thing, and one of the latter was Decca. Despite adding the likes of Slaughter And The Dogs and Adam And The Ants to its roster, frankly, Decca never had a clue about punk, but that realization would only come later.
At first it all went swimmingly. At the label’s studio in West Hampstead the band were given Thin Lizzy producer Nick Tauber to work with, and, dream come true, a support slot on a Small Faces tour. Decca released two Sparrer singles, the all-time street-punk classic ‘Runnin’ Riot’ in July 1977, and a cover of the Rolling Stones’ ‘We Love You’ in November of the same year, but sadly both failed to chart. The band had also recorded an album, and to make matters worse, for some reason Decca elected to only release it in Spain the following year. After Lammin left they sold their PA (which wasn’t actually theirs anyway) and tried their luck in the US, after which little was heard from the band for a while.

Sparrer’s resurrection came when Sounds journalist Garry Bushell included their track ‘Sunday Stripper’ on his compilation ‘Oi! – The Album’ in November 1980, alongside the likes of Slaughter And The Dogs, Angelic Upstarts, Cockney Rejects, 4-Skins, Peter And The Test Tube Babies and The Exploited. This endearing mixture of the old school and ‘New Breed’ brought Sparrer to the attention of a new audience, even if ‘Sunday Stripper’ was in fact a curiously low-key chugger, albeit with saucy lyrics.

A new single, ‘England Belongs To Me’ (originally ‘London Belongs To Me’) was released by Carrere in 1982, as was, at last, the first official Cock Sparrer album ‘Shock Troops’, recorded at White House studios in Chelsea, and what a belter it was. The band continued for a couple of years, with varying line-ups, and released the ‘Runnin’ Riot In ‘84’ album on Syndicate, but then went back into hibernation for a while.

By 1992 Steve Bruce was running the Stick Of Rock pub, putting on regular gigs, including several by an outfit called The Elite, whose guitarist was one Daryl Smith, son of the man who signed Sparrer to Decca all those years ago! Surprisingly, perhaps, rather than take a terrible revenge on the boy, as the original members of the band were planning to reform the band for a show at the Astoria, they instead recruited him as second guitarist. It was a huge success, with street punk enthusiasts travelling from all over the globe to attend.
Enthused, the band signed to German label Bitzcore, releasing the ‘Guilty As Charged’ album in 1994, accompanied by a full European tour, and another album, entitled ‘Two Monkeys’, followed in 1997.

Over the years, Cock Sparrer’s reputation and fan base has grown in a way that must be mystifying to anyone only aware of their early Decca years, and now they headline festivals over contemporaries who actually managed to trouble the charts. Why? Well, my guess is that it’s all down to the songs. Never the most frenetic of acts, Sparrer always delivered a tune you could shuffle the boots to, and a chorus you could bellow drunkenly to. In short, they’re a lot of fun and completely genuine.

The band released their new studio album mixed by Lars Frederiksen, ‘Here We Stand’, out on Captain Oi! now. The boys seem to be pretty pleased with it. “We are all thrilled with the result,” says Steve Bruce: “It’s our first studio album for ten years and the best thing we have done since ‘Shock Troops’. Writing, rehearsing and recording it was just like the old days, there were strops, sulks, arguments, walk outs, laughs, and a fair amount of drinking. All that was missing was a good old punch up! But I guess we’re getting too old for that.”

And Daryl Smith concurs: “I’ve always thought that on the recent albums the songs were great but the production let the side down. My goal was to get the band in a good studio and record in a way that could get the best out of the songs. I’m really happy that we’ve achieved that and got the album that we’ve always wanted. Lars told me that he can’t stop playing it and in his opinion it’s better than ‘Shock Troops’, which although a bit controversial, is a great compliment.”

‘Here We Stand’ is out now on Captain Oi!

Shane Baldwin


‘Shock Troops’ 1982

‘Running Riot In ‘84’ 1984

‘True Grit’ 1987

‘Guilty As Charged’ 1994

‘Two Monkeys’ 1997

‘Here We Stand’ 2007


Download the following…

‘England Belongs To Me’ (‘Shock Troops’)
‘Argy Bargy’ (‘Shock Troops’)
‘Watch Your Back’ (‘Shock Troops’)
‘Running Riot’ (‘True Grit’)
‘Chip On My Shoulder’ (‘True Grit’)
‘Spirit Of ‘76’ (‘Here We Stand’)

Dropkick Murphys
The Business

The London quintet’s sixth album ‘Here We Stand’ shows that they’ve still got balls, they’ve still got tunes and they’re sounding better than ever! We caught up with the geezers to talk about how they’ve already laid waste to Vienna this year and now they’ve set their sights on Blackpool again…

So how was the Vienna Rebellion festival for Cock Sparrer?

“It was a cracking weekend. Met up with a load of mates, old and new and generally had a great time. We hadn’t played outdoors before so were a bit unsure as to what to expect, wondering if we could generate the same atmosphere, but the crowd really went for it. There was no need to worry that there was no roof – the crowd were singing their hearts out and were as loud as ever. Great bands, great atmosphere and a superb venue – the new banner looked really great (the bloke who nicked our last one at Blackpool 2006 did us a favour).”

You guys are pretty much the biggest old school punk act in the world right now. How did that happen?

“Ain’t got a clue. Think we’ve just kept on doing what we’ve always done. We consciously try to make sure everyone has a good time at the gigs and we worked hard on “Here We Stand” to produce an album that we would be proud of and one that everyone could associate with Cock Sparrer. We think we achieved that. Having the largest number of backing vocalists of any band on the circuit must help – only limited by the number of punters that turn up.”

Is there any difference playing in Europe as opposed to the US?

“Don’t think so, same crazy bastards worldwide.”

You seem to be incredibly popular at Blackpool’s Rebellion festival. Is it a pretty special show for you?
“The last one we did in 2006 was sold out and had a great atmosphere. Blackpool is special but so was Vienna recently and Wolverhampton for the album launch. It’s the crowd that makes any particular gig a special show not the gig itself. There are loads of good punk gigs up and down the country – from other festivals to DIY gigs in backrooms of pubs (which some of us still manage to get to!) but Rebellion is definitely the social event of the year, having a few beers with old mates (checking who’s still alive), hearing some old favourites and there’s always loads of new talent coming through.”

Any surprises planned for Rebellion 2008?

“Playing sober (won’t happen), different running order (won’t happen), loads of new songs (won’t happen), getting to bed before 06.00 (definitely won’t happen).”

What is your favourite Cocksparrer song to play?

COLIN: “‘England Belongs To Me’.”

MICKEY: “The first notes of ‘Riot Squad’ are my favourite – that initial animal roar tells me it’s going to be another great night and makes what little hair I have stand on end.”

STEVE BRUCE: “‘Because You’re Young’ – great song, everyone sings it, it’s a doddle for me to play and won’t induce a heart attack.”

DARYL: “‘England Belongs to Me’ for the crowd response and ‘Because You’re Young’ for the song.”

And finally, what three things should fans bring to a Sparrer show?
“A sense of humour, strong lungs and the capacity to consume a vast amount of alcohol.”

Cock Sparrer headline the Rebellion Festival in Blackpool August 7th – 10th.

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Becoming an icon for his early melding of blues and rock ‘n’ roll, the late legend BO DIDDLEY rocked the world with his driving hits and trademark rectangular guitar. Vive Le Punk salutes ‘The Originator’.

Born in McComb, Mississippi in 1928, Ellas McDaniel moved to Chicago with his foster parents he was seven. Having taken violin lessons as a child, it wasn’t until he saw John Lee Hooker play that he picked up the guitar. When not working as a carpenter or mechanic (and later in the ‘70s as a New Mexico Deputy Sheriff!), he played on street corners with friends as a band called the Hipsters (and later called the Langley Avenue Jive Cats). In 1951 he got a regular slot on the bill at Chicago’s 708 Club, alongside artists such as John Lee Hooker and Muddy Waters. In late ’54, he got together a harmonica player, bassist and drummer and recorded demos of the true classics ‘I’m A Man’ and ‘Bo Diddley’. Re-recording the songs at Chess Studios, ‘Bo Diddley’ was released in March 1955 and became an R&B hit single.

McDaniel decided to use the stage name ‘Bo Diddley’ and stories of where the name came from have passed into legend. Some people claim it was his nickname as a teenage Golden Gloves boxer, others say it comes from the name of a one-string instrument called a diddley bow. Bo Diddley claims that the name originally belonged to a singer friend of his adoptive mother.

Known as a true guitar hero, he penned driving rhythms and created what was known as the ‘Bo Diddley beat’, a rumba-like beat. His guitar was the rectangular-bodied Gretsch, nicknamed ‘The Twang Machine’, which he fashioned himself around ’58 and became his most iconic guitar. It is said that he created a guitar of this shape so it was small and wouldn’t get in the way while he was jumping around onstage during his energetic live shows.

Bo Diddley was banned from ‘The Ed Sullivan Show’ in 1955 when instead of playing an agreed cover on the show, he played ‘Bo Diddley’ instead. This infuriated Sullivan who banned him from appearing again and said Diddley “wouldn’t last six months”. He couldn’t have been more wrong, Diddley had hits through the late ‘50s and ‘60s, including ‘Pretty Thing’ (1956), ‘Say Man’ (1959) and ‘You Can’t Judge a Book by the Cover’. With hit albums, including ‘Bo Diddley’ (1958), ‘Have Guitar, Will Travel’ (1960) and ‘Bo Diddley is a Gunslinger’ (1960) and added to his growing legend.

There is no disputing that Bo Diddley was one of the pioneers of rock ‘n’ roll. In 1972 he played with The Grateful Dead in New York and in 1979 he performed as a special guest for both The Clash and The Rolling Stones. Bo Diddley’s songs have been covered by everyone from The Clash (‘Mona’ during their ‘London Calling’ sessions) to Aerosmith (‘Road Runner’ on their ‘Honkin’ on Bobo’ covers album), The Jesus and Mary Chain (‘Who Do You Love’) and Eric Clapton (‘Before You Accuse Me’) to New York Dolls and The Lurkers (who both covered ‘Pills’). The song ‘Bad to the Bone’ is a re-working of Diddley’s ‘I’m A Man’ and Muddy Waters’ ‘Mannish Boy’ was a direct response to the song ‘I’m A Man’ by his younger rival. In 1964, Diddley and Chuck Berry recorded a 4-track release called ‘Two Great Guitars’, which contained instrumental, spontaneous jams.

Having been acknowledged with numerous accolades, Bo Diddley’s huge effect on music is clear. Inducted into the Rock and Roll Hall of Fame (1987), as well as many more over the years, such as the Rockabilly Hall of Fame, the Mississippi Musicians Hall of Fame and the Blues Foundation’s Blues Hall of Fame. He received Lifetime Achievement Awards from the Rhythm and Blues Foundation (1996) and the Grammys (1998) and the track ‘Bo Diddley’ was inducted into the Grammy Hall of Fame as “a recording of lasting qualitative or historical significance” in 1997. In 2003, US Representative John Conyers paid tribute to Diddley in the United States House of Representatives, saying he was “one of the true pioneers of rock and roll, who has influenced generations.”

Performing at various charity events and fundraisers well into his later years and still touring, Bo Diddley suffered a stroke and a heart attack last year. While recovering from these, he attended an unveiling of a plaque devoted to him on the National Blues Trail at his birthplace of McComb last November, which would be the last time he performed publicly. Bo Diddley died from heart failure on June 2nd, aged 79. His funeral was typically energetic, featuring a gospel band playing his music and a floral tribute in the shape of his trademark guitar. Tom Petty, Jerry Lee Lewis and Little Richard all sent flowers.

Sending shockwaves through the music world in the ‘50s and ‘60s, Bo Diddley and ‘The Twang Machine’ changed blues and rock ‘n’ roll forever. To many he’ll always be the man. RIP Bo Diddley.

Ian Chaddock


This beat that Bo Diddley created has seeped through rock ‘n’ roll history. Here’s a list of just some of the songs that use the distinctive beat.

BUDDY HOLLY ‘Not Fade Away’
ELVIS PRESLEY ‘His Latest Flame’
U2 ‘Desire’
THE SMITHS ‘How Soon is Now?’
ACE FREHLEY ‘New York Groove’
DAVID BOWIE ‘Panic in Detroit’
THE POLICE ‘Deathwish’
THE SUPREMES ‘When the Lovelight Starts Shining Through His Eyes’
GUNS ‘N’ ROSES ‘Mr. Brownstone’

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THE WOLFMEN London, May 30th 2008


333 club
30th May


As the setting for a low-key live outing for ex-Ants men Marco Pirroni and Chris Constantinou and their Wolfmen, the 333 comes with its own distinctive Hoxton ambience: flock wallpaper, charm-school flunker security, hostile restauranteurs threatening to shut down the gig, and a dance floor that sags alarmingly as The Wolfmen take the stage with their surging version of Brian Eno’s Needle In The Camel’s Eye. For a man who claims to hate live work, Pirroni’s giving a good impression otherwise, wringing torrents of glam-rock flash’n’feedback from his yellow Gibson, while Constantinou holds centre stage, belting it out on bass and lead vox with an innate rock-starry sense of assurance. It’s a concise set in the classic ‘leave ‘em wanting more’ mold, a quickfire slam-bang of cuts from the forthcoming album including Love Is A Dog and Whack This Bass, a distinctive re-write of Lou Reed’s long-lost garage nugget Do The Ostrich and a romp through Hawkwind’s proto-punk standard Silver Machine for which the band are lent an extra helping of exoticism with the presence of sitar siren Bishi. Closing matters with a punk-raga hybrid meltdown, The Wolfmen bare their teeth and melt into the night again all too briefly; but with their debut album out in August and more live dates to follow, the gnashing is clearly about to start in earnest.

Hugh Gulland

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BLONDIE Bristol, July 6th 2008


July 6th


Though their roots lie firmly in the early NY punk scene, to many, Blondie remain a super-slick 80s pop act, fronted by one of most stunningly photogenic ladies of the era, and with a canny knack for knocking out great tunes, as well as an astute choice in covers that always eclipsed the originals. And that’s just what we got at the Academy, as the band toured to celebrate the 30th anniversary of their rather fabulous debut album Parallel Lines.
Debbie Harry was sprightly and in fine voice, guitarist Chris Stein was a shade static but note perfect, while drummer Clem Burke was as mesmerising as ever. Strange to see him apparently working to a click track, but thankfully it seemed to have little restraining effect on his naturally busy, exuberant style. A largely middle-aged, polite, but enthusiastic crowd were more than up for favourites like ‘Hanging On The Telephone’, ‘Sunday Girl’, and ‘Call Me’, though elongated versions of ‘Fade Away And Radiate’ and ‘Rapture’ did verge on the self indulgent. On the whole, though, Blondie can still hack it, and in case you were wondering, yes, she still looks pretty good.
Shane Baldwin

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