TORONTO CALLING >> ³...from the faraway towns...² >> >> Canada Day. 1 July, 2010 Trafalgar Square, London. >> >> ŒToronto Calling¹ is a dynamic visual document of a vigorous and exciting >> era of Canadian music history on display for the first time in the UK. >> >> These photos are selected from an exhibition recently held in Toronto taken >> by Simon and Nick White during 1979-1982. >> >> Many of the original punk bands passed through Toronto during their first >> North American tours which was one of only a half dozen cities these bands >> visited during this period. While thriving local scenes were established in >> Toronto, Vancouver, Montreal, Ottawa and Halifax it was the punk bands such >> as The Ramones, Blondie, The Clash, The Stranglers, and later U2, The Police >> and Public Image Limited that helped to spread the punk and post punk sound >> that had originated in New York City and in England in the mid 1970¹s. >> >> The desire to create local scenes was reflected through Canadian punk groups >> such as The Viletones, Teenage Head, DOA and The Diodes and it¹s their >> lasting legacy that has helped shape what is now an exciting and dynamic >> Canadian music scene. >> >> These photos were taken by 2 teenage brothers with little experience of >> photography inspired by their photographer father and the ŒDiY¹ ethic of >> punk. Using rudimentary processing and printing techniques in their parents¹ >> dusty basement, they documented an era in Canadian music history that until >> recently hasn¹t been displayed. >> >> The essence of the original exhibition which took place at The Steam Whistle >> Gallery in Toronto in March this year was based around a series of large >> format 6¹ X 4¹ prints of The Clash during their first concert at The Rex >> Theatre on Danforth Avenue in Toronto 20 February, 1979. There was also a >> huge 22¹ long window display of The Ramones in 1980 at The Music Hall >> Theatre. Other bands featured in the exhibition: The Buzzcocks, Iggy Pop, >> The Boomtown Rats, Johnny Thunders, Ultravox, Psychedelic Furs, The >> Pretenders, The Specials, XTC, and reggae acts such as Bob Marley, Black >> Uhuru and Peter Tosh all photographed at long lost venues such as The Edge, >> Larry¹s Hideaway, The Concert Hall, The O Keefe Centre and The Turning >> Point. All of these venues have now passed into folklore as being some of >> the iconic birthplaces of what was to become one of the most exciting music >> scenes to be heard in Canada for years to come. >> >> For further information and to order special limited edition prints please >> look at the ŒToronto Calling¹ page on facebook. >> www.torontocalling.ca <http://www.torontocalling.ca/>
Gaslight Anthem have announced three weeks of European gigs in October and November.
The band continues to support their latest critically acclaimed album on Sideone Dummy, American Slang
|October 21st||UK London||Hammersmith Apollo|
|October 22nd||UK Southampton||Guildhall|
|October 23rd||UK Bristol||Academy|
|October 24th||UK Wolverhampton||Civic|
|October 26th||GER Cologne||Live Music hall|
|October 27th||GER Hamburg||Grosse Freiheit|
|October 28th||SWE Malmö||KB|
|October 29th||SWE Göteborg||Brewhouse|
|October 31st||SWE Stockholm||Debaser Slussen|
|November 2nd||SF Helsinki||Tavastia|
|November 4th||DK Copenhagen||Lille Vega|
|November 5th||GER Berlin||Astra|
|November 6th||GER Munich||Theaterfabrik|
|November 10th||CH Zurich||Dynamo|
|November 11th||GER Neu-Isenburg||Hugenothalle|
|November 12th||NL Tilburg||013|
|November 13th||GER Wiessenhäuser strand||Rolling Stone Weekender|
|November 14th||BEL Brussels||AB|
|November 16th||UK Nottingham||Rock City|
|November 17th||UK Leeds||O2 Academy|
|November 18th||UK Newcastle||O2 Academy|
|November 19th||UK Edinburgh||Picture House|
|November 20th||UK Manchester||Apollo|
|November 21st||IRL Dublin||Olympia|
|November 22nd||N.IRL Belfast||Mandela Hall|
THE BLACK PACIFICthe new project from former Pennywise vocalist Jim Lindberg, have set a release date for their debut on Side One Dummy Records. The band’s self-titled debut is due out September 14, 2010 Lindberg left Pennywise in August 2009 after spending more than two decades with the band. He was replaced by Ignite’s Zoli Teglas in February.
The band has also announced their first live show, and will be performing on September 26 at KROQ’s Epicenter Twenty Ten festival in Fontana, CA.
Heathen Child, the new single from the band Grinderman, will be released on 30th August. The premiere offering from their new studio album Grinderman 2, Heathen Child will be released through Mute with the complete album following on 13th September.
The song Heathen Child cuts a deep seductively heavy groove interjected with dazzling squalls of saw-tooth distortion. It abounds in lyrical imagery at turns lascivious, paranoid, philosophic, absurd and flat out abusive. The video, vividly directed by long-time collaborator John Hillcoat, brings the ominous sensuality and surreal malevolence of the lyrics to life; but it also demonstrates clear evidence of the fun and imagination Grinderman have working together.
Grinderman are Nick Cave, Warren Ellis, Martyn Casey and Jim Sclavunos. They have forged a distinctly different way of working together. Grinderman have cast off musical baggage, shrugged off accepted wisdom, and tested pre-conceptions about who they are as musicians. Grinderman is no hobby, no dalliance, and clearly no one-off: it is a crucible, an experimental workshop, a disciplined orgy of ideas and action. Grinderman is the one-of-a-kind band Nick, Warren, Martyn and Jim have waited all their life to be, and only now at this moment in time can have become. See them in action at these tour dates:
25th September Nottingham Rock City £25.00 www.Alt-tickets.co.uk
27th September Leeds University £25.00 www.leedstickets.com
28th September Glasgow Barrowlands £25.00 www.seetickets.com
29th September Manchester Academy £25.00 www.ticketline.co.uk
1st October London Hammersmith Apollo £25.00/£27.00 www.gigsandtours.com
Artist interpretations of The Clash’s classic ‘London Calling’ artwork
The Idea Generation Gallery in London is currently holding an exhibition (from June 18-July 4) paying tribute to the life and works of iconic rock n’ roll cartoonist Ray Lowry. Lowry has worked on everything from NME to Private Eye and created The Clash’s iconic ‘London Calling’ album cover, and so to celebrate 30 artists have contributed their interpretations of the classic image.
† Jun. 28, 1993 (aged 36)
Kevin Michael Allin
* Aug. 29, 1956
† Jun. 28, 1993
New York City, NY, USA
Cause of Death
Despite threats of an onstage suicide, Allin died of a heroin overdose in the Manhattan apartment of John Handley Hurt.
PHIL LYNOTT YELLOW PEARL – A COLLECTION 16TH AUGUST 2010 Yellow Pearl: A Collection brings you a delightful and intriguing trip into the solo work of Phil Lynott. It's guaranteed to hold the listener spellbound as they realise just how iconic Lynott was - and still is. The release brings together the hits singles from both solo albums 'Solo in Soho' and 'The Philip Lynott Album' including 'King's Call' (a tribute to Elvis Presley), 'Dear Miss Lonely Hearts' and major hit 'Yellow Pearl' which reached number 14 in the UK charts and also became the theme for BBC TV's 'Top Of The Pops' show. Also included is 'Parisienne Walkways', released as a single by Gary Moore in 1978, reaching number eight in the UK charts. Written by Lynott – as well as featuring him on vocals – it remains a stand alone classic. There's also B sides to the singles 'Together' and 'Old Town' (also included), these being 'Somebody Else's Dream' and 'Beat Of The Drum' respectively and his last solo single, 1985's 'Nineteen', released just a few weeks before his tragic death on January 4, 1986. "My aim isn't to surprise people, but maybe to surprise myself"; Phil Lynott reflects whillst recording 'Solo In Soho' which comfortably reached the UK Top 30. The result was impressive, impassioned and imposing, an album that was a personal statement from one of the most original talents in the rock world. A musical hero, a master songwriter, a majestic singer, a monarch on bass - the proof is here that the whole was so much greater than the sum of these parts. 1. Yellow Pearl Second 7" Remix 2. Dear Miss Lonely Hearts 3. King's Call 4. A Child's Lullaby 5. Tattoo (Giving It All Up For Love) 6. Solo In Soho 7. Girls 8. Ode To A Black Man 9. Together Album Version 10. Fatalistic Attitude 11. The Man's A Fool 12. Old Town 13. Cathleen 14. Little Bit Of Water 15. Ode To Liberty (The Protest Song) 16. Somebody Else's Dream 17. Beat Of The Drum 18. Nineteen Extended Version 19. Parisienne Walkways 20. Yellow Pearl First Version PHIL LYNOTT – YELLOW PEARL – A COLLECTION (SPEC2042) SPECTRUM AUDIO/UNIVERSAL MUSIC CATALOGUE
THE FABULOUS PENETRATORS
Garage rock ‘n’ roll explosion from London five-piece.
Leaving Paloma Faith and their history as Paloma and the Penetrators behind them in 2006, this ‘50s and ‘60s loving psych-garage band are full of glammed up punk swagger and attitude. Drawing on the spirit of great such as Little Richard and early Roxy Music, they may be well loved in their native East London but they’re far more than just another hipster band. Frontman Liam Casey can be seen sweating and going berserk in heavy eye make-up, gorilla suits and mariachi outfits. Casey is backed by Portugese drummer Joao Felizardo, Parisian bassist Clement C-Coulum and the dual guitar assault of Crispin Weir and Steve Lowe. The Fabulous Penetrators are here with their dirty party soundtrack that is debut album ‘With Love’. This is raw and sex-fuelled rock ‘n’ roll carnage.
‘With Love’ is out June 7th on Stag-O-Lee.
THE CRAMPS – Songs The Lord Taught Us
THE SONICS – Here Are The Sonics
MC5 – Kick Out The Jams
Furious rough ‘n’ ready street punk.
Coming together in 2006, punk crew The Exposed have wasted little time in putting their elders to shame, clocking up over two hundred and fifty gigs and festival appearances throughout the UK and playing shows with the likes of Rancid, The Bouncing Souls and Stiff Little Fingers. Having recently finished work on their new album ‘In The Face Of Resistance’.
The title of the new album refers to the obstacles and struggles that every band comes across, and is reflected in the line of the song ‘Where I Belong’: ‘In the face of resistance, you know we’ll stay strong’” say the band, elaborating: “As you’ll find in any band, we’ve had great times, and the inevitable bad times when things fall down around you, but this album is about coming through on the other side, stronger than ever.”
Influenced by the sounds kicked out from Rancid’s Tim Armstrong’s Hellcat label, the band are keen to stand on their own two feet sound-wise: “There’s no denying that Rancid have been a big influence for us, but where this sometimes reflects in our sound, it’s also because the bands and styles that influenced Rancid are still influencing bands like ourselves today, such as The Clash, The Specials and classic reggae like Toots and the Maytals and Lee ‘Scratch’ Perry.
“As Hellcat has expanded as a label, the sound associated with the label has evolved, incorporating various genres and bands, from Rancid and Civet to bands such as The Aggrolites and Westbound Train. So I guess with our music, we do fall somewhere within that range, but over the time we’ve spent playing music together, we’ve naturally added elements of our own style, and I think the new album really shows that we’ve settled in to our own sound.”
Heading out to play the entirety of travelling punk rock circus the Warped Tour (it’s the band’s second time out on the tour), it’s clear that plenty of people will be getting the chance to hear the cross pollination of sounds that make up ‘In The Face Of Resistance’ and that the band are stoked to be there.
“It’s the little things you look forward to the most, like grabbing a coffee in the morning and walking around the site before all the kids come in for the day. It’s a great atmosphere every day and such a positive place to be.
We got the chance to play on the tour last year with the help of our friends in TAT. They hooked us up with the chance to be part of the tour, helping out with the catering crew each day to earn our slot. You need to work hard to get opportunities, especially in the punk scene, but to be respected for the dedication you put in really keeps you going. We must have done something right, as we were asked to join the tour again this year!”
‘In The Face Of Resistance’ is out in June
RANCID – Let The Dominoes Fall
THE RABBLE – The Battle’s Almost Over
ANTI-FLAG – The People Or The Gun
Converge drummer in yet another side project.
It seems as though Converge drummer Ben Koller and guitarist Lukas Previn of The A.K.A.s had so much fun playing together in punk grindcore supergroup United Nations that they decided to collaborate on another project with another couple of guys to play energetic prog rock-infused punk. The seven songs on Acid Tiger’s debut album are lengthy affairs and, while there is plenty of fast-paced rock music scattered throughout, this 40-minute record feels overlong. There’s even an extended drum solo by the supremely talented Koller. Still, this Kurt Ballou-produced effort rocks hard and manages to effortlessly merge prog rock and punk rock to create an entertaining album. Maybe you could call it prunk rock.
CAST OF THOUSANDS
Quality reissue of the much-overlooked second Ads album.
1979 was the year that derailed a lot of punk acts. While the support of a fickle industry wavered, audience expectations demanded repetition rather than musical adventure. The Adverts’ second LP was a casualty of this, suffering a vicious journalistic backlash on its release, sounding their death knell. With hindsight, ‘Cast’ reveals a more multi-dimensional Adverts than was evident on their 1978 debut. It boasts some fine numbers – ‘Television’s Over’ and ‘Love Songs’ easily rank among TV Smith’s best. If the Adverts received a clobbering for pushing their boundaries first time around, this reissue – including singles tracks and the Peel Sessions too – demands a reappraisal.
FUCK YOU AND ALL YOU STAND FOR!
UK82 hardcore heavyweights, still as angry as ever.
For the uninitiated, Broken Bones are veterans of the early ‘80s street punk movement and feature former members of Discharge and Conflict; two of the leading lights of that era. Fusing very angry hardcore punk with Motorhead style metal riffing, not much has changed over the decades. Their old enemies, the government and the Nazis come in for lyrical flack on ‘House of Frauds’ and ‘Persecution’ respectively but this time round they really got to town on the subjects of war and terrorism with songs like ‘Death on Demand’ and ‘Brainwashed’. After the recent election results, it’s likely they’ll have plenty of lyrical source material for years to come.
(Paper + Plastick)
Less Than Jake and Rehasher men playing acoustic tunes.
Featuring Buddy Schaub (Less Than Jake) and Jake Crown (Rehasher), this Gainesville, Florida duo produce organic acoustic tunes with catchy trombone melodies adding a different angle. Make no mistake, this is not ska but it does have the upbeat, summer feel of that chirpy genre with which Schaub is accustomed to. These honest, simple songs about life in a college town, such as the upbeat ‘Oh Sweet Pickle’ and the reflective ‘Big Trouble In Little Gainesville’, show a refreshing, intimate touch to the song writing compared to many singer-songwriters. Recording in home studios, this is the sound of friends playing music for the love of the music – something that doesn’t happen nearly enough these days.
And on they go…
Perhaps due to the fact that only early Destructors bassist Allen Adams had anything to do with the original ‘80s outfit, when he ‘reformed’ the band a few years back, they added 666 to their moniker, but here he sees fit to reclaim the name. It’s tempting to dismiss the constant barrage of self-financed CDs they have turned out as a sort of vanity publishing, and Destructors 666 have sometimes come off second best with their split albums with other bands, but it also has to be admitted that, overall, the standard remains pretty high. Here you get perfectly competent, even impassioned punk tunes, all on the subject of politics and intended to coincide with the general election.
DRONGOS FOR EUROPE
CAGE THE RAGE
Fast and furious tuneful punk from Birmingham veterans.
‘Cage The Rage’ could easily have been recorded in 1982. There are no nods to US pop/punk or anything that came afterwards, giving the album a vintage but still relevant feel. Stand out tracks like ‘Freedom’, with its chiming guitars, highlight their powerful Upstarts meets GBH roots whilst celebration of the working class anthem ‘Stand Up Be Strong’ bristles with attitude. With a clear-cut no-nonsense production, which lets the songs speak loudly for themselves, this rager keeps Drongos on the punk rock map.
THE FABULOUS PENETRATORS
Glorious, rockin’ weirdoes.
Hailing from the Shoreditch area, The Fabulous Penetrators have been around since 2006 (formed after their first incarnation as Vaudeville-style outfit Paloma And The Penetrators came to a halt), but this is their first album. And a curiously eclectic collection it is too – a mental mish-mash of garage, rockabilly, psychobilly, glam, swing and blues that could have ended up an unholy mess, but succeeds due to the sheer bravado and delivery of yelping, shrieking singer Liam Casey and the rock solid band behind him. Apparently, they’re a sight to behold live too, and, on this evidence of this, I can well believe it.
YOUR FUTURE OUR CLUTTER
Manchester legends still the Mark on album no. 28.
Fall albums can only be measured against other Fall albums these days and this one scores well using that Mark E Smith barometer. The band’s 28th album finds Smith with his latest line-up at their musical peak. ‘Bury Pts. 1 + 3’ is every great Fall song rolled into one and reminds you just how current they can still sound. ‘Cowboy George’ is a storming rockabilly/country-tinged whirlwind only missing a few ‘Rawhides’. There’s the usual quality song titles (‘Mexico Wax Solvent’, ‘Hot Cake’) plus enough willful obscure bits and pieces to keep the diehards happy. A national treasure.
IGGY AND THE STOOGES
RAW POWER LEGACY/DELUXE EDITIONS
Expanded reissue of punk rock’s 1973 cornerstone album.
Aptly scheduled to tie in with their storming reunion shows, Columbia’s reissue of this most vital of punk rock catechism comes in two packages – the ‘Legacy Edition’ comprising the original 1973 album, the ‘Georgia Peaches’ live show from the same year and a booklet, while the ‘Deluxe Edition’ throws in a third disc of outtakes and rarities and a ‘making of’ DVD. It makes for an impressive array of peripherals, but the meat is in the original article, the glitter-in-the-gutter conflagration of frustration, nihilism and pure bad attitude that primed a punk rock explosion on both sides of the Atlantic. ‘Hard To Beat’ indeed.
30th anniversary reissue for the early ‘80s classic.
It’s more than fair to say that Priest made better records than this 1980 album both before and after, but it certainly represented a shift towards metal becoming more of a mainstream entity. Along with other records such as the early Maiden material and Motorhead’s ‘Ace of Spades’, it came to represent the sounds of an era in heavy music. For that reason alone it deserves a bit of jazzing up and, if your vinyl version is anything like mine, you are probably due another copy of this record. There’s a live DVD in the package as well and interviews with all four members. Good value for money.
THE BRIDE SCREAMED MURDER
Back once again to fuck with your head.
Yes it seems that King Buzzo and Dale Crover have returned with those two guys from Big Business. I don’t think this band could write a bad record if they tried. They release a great record every two years and then tour it to much acclaim, then they disappear again. This record has elements of 2002’s ‘Hostile Ambient Takeover’ mixed with classic Melvins material and continues to push the envelope in new and interesting ways. They surround the listener with a heavy sound laced with menace and dread like no one else and if you haven’t heard them before then you should.
THE MEN WHO WILL NOT BE BLAMED FOR NOTHING
NOW THAT’S WHAT I CALL STEAMPUNK VOLUME 1
Bonkers album from steampunk gents.
By now you’ll no doubt have read our introductory feature to the retro/futuristic delights of steampunk. When it comes to music for the genre, London’s The Men Who Will Not Be Blamed For Nothing (who, interestingly enough, feature former Million Dead drummer Ben Dawson among their number) are intent on “putting the punk back into steampunk” and, with album ‘Now That’s What I Call Steampunk Volume 1’ that’s exactly what they’ve done. Playing refreshingly simple punk rock with foot firmly stomped on the accelerator, the likes of ‘Etiquette’ (with the refrain “Manners maketh the man”) zip past in a flurry of steam and smoke while references to Jules Verne, Captain Nemo, Darwin and HG Wells on the likes of ‘A Traditional Victorian Gentlemen’s Boasting Song’ and ‘Blood Red’. Outstanding.
DREAMS OF DEATH AND THE DEATH OF DREAMS
Girl rock that ain’t so girly and will probably kick your ass.
Obsessive Compulsive are a throwback to the multitude of 90’s female-fronted gritty rock bands, shading themselves the colour of Hole, The Distillers or Skunk Anansie. If this already doesn’t sound like your cup of tea, don’t let it put it you off just yet. This Manchester four-piece have been rocking since 2003 and the hard work seems to have paid off here in the form of their debut album. Singer Kelli drawls and lustfully growls and the guitars are fearless and clear. From the dark and sickly ‘A Cocktail of Toxins’ to the bittersweet ‘Vigaro’, this record delivers a venomous kiss.
Is horror punk heaven hell? Either way, this is it.
The Other are already arguably Germany’s best-loved horror punk outfit and this album looks certain to confirm that. Their mixture of goth, punk and metal is pretty much the perfect blend on this. The sound is cavernous and almost operatic as far as the soaring and plummeting vocals go – with that description almost fitting for the arrangements too. No doubt bolstered by the success of their previous album, they have been confident enough to include a German language song here too, but you don’t have to be bi-lingual to enjoy the hugeness of it. If horror punk is your (body)bag, look no further.
ROWLAND S HOWARD
Elegiac final album from the sadly missed Birthday Party guitarist.
Misunderstood and unappreciated for a large part of his career, at the time of his death from liver cancer in late 2009, Rowland S Howard was beginning to enjoy a resurgence in public and critical interest, and he managed to get this final album done. The serrated guitar twang and the careworn lyrical twists and turns could have come from no other musician, whether delineating a world of moral bankruptcy in the smoldering title cut, or laying open his own emotional diary in confessionals such as ‘Shut Me Down’ or ‘Wayward Man’. Rowland’s musical powers remained undiminished ‘til the end, and ‘Pop Crimes’ stands as a fine testimonial to the man.
THE MERCURY ALBUMS ANTHOLOGY
Two-disc retrospective of the original Queens Of Noise.
The all-girl five-piece the Runaways may have appeared to be a gimmick when they first came to public attention as Kim Fowley-chaperoned ‘jailbait rockers’, but Joan Jett and co. soon proved to have as much balls at their male counterparts, and then some. Pulling together their first three studio albums in their entirety together with the ‘Live In Japan’ LP, this anthology showcases the Runaways’ ebullient hard-rock raunch, with 42 tracks of teen-trash anthems. Packed with femme-rock belters such as ‘Cherry Bomb’, ‘Hollywood’ and ‘Trash Can Murders’, this is an air-punching jamboree.
Superb second offering of The Creepshow’s Sarah Sin’s angelic side.
Sarah Blackwood’s follow-up to her highly praised debut solo album ‘Way Back Home’ is more of the same. The ‘Sarah Sin of The Creepshow’ days are left well behind with this collection of heartfelt country ballads with a rockabilly leaning. Lap steel, banjo, piano, ukulele and double bass all enrich 11 songs that are surprisingly uplifting, despite quite often embracing desolate themes. All the tracks are self-penned and sung so beautifully that they will melt the hardest heart. Did I just type that? There’s the proof then.
SPARKLE IN THE MUD – UNRELEASED SONGS AND DEMOS VOLUME ONE: 1979-1983
Unreleased gold from Adverts singer/songwriter.
While one naturally baulks at using that awful ‘It says what it does on the tin’ cliché, it’s impossible to escape here. Tim ‘TV’ Smith may not have troubled the charts since his first band The Adverts did so in 1977 and 1978, but those gloriously ramshackle records also revealed a songwriter of rare talent. His work with bands like The Explorers and Cheap, then his more recent one-man shows and recordings have amply proved that point. So, this first set of rare TV Smith recordings, with detailed sleeve notes by Tim himself and Dave Thompson telling the story behind them, is most welcome.
Smart mod collection mixes ‘60s and ‘70s stylish sounds.
This fantastic 50-track double CD has something for mod fans of all ages, kicking off with The Jam and The Who and incorporating Gloria Jones’ northern soul classic ‘Tainted Love’ via Booker T & The MG’s timeless instrumental ‘Green Onions’ through to the recently reformed Purple Hearts late ‘70s punk-fuelled debut single ‘Millions Like Us’. The mod scene’s influence can’t be underestimated. For proof, check out Chuck Woods’ ‘Seven Days Too Long’, covered by Dexy’s Midnight Runners, and R. Dean Taylor’s ‘There’s A Ghost In My House’ – a hit single when covered by The Fall in the ‘80s. A timely reminder of a movement full of soul, style and a fair few scooters.
Best known as the keyboardist/guitarist and co-songwriter for seminal ‘70s London rock ‘n’ rollers IAN DURY & THE BLOCKHEADS, the talented Chaz Jankel has recently unleashed ‘The Submarine Has Surfaced’ – his first solo material in over ten years. Eugene Big Cheese had a chat with Chaz to find out more…
VLP: “You’ve written some big songs including ‘Hit Me With Your Rhythm Stick’. How does it feel to be releasing an album without the Blockheads?
Chaz – “Back in 1980 I wrote and recorded ‘Ai No Corrida’, which was on my first album for A&M. I wrote the music for this whilst on tour with Ian Dury and the Blockheads but I instinctively felt it wasn’t appropriate for the band as principally it was far too melodic for Ian. I always thought it had ‘hit’ written all over it, so when Quincy Jones recorded it I wasn’t totally surprised. I also think its healthy to be diverse and to interact with different singers/writers and musicians as everybody has something unique to offer. This latest CD is just another step on my musical journey. I’ve always had a broad taste in music so making my own albums gives me the opportunity to indulge. I made a couple of jazz CDs a little while ago but I don’t try and put all my eggs in one basket, as it were. I’d say ‘The Submarine Has Surfaced’ is a more of a ‘soulfest’.”
VLP: ‘Hit me’ was set to be a big smash in the States… and then it didn’t happen. Why?
“You know, I only got the answer to that quite recently whilst chatting with Dave Robinson (who was the boss with Jake Riviera of Stiff Records who released ‘Hit Me’). Apparently, after the final gig at the Bottom Line Club in New York, minutes after the band came off stage and were still in a state of undress and vibed up to the max, Clive Davis, MD of CBS Records and a pal sauntered into the dressing room. At the time, ‘Hit Me’ was a huge smash everywhere outside the US and it looked like it was capable of doing the same Stateside. We also had a PR/ligger/compere/wideboy called Kosmo Vinyl who went on to manage The Clash and still lives in New York to this day. As Clive Davis was congratulating the band and making very positive comments about the huge potential for the band in the States, Kosmo sneaks up behind Clive and sticks his hand down the back of his shirt collar apparently to confirm that Clive was wearing a Brooks Bros. shirt. This action of Kosmos so angered Clive that he stormed out of the dressing room outraged!”
“The following day Dave Robinson got a telegram, or possibly a phone call from Clive’s PA saying that there would be no release schedule for ‘Hit Me…’ and he never wanted to have anything to do with the band again. The band never went back to the States.”
VLP: What was it like being in a band with Ian Dury?
“Edgy, as you never quite knew how he would react or behave. Say somebody upset him by making a pompous or ignorant comment or something, Ian would let this smolder until he’d had a drink, generally round 6 in the evening, and then he could get really hostile and hit back at his victim verbally, showing him up in front of whoever was present. As a performer he was peerless – no one comes close. Every gig we ever did was a triumph, fronted by Ian’s eccentric exuberance.”
The Blockheads are back out there with an acclaimed new album. How’s it all going?
“We’re performing a lot of the songs from our new album within our set that also contains a lot of the old classics as well, such as ‘Sex & Drugs & Rock & Roll’, ‘Hit Me’, ‘Sweet Gene Vincent’, ‘Reasons To Be Cheerful’ and ‘What A Waste’. I have to say that audience members often tell me after a gig how much they like our new material from ‘Staring Down the Barrel", the Blockheads’ latest CD on EMI.”
“Which brings me onto my next point. EMI, unfortunately they haven’t come up with the goods. I think we were more of a trophy signing. We gave them a great record with great artwork and they sold very few copies. So as I write this we’re negotiating the return of our album.”
You’re an amazing group of musicians in the Blockheads. How do you gel?
“Amazingly well. You have to remember we’ve been together 32 years (the original members), so we know each other very well. I think the magic ingredient of the band is that we’re really vibed up when we play, so there is always something fresh about each performance. Over the years the song arrangements have evolved, a bit like a tree growing new branches. At our gigs you can see three generations of fans – Grandad Blockhead, son/daughter Blockhead and kiddy Blockhead. So in Sly And Family Stone’s words, “it’s a family affair”.
Eugene Big Cheese
THE DROPKICK MURPHYS
LONDON BRIXTON ACADEMY
Brixton is full of people swigging Guinness, pretending its St. Patrick’s Day and wearing at least some green tonight. Why? Because Celtic punk heroes the Dropkicks are in town to party, that’s why. Before that though, the crowd is warmed up brilliantly by the long-awaited return (their first London show in seven years) of reformed Californian punks FACE TO FACE, with Trever Keith and company clad in black and blasting through breakneck-paced fan favourites like ‘Disconnected’ and ‘I Want’, with people (including myself) screaming back every word, punching the air and grinning from ear to ear. As a half-cut crowd chanted “Let’s go Murphys!”, the lights went down and an Irish folk song welcomed THE DROPKICK MURPHYS on a stage covered in giant stained-glass windows. For an hour and a half this was the Murphys’ church, with an irrepressibly energetic band and crowd celebrating life (and getting shit faced) to songs like ‘(F)lannigan’s Ball’, ‘I’m Shipping Up To Boston’ and ‘The State Of Massachusetts’. Hallelujah!
IGGY & THE STOOGES
LONDON HAMMERSMITH APOLLO
I have to say I wasn’t expecting that much from Iggy and his James Williamson era Stooges tonight as they attempted to play one of the greatest ever punk albums, ‘Raw Power’, in its entirety. Williamson has been out of music for years working as Vice President of technology at Sony, but having since retired, here he is back at Iggy’s side, strapping on his Gibson Les
Paul again. But from the moment they launch into the albums’ title track it’s clear that these Stooges mean business. In what is a chaotic, rocket fuelled 90 minutes Iggy orders a stage invasion (“Nice work guys, especially you with the glasses!"), repeatedly dives into the crowd, humps the stage and berates the people upstairs for being posh. We get ‘I Need Somebody’, ‘Search And Destroy’ and even some songs from the rarely heard Kill City EP. The band are a powerhouse, supporting a maniacal frontman who puts kids a third of his age to shame. He may sell insurance now but Iggy is still the world’s forgotten boy. Legendary.
Eugene Big Cheese
THE BITTEREST P.I.L
As the John Lydon prepares to take P.I.L on another U.K tour, Vive Le Punk takes a look at some of Johnnys more memorable sardonic quotes.
Photo (c) Dod Morrison
“[Sid Vicious] would never have messed with heroin had he seen what a vacuous fat slob Lou Reed really is.” –Daily Star, 24 November 2009
“I can’t eat a thing the day before a gig. It’d make me vomit. Once I come off? I could eat a scampied elephant between two buttered mattresses.” –Telegraph, 01 Jun 2008
“He should lay off the preaching. If you mean to do some good in this world you don’t need to go bowing to the Pope.” –On Bono, The Telegraph, 01 Jun 2008
“It’s a museum, and therefore a mausoleum. It might be big and sparkly with lots of plate glass, but it’s cold and efficient deep down inside its very wicked, wicked heart.” –The Rock and Roll Hall of Fame, Los Angeles City Beat, 01 November 2007
“It does annoy me when I see the likes of Paris Hilton, who is, to be polite, an amazing underachiever. She’s underwhelming in every single way possible. And it’s repulsive. And she’s already a rich bitch.” –Los Angeles City Beat, 01 November 2007
“Mommy and Daddy didn’t buy us no guitars. It’s wrong to make a comparison (to the Ramones), and these idiots don’t understand that. I have no begrudging of what the Ramones do or any of them bands. But they did not come from harsh realities – and therefore (are) incomparable.” –On the Ramones, Orange County Register 24 October 2007
“It’s very odd to see history regurgitated quite so vacuously by lesser mortals who then run off with all the credit. Puff Daddy’s a classic example, isn’t he? The rap genius! What is he doing? Ooohs and aaahs over Led Zeppelin and a Sting song he makes a real stink of, and both times he gets Grammies as if he’s a genius.” –The Guardian, 17 May 2002
“The Internet’s a waste of time. It’s a hoax, much like that eight-track cassette nonsense, a technology trap. It’s all MP3 thievery, and nobody’s getting paid. You can’t trust a single word on the Internet — it’s all lies and innuendo.” –The Toronto Sun, 04 June 2003
“Nothing more awful than seeing one huge army of mohawks — such a disgusting cliché and so against anything I’ve stood up for. If you want a uniform, there are real armies out there you can join.” –On diversity (or the lack thereof) at the Sex Pistols’ reunion tour Los Angeles Times, 29 June 2003
“The man is robbing my bleeding life story because he doesn’t have one of his own! Can you imagine Little Lord Fauntleroy Malcolm in football shorts? I suppose he’d need lace cuffs and Elizabethan tights…” on Malcolm McLaren’s claims that he had trials for Arsenal, Uncut, December 2007
Photo (c) Dod Morrison
Public Image Ltd. Tour Dates 2010
London, O2 Shepherd’s Bush Empire, UK, 19 July 2010
Bristol, O2 Academy, UK, 20 July 2010
Oxford, O2 Academy, UK, 21 July 2010
Leeds, O2 Academy, UK, 23 July 2010
Liverpool, O2 Academy, UK, 24 July 2010
Glasgow, O2 ABC, UK, 26 July 2010
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WORLDS FORGOTTEN(AND REDISCOVERED) BOYS
THE IGGY AND THE STOOGES STORY
Seen as a band instrumental in the rise of punk rock and influential to alternative rock and heavy metal, THE STOOGES’ history is considerably different to that of most legendary bands. The original incarnation of the band never sold many albums and played the majority of shows to indifferent and hostile audiences. Lead singer Iggy Pop’s live performances were often erratic and unpredictable and drug use put a holt to the bands imminent rise before anything big could ever happen. When they re-united the band recorded a now illustrious album that at the time was considered a failure, they would break-up again and re-unite over 20 years later finally gaining the recognition they deserve before one of the original members would pass away unexpectedly. Here are the key points in the rise, fall and rise again career of the truly unique band.
April 22nd 1947- James Newell Osterberg is born.
Osterberg joins high school band The Iguanas.
Osterberg is nicknamed Iggy by his current band The Prime Movers after his former band.
Iggy comes up with the idea for The Stooges after meeting blues drummer Sam Lay during a visit to Chicago, he decides that copying other blues musicians isn’t enough and wants to create his own brand of blues.
Iggy recruits brothers Ron (guitar) and Scott Asheton (drums) and Dave Alexander on bass, Iggy takes vocal duties.
The band nickname him, Pop, after a local character, he begins using the name Iggy Pop which he has used ever since.
The band play their first gig at their house in State Street.
In January 1968 the band play their second gig.
The band play the Grande Ballroom in Detroit Michigan under the name the Psychedelic Stooges.
The Stooges sign to Elektra Records, after the label send scout Danny Fields to see MC5 who were also signed.
The band release self titled album, but it doesn’t sell well
The band release second album Fun House, The Stooges play a show at the Cincinati Pop Festival during which Iggy jumps into the crowd and covers himself in Peanut butter, he is held aloft by the crowd, this would later become and iconic rock image.
Dave Alexander is fired after turning up to Goose Lake International Music festival too drunk to play.
Zekke Zetner joins on bass but is later replaced by James Recca.
The band expand their line-up and add saxophonist Steve Mackay and second guitarist Billy Cheatham who is soon replaced by James Williamson.
Apart from Ron Asheton, the band all start using heroin. Iggy has trouble performing on stage and shows become unpredictable. They are dropped by Elektra and go on hiatus for several months with the remainder of the line-up consisting of Iggy, the Asheton brother, Recca and Williamson.
In September 1971 Iggy meets David Bowie who is at his height of fame with Ziggy Stardust, they become friends and Bowie takes Iggy and Williamson to England and gets them a deal with Columbia Records.
Iggy and Williamson attempt to re-create the band with British musicians but eventually bring the Asheton brother back with Ron now on bass. The line-up is billed Iggy and The Stooges.
Third album Raw Power is recorded with Bowie taking over mixing duties in somewhat controversial manner. The album sells poorly and is regarded as a commercial failure.
The band add piano player Bob Sheff and quickly replace him with Scott Thurston.
The band tour for several months and record a number of songs that would later become the Detroit Rehearsal Tapes.
The band disband due to Iggy’s continuing drug use and erratic behaviour, but play their final show at the Michigan Palace which is captured on the classis live album Metallic K.O.
Iggy enters rehab.
Iggy begins solo career and releases albums such as The Idiot and Lust For Life he also tours with a band that included David Bowie on keyboards.
Williamson works as producer and engineer for Iggy on his early solo releases.
The Asheton brothers start a band called The New Order which quickly falls apart.
Dave Alexander dies of Pancreatitis.
Iggy re-mixes and re-leases Raw Power.
Indie rock legends J Mascis and Mike Watt team up with the Asheton brothers and begin playing Stooges covers and some other material and are billed as Asheton, Asheton, Mascis and Watt.
They catch Iggy’s attention and he asks the brothers to appear on his Skull Ring album.
The Stooges re-unite performing shows in the US and Europe with Watt on bass and Mackay on saxophone completing the line-up.
Re-issues of the first two Stooges albums are released by Elektra records.
The band release new album The Weirdness and contribute a cover of ‘You Better Run’ to the album commemorating the passing of blues artist Junior Kimbroughs.
The band play more live shows across five different continents, and perform two Madonna covers at the ceremony put on to celebrate her induction into the rock and roll hall of fame.
The band play final show with Ron Asheton on September 29th 2008 in Slovenia.
On January 6th 2009 Ron Asheton is found dead at his home having suffered a heart attack several days earlier, in a statement the band call him ‘Irreplaceable’.
The band fail for a seventh time to be inducted into the Rock and Roll hall of fame after not gaining enough votes from committee members.
In May 2009 Iggy states that himself, Scott Asheton, Mackay and Williamson would begin performing Raw Power as Iggy and The Stooges. He also states that ‘The Stooges died with Ron Asheton but there’s still Iggy and The Stooges’.
May 2010 the Stooges destroy Hamersmith Odeon over 2 sold out nights and get ready to hit the stage at Sonosphere festival in August.
Their influence and famous fans.
Iconic punk writer Legs McNeil was especially fond of Iggy and the Stooges, and championed them in many of his writings.
The Sex Pistols recorded the first high profile Stooges cover, "No Fun", in 1976, introducing the Stooges to a new generation of audiences, particularly in England, where Pop was then based.
Sid Vicious also regularly performed "I Wanna Be Your Dog", "Search and Destroy" and "Shake Appeal (Tight Pants)" in his post-Pistols solo shows, and the first two feature on his Sid Sings album.
Jello Biafra says he bothered his whole neighborhood as a kid by blasting Stooges records on his stereo. He also says he bought the first Ramones album because "they looked like they played music in the style of the Stooges."
In 1983, Sonic Youth recorded a cover of the song "I Wanna Be Your Dog" on Confusion Is Sex. Thurston Moore has said when he was starting to play guitar, he would play Stooges songs when he got frustrated.
Henry Rollins devoted much of a 1985 Spin magazine article to Fun House (the rest was about The Velvet Underground’s White Light/White Heat—Rollins considered these to be the two best rock records ever made); in his 1994 book Get In The Van: On The Road With Black Flag, he would also declare of Fun House, "Everybody should own a copy of that album."
Kurt Cobain consistently listed Raw Power as his #1 favorite album of all time in his "Favorite Albums" lists from his Journals.
Jack White of The White Stripes has said Fun House is the best rock and roll album ever made.
In August 1995, all three Stooges albums were included in British music magazine Mojo’s influential "100 Greatest Albums of All Time" feature. Fun House was placed the highest, at 16.
Lead singer of Gypsy Punk band Gogol Bordello, Eugene Hutz, says this about Fun House: "the usual, you know, the best rock album ever made."
The Stooges’ "Search and Destroy" was featured in RedOctane’s Guitar Hero II for the Playstation 2.
In 2004, Rolling Stone ranked the Stooges #78 on their list of 100 of the most influential artists of the past 50 years.
Skateboarding team S.A.D. (Skate and Destroy) got their name from the Stooges’ single, "Search and Destroy".
The Norwegian punk band Wannskrækk recorded a tribute to the song "I Wanna Be Your Dog" called "Doggen" ("The Dog" in English).
Seventies rock n rollers The Faces were a major influence on everyone from the Sex Pistols and the Damned through to Oasis and the Replacements. But with a the shocking news that they will reform with Glen Matlock on bass (well that’s ok) and that ridiculous wanker Mick Hucknall on vocals, Vive Le Punk has to ask – are they going to shit their reputation down the toilet? In the meantime VLP traces a short history of Rod Stewart’s great band of rock n roll vagabonds.
When Steve Marriott left the Small Faces to form Humble Pie in 1969, the three remaining members dropped the “Small” and added two more musicians. The Faces were then comprised of Rod Stewart (vocals) and Ronnie Wood (guitar) from the Jeff Beck Group, and original members Ronnie Lane (bass), Ian McLagan (keyboard), and Kenney Jones (drums). During their reign from 1969-1975, the Faces released four studio albums and toured regularly, becoming one of the top-grossing live acts during the period. The English rock band produced many hits, including “Stay With Me,” “Had Me a Real Good Time,” and “Pool Hall Richard,” before releasing their final studio album Ooh La La in 1973. However, as Stewart began to pursue a solo career, the group became overshadowed by the lead singer, causing tension amongst members. Eventually, Lane left the band in 1973 – just months after the release of Ooh La La – frustrated at the lack of opportunities to sing lead vocals. Tetsu Yamauchi, bassist from Free, replaced Lane shortly after. The Faces released a live album the following year, featuring selections from their 1973 tour, and began recording for another studio album, but the group was losing momentum. The Faces released their final track, “You Can Make Me Dance, Sing or Anything,” in late 1974, which earned a UK Top 20 spot. In 1975, Wood began working with the Rolling Stones, which caused an even bigger riff in the group, and in December of that year the band announced they were splitting.
After the Faces disbanded, each member went his separate way: Wood joined the Rolling Stones full-time, Stewart continued his successful solo career, Jones joined The Who, McLagan moved to the US and worked as a session musician, and Yamauchi toured as a jazz musician. The Faces were not finished performing together, however. In 1986, they reformed for Stewart’s Wembley Stadium concert, and again in 1993 when Stewart received a Lifetime Achievement award at the Brit Awards. Since then, there have been many rumors of reuniting, and in 2008 it was confirmed that band members had been discussing a possible reunion. In September 2009, the Faces, with the absence of Stewart, reunited for a charity show, with Wyman filling in for Lane and Mick Hucknall of Simply Red for Stewart. On May 25, 2010, the group announced that they were officially reuniting with Hucknall on vocals and ex-Sex Pistol Glen Matlock on bass. After their first gig on August 13th at the Vintage at Goodwood festival, with special guests Slash, Noel Gallagher, and Chris Robinson, the Faces will play at more festivals, followed by a world tour in 2011. Forty years later, the Faces are ready to face the world again.
Few women have been as influential as Joan Jett in rock and roll history. From co-founding The Runaways to being nicknamed the “Original Riot Grrrl,” Jett has left her mark in the music world.
Born Joan Marie Larkin on September 22, 1958, in Philadelphia, Jett would spend her formative years sneaking out at night to go to concerts with her friends. At the age of 15, after relocating to Los Angeles with her family, Jett formed the all-girl quintet The Runaways with drummer Sandy West. LA record producer Kim Fowley discovered the group at one of their gigs and signed the band to Mercury Records. Though the group never saw much commercial success in the US, they gained popularity abroad, particularly in Japan. However, in the spring of 1979, after recording five LPs, The Runaways disbanded.
But Jett had only just begun her music career.
In 1979, after producing punk group The Germs’ first (and only) album, Jett began pursuing a solo career in England. Though her self-titled solo debut was released in May 1980 in Europe, she and producer-partner Kenny Laguna struggled to get a US label to sign. Therefore, the duo form their own label, Blackheart Records, a name later used for Jett’s backing band. Joan Jett and The Blackhearts was eventually signed to Boardwalk Records, and the “Joan Jett” album was re-released as “Bad Reputation,” charting at #51. The next album “I Love Rock’n’Roll” went to #2 on US charts and the title track has been named one of the greatest songs of all time.
Jett has continued to release albums, including the 2010 “Greatest Hits” album, produce records, and collaborate with other artists. She has also received critical acclaim for performances in both film and stage.
Recently, Jett executive produced the 2010 biopic “The Runaways” and came out with a hardcover biography and picture book. Jett is also supporting Green Day on their European tour this summer.
"I’ve had a blessed career," she has said. "I consider myself so lucky to have been able to do things my own way."
• Received her first guitar at age 13 from her father for Christmas
• Suzi Quatro is one of her early influences
• Second American to perform behind the Iron Curtain
• Actively involved in women’s athletics. Her cover of “Love is All Around” has become a popular anthem.
• Is a vegan and environmentalist
• First musician to guest star in “Highlander: The Series”
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