CLICK HERE TO SUBSCRIBE!
JOHNETTE NAPOLITANO of CONCRETE BLONDE
ANNOUNCES UK SHOWS
Concrete Blonde singer/ songwriter to embark on acoustic tour
Johnette Napolitano, the charismatic singer/songwriter/ founder of Concrete Blonde, will make her first visit to the UK in nearly a decade, performing a series of acoustic shows that will feature songs from her entire career and showcasing her incredible voice.
Concrete Blonde came howling out the chute in 1986 and knocked out three classic albums by 1990: Concrete Blonde, Freeand Bloodletting. latter begat the hit single “Joey” – a sobbing love song to a dying alcoholic – perfect rock balladry. Napolitano was born in Hollywood – the belly of the beast – and her songs were (and remain) cinematic – feature films compressed into three-minute rock ‘n’ roll: “Still In Hollywood,” “God Is A Bullet,” “True.” Walking In London, Mexican Moon, and a collabo with Chicano punk-rockers Los Illegals followed. “Ghost Of A Texas Ladies Man” and “Heal It Up” – among others — hail from that period. She is also one of the great song interpreters of our time, as proven by the way she turned James Brown’s “It’s A Man’s World” , Leonard Cohen’s “Everybody Knows” and Coldplay’s “The Scientist” into Johnette songs.
The 21stCentury brought the gorgeous, solo album Scarred, various Concrete Blonde reunions and her book Rough Mix – a collection of short stories, lyrics and drawings. She’s now touring on her own – just an acoustic guitar and her songs, passages read from Rough Mixagainst projected backdrops of original and found art – and that voice.
JOHNETTE comments, “’m looking forward to finally get back to the UK and seeing a lot of old friends”.
This will be a long awaited chance for UK fans to see a truly inspiring artist deliver heartfelt versions of some amazing songs in an intimate environment. Something not to be missed.
JOHNETTE NAPOLITANO tour dates
April 07- Norwich @ Waterfront Studio
April 08- Cardiff @ The Globe
April 09- London @ Jazz Café
April 10- Manchester @ Manchester Academy 3
For all the latest from Johnette, follow her on twitter @therealjohnette or facebook at
FREE with issue 15 of Vive Le Rock is an exclusive VIVE LE REBELLION! mini-mag, looking at Blackpool’s legendary REBELLION FESTIVAL – past, present and future!
Including an introduction by Rebellion Festival’s Darren Russell, an in-depth account of this year’s event by Vive Le Rock assistant editor Andy Peart with stunning photos from Dod Morrison, Johnny Wah Wah talking about the New Band Stage, an interview with next year’s headliners NOFX and a timeline of Rebellion’s highlights through the years, this is an essential free gift for anyone who loves Rebellion Festival like we do!
Check out some previews of the VIVE LE REBELLION! mini-mag below and order your copy of issue 15 of VLR to get this free gift now from anywhere in the world by CLICKING HERE.
SUBSCRIBE NOW (FROM ISSUE 15) AND GET…
YOUR CHOICE OF (WHILE STOCKS LAST)
VARIOUS ARTISTS – SONGS THE CRAMPS TAUGHT US
VARIOUS ARTISTS – SPIRIT OF THE CRAMPS
BOTH COMPILATIONS FEATURE VINTAGE PERFORMANCES OF WILD AND INCENDIARY ROCK ‘N’ ROLL, ROCKABILLY, BLUES AND THE OCCASIONAL ELVIS WANNABE. ALL DISCOVERED BY THE CRAMPS’ LUX AND IVY FOR THEIR VARIOUS RADIO SHOWS! BOTH ARE OUT NOW THROUGH RIGHTEOUS PSALMS, AVAILABLE AT CHERRYRED.CO.UK
OFFER LIMITED TO FIRST 50 SUBSCRIBERS, THEN AN ALTERNATIVE CD WILL BE SUPPLIED.
Sex, Drugs, Fashion & Rock ‘n’ Roll. London ’76 – every ingredient was present for the cultural and musical Molotov cocktail that was about to explode as Punk. Following its UK cinema release, this brand new documentary explores punk’s beginnings at 430 Kings Road, London, the SEX shop of punk’s ‘enfant terrible’ pair of Malcolm McLaren and Vivienne Westwood. SEX was the melting pot that spawned the punk movement and its cultural vanguard – The Sex Pistols.
Featuring Vive Le Rock editor Eugene Butcher, Tony James, Gene October, Jon Savage, Glen Matlock, Jah Wobble, Caroline Coon, Steve Severin, Charlie Harper, plus archive performances from some of Punk’s early London bands, this is one of the great stories of British musical in the 20th Century.
Available on DVD from http://www.odeonent.co.uk
VIVE LE ROCK is proud to present our first one-off collectors magazine for Bradford post-punk legends NEW MODEL ARMY!
This special full colour 104 page publication was designed by Brian Munson (who created the beautiful book in the 30th Anniversary boxset) and is being released into UK and German newsagents (price £7.99), in conjunction with Vive Le Rock magazine. It contains exclusive features on the making of the new album with the band and Joe Barresi, Joolz on 30 years of NMA artwork, remembering Rob Heaton by his brother Mike, band members past and present, Ricky Warwick on his year in New Model Army, Campino from Die Toten Hosen on his love of NMA and much more.
And 30 years after NMA released their first single ‘Bittersweet’, together with a limited edition flexi-disc, they are doing the same once again – with the magazine containing a limited edition flexi-disc of the ‘March In September’ single.
The magazine will be available on the road as a tour programme and in all good newsagents from September 19th.
Talking exclusively to Kris Needs in the latest issue of Vive Le Rock about CBGB’s, here’s some extra food for thought from Walter Lure of The Heartbreakers/The Waldos…
Downtown Manhattan and The Bowery: then & now…
“The Bowery consisted of a few block stretches of restaurant supply stores and a few blocks of lighting stores before it became the middle spine of Chinatown down below Canal Street. There were multiple transient hotels for homeless people strewn in between, which were little more than big rooms with a hundred bunk beds or mattresses thrown about for people to sleep on for $1 a night as well as a few bleak, dirty bars for drunks to feed their habits when they begged a few dollars on the streets. The rest of downtown Manhattan wasn’t much better with all the slums in the East Village headed east on Avenues A through D. That’s where all the drug dealers were and where everyone went to pick up their poisons of choice. Danger lurked as well with shootings and murders being reported on a regular basis. Today it all looks like a sunny day up on Oxford Street in London or Madison Ave in New York, a complete reversal of fortune, as it were. Apartment and housing prices have gone into the stratosphere where only rich trust fund babies can afford to live there and galleries and boutiques with equally absurd price tags have replaced all the old derelict bars and seedy businesses. While it may be safer and look a lot nicer, it has lost all the character that made it so attractive in the past. We used to feel that we were on an adventure and putting lives at risk just by hanging out down there. That gave the whole scene the edge that made it feel exciting.”
First band watched at CBGB’s…
“Not quite sure but it was probably Television, Patti Smith or maybe my friends, The Marbles. It could have been the Ramones as well but I can’t remember exactly.”
The CB’s scene…
“Well, we all thought we were the centre of the universe back then, but it took a few years before anything significant started happening. We were little tempests in a teapot as far as the American music scene was concerned. The only recording deals being signed were these predatory ones by hustlers parading themselves as music moguls who would sign the band to these deals where they would lose almost all their rights to the songs. Later, it took off much further than we thought back then but it wasn’t just New York anymore – all the other cities, especially London, became their own centres of the universe.”
“Hilly was an incredible character to have been able to sit through all that stuff year after year. I have no idea how he actually got involved in the club in the first place, although he was there for a long as I remember until he died. He was there sitting at the bar, usually inebriated to some extent, literally almost every night during that 10-20 year period. They actually served food in the early days – gruesome stuff and the best bit was his dog, which used to wander through the club all night leaving droppings for unsuspecting aspiring punk rockers to plough their feet into, bringing them back down to earth a little.”
Wildest CB’s gig…
“I haven’t a clue. There were some howlers – Wayne County breaking Dick Manitoba’s collar bone with a mike stand, various drug-addled bands vomiting on stage, bathrooms full of heroin addicts shooting up their stuff in the stalls right next to some others having sex in the next stall, me meeting Ace Frehley without his makeup and not having a clue who he was until Johnny T. told me (no wonder he wore makeup on stage!)… A veritable orgy of pleasurable pursuits. I can’t really name a wildest gig though so I’ll have to abstain.”
The benefits of hanging out at CB’s…
“Well, we got to meet just about everyone in the music scene who was anyone at the time, as well as tons of other notables. People seeing us play there would spread the word and that’s probably how we got hooked up with Malcolm McLaren and the Sex Pistols’ Anarchy tour. Lee Childers met us there and a host of others. It was definitely good for business as well as on a personal level – I can’t remember how many liaisons I made there and woke up in the morning in bed with them. I’ll not name any names in order to protect their reputations and my own sometimes drink and drug addled choices that many times left me bewildered the next morning trying to figure out how I ended up in whatever situation I was in (and most of all how to get out of it graciously!).”
UK SUBS’ frontman Charlie Harper talks about playing Hilly’s legendary venue.
“From the first time we played CB’s, gatecrashing a Fall gig in 1979, to the last time when Hilly was very ill and his son took over the place, we played CB’s a good twenty times, probably more than most. Hilly loved the UK Subs and would let me have a pick of all the new t-shirt designs, and we had certain other privileges too, like the use of the staff loo!
“Anyone who has been to CB’s will know all about that basement hell of a toilet – once down, it was a struggle to get up. There was no respect for fire regulations in the Bowery, it was a lawless strip and a club which we in Blighty would put three hundred heads in, CBs would often double. In 1980, Patti Smith held the house record of around seven hundred and fifty, and the Subs had eight hundred and twenty in but this was almost immediately taken over by The Jam the same year. There must have been three hundred people stuck in the bogs but there was never a place with a more intense atmosphere and character along with great light and sound.”
Flamin Groovies in their 1976 ‘Shake Some Action’ days.
Scala, London, 2nd July 2013
We’re a good long distance now from the post-‘Jumpin’ In The Night’ pseudo-line ups, and up until a few months ago the prospect of any sort of Groovies reunion was the stuff of wishful conjecture. Yet somehow, through whatever bridge-building processes may have gone on behind the scenes, a coalition of ‘Shake Some Action’ period members is back on the boards. As they take the stage at a heaving Scala – an expectant crowd already stoked from the Bermondsey Joyriders’ fine supporting set – it’s at once clear that the current-format Groovies are on intimidatingly good form. Leading off with a formidable take on 1973’s ‘Let Me Rock’, Chris Wilson and Cyril Jordan’s chiming fretwork strikes immediate sparks over the V8-powered rumble of George Alexander and new kid drummer Victor Penalosa, while veteran Procol Harum keyboardsman Matthew Fisher adds his tasty Hammond wash to the mix. Sounding together and almost supernaturally tight from their recent far eastern tour and stadium-sized bash with Springsteen, the Groovies execute a slam-bang rundown of career highlights – ‘You Tore Me Down’, ‘I Can’t Hide’, ‘Between The Lines’, their definitive cover of The Byrds’ ‘Feel A Whole Lot Better’, and the delirious two-punch set closer of the all-time classics ‘Slow Death’ and ‘Shake Some Action’ in rapid succession. With a capacity crowd baying for more, the Groovies encore with ‘Yeah My Baby’, a thunderously debauched ‘Teenage Head’ and close with a jubilant romp through Chuck Berry’s ‘Roll Over Beethoven’. The Flamin’ Groovies rollicked home with the Scala in their back pocket tonight; surely a Roundhouse date now beckons?
G’day mate – so where are you and what’s the bloody weather like?
“I’m in Melbourne and it’s winter time. We’re freezing our asses off! It reminds me of an English summer!”
And just who the fuck are The Terraces?
“We’re a four piece from Oz, with ex-One Way System founder member and bass player turned vocalist, Gary Buckley. My old mucker on guitar, Dean Tsolondres, ex-Rose Tattoo bass player Stephen ‘Kingy’ King and Howling Moon Doggies drummer Shakir Pichler. Four perfectly suited rebel rousers that look forward to blowing audiences away in August!”
You are over soon on the ‘Punks of Mother England’ tour. What’s all that about?
“The tour features ourselves and our good friends Electric River. It’s a double headline tour. When I first came to Australia everyone used to call me a Pome (Prisoner of Mother England). So seeing that we are all expats and Electric River are English we thought Punks Of Mother England was appropriate. It also defines the strange and weird fucking times we are living in at present – it’s time punks came out of hibernation and started rebelling against the conservative assholes who think they can put their dirty little fingers in our faces and tell us what to do, when to do it and how to fucking do it!”
If we want to check out you guys, what records have you got out right now?
“We have our self-titled debut album out, ‘The Terraces’, and the new ‘Extra Time’ EP out August 5th. Both are out through Blast Records and are available through iTunes and all good record stores – and from the merch desk of course!”
What three things should someone bring to a Terraces show?
“A strong constitution, a soothing quiff and to know the words so they can sing along to ‘Complete Control’!”
VIVE LE ROCK PRESENTS
PUNKS OF MOTHER ENGLAND TOUR
THE TERRACES & ELECTRIC RIVER (double headliners)
10 London Camden Underworld
11 Rebellion Festival, Blackpool
14 St Albans Horn
16 Gateshead Black Bull
17 Hinkley Kams Bar
18 Derby Hairy Dog
A SAMPLE OF THE COVER FEATURE OF OUR CURRENT ISSUE (NO. 13, JULY/AUGUST 2013), OUT NOW!
Live, the Cramps seemed unstoppable – their summer UK tour climaxed with a show at the Hammersmith Palais that saw Lux indulge on an Iggy Pop style walk out into the crowd, before charging across the dancefloor and rounding out an unforgettable performance by ripping a hole in the Palais stage and dropping through. “There was this huge crowd and I was standing at the back and Lux came off the stage he ran through the audience,” recalls Ace Records supremo Roger Armstrong. “As he was running he was gathering these guys, who were hanging onto guys, who were hanging on to guys and I remember Lux coming around and the crowd parted in front of him and he just looked at me and went, ‘Hi Rog!’ It was so cool.”
The subsequent show at Brighton’s Top Rank was no less frenzied – after the encore, Lux remained on stage, stark naked, creating a wall of feedback by rubbing the microphone against a speaker with a psychotic look on his face. This continued for a full five minutes until Nick emerged from the wings to wrap him in a towel and lead him away. The bulk of the audience were completely stunned by such a wild finale, which delighted Lux to the extent that he repeated the performance several times over the next few nights. Twenty five years later, on what turned out to be the Cramps’ final European tour, Lux remained uninhibited about his nudity. “I almost got in trouble in Stockholm; The cops came up afterward to Bob [Woodrum] our tour manager and they said, ‘Incidentally, the exposure of the testicles – this was unintentional, isn’t that correct?’ And Bob says, “Oh, absolutely – He’s never done that before’.”
Read the rest of Dick Porter’s Cramps cover feature now by picking up a copy of the new issue.
Returning with their eighth studio album, ‘Signed And Sealed In Blood’, Boston Celtic punk titans DROPKICK MURPHYS have recently trodden the boards on a rowdy UK and Ireland tour and seem tighter with each other and their fans than ever. Ian Chaddock and Emily Haider join their party…
“IT has a double meaning,” Dropkick Murphys co-vocalist, bassist and founding member Ken Casey says of the band’s new record, ‘Signed And Sealed In Blood’. “It reflects the passion and commitment and importance of the band to us. And also it shows shows the same commitment our loyal supporters give to us, as most evident in the fact that so many of them do us the honour of tattooing our logo on their bodies.”
Dedication is certainly something that Dropkicks fans have plenty of, shown by their rabid response to their recent live shows – the Dropkicks playing in Dublin is one hell of a show – but, as Casey explains, many of them are such die hards that they get permanent odes to their favourite band. With their new record they released the first single, ‘Rose Tattoo’, and posted the artwork for the album, asking fans to get a tattoo of the logo to appear in their video and album inlay. Unsurprisingly the response was massive. “When we released the cover artwork for the album, within three weeks we received close to one hundred pictures from dedicated fans who had tattooed the album logo (a red rose in the middle of a crest) on themselves. The dedication blows our minds and makes us proud to have such amazing fans. I have my favourite band tattooed on my arm and I know what that means to me, so I think it makes me appreciate it all that much more,” stresses Casey. “Coincidentally at least half the band has some sort of a rose tattoo, but nothing that is exact to the logo.” The new album was a good time for the Dropkicks, completed by Al Barr (vocals), James Lynch (guitar), Tim Brennan (guitar, mandolin, accordion), Matt Kelly (drums), Josh ‘Scruffy’ Wallace (bagpipes, tin whistle) and Jeff DaRosa (acoustic guitar, banjo, bouzouki, keyboard, accordion, mandolin, whistle, organ). Casey explains that it was partly due to the freedom of being free from a concept.
“We had lots of fun making it. It was a reaction to the last album [‘Going Out In Style’, 2011], which was complicated in nature, in that we were trying to follow a story line throughout the writing process. On this album, we had the freedom to write catchy, fun songs.”
So is it fair to say that this album was a party in the studio then? “Every day is a party with the Dropkick Murphys!”, laughs Casey. That partying and unrestrained approach is crystallised into personal and varied songs, drawing on their heritage. “We tend to write from real experiences and emotions as opposed to abstract ideas and references. I think the influence of Irish music has had a strong impact on our writing style where it’s very much based around storytelling and mainly experiences of our lives or family members’ lives.”
Cutting loose and kicking out the jams has also resulted in Casey’s favourite track on the record. “My personal favourite at the moment is ‘End Of The Night’. Just because it’s a fun anthem… it’s not gonna change the world but maybe it’ll stop ‘Closing Time’ from being played as much,” he chuckles. Elsewhere on ‘Signed And Sealed In Blood’, ‘Prisoner’s Song’ is a sea shanty-esque folk song with a surprising special guest in the form of English folk rockers Mumford & Sons’ Winston Marshall. Is Casey a fan and how did this unexpected pairing of Boston punks and English indie folks come about?
“Yes, I’m a fan. I have respect for anyone who can bring real music and folk instruments, such as they do, to the mainstream. We met last summer on the European festival circuit. Winston and our Jeff hit it off. We share some of the same musical sensibilities, although we come from two opposite angles. They invited us to play their festival, and we had a great time! We recorded Winston’s banjo while we were up there.” But any fears that the Dropkicks, who have been blasting out their punk since the mid-’90s, are softening should be instantly dismissed. “I think from the beginning of the band’s career, we’ve always had some songs that were harder than others and some that are on the soft side. However, I think we never tend to write a song that is soft musically and lyrically. If it is a mellow song, the lyrics usually have some type of bite to them. We do not plan on mellowing with age.” He concludes, “We write songs from many different angles, sometimes it might be complete lyrics in a vocal melody other times it may be a banjo or a guitar riff that sparks an idea. It’s a fairly democratic process where most of the people in the band take part in writing songs to some degree.” Raise your glasses and sing along, the Boston boys are back and they’ll be playing loud until the end of the night.
‘Signed And Sealed In Blood’ is out now on Born And Bred
Straight out of Switzerland The Peacocks have been playing double bass driven punk rock since 1990. That is long before a band they are often compared to, Australia’s The Living End, had even formed. The comparisons are justified though, rockabilly influenced punk trio with hard-hitting, excellently observed and aware lyrics that have transcended genres.
The original line-up with founder member Hasu Langhart, guitarist and lyricist at the helm hit the road hard in those early days playing 100′s of shows all over Europe, after just a year current bassist Simon Langhart was also on board. The hard miles paid off when the rest of the world began to take notice after the 1998 release of ‘In Without Knocking’, a tour of Japan, Canada and North America followed.
The Peacocks went down such a storm in North America that they were spotted by Mike Park at Asian Man Records, the home ofThe Alkaline Trio amongst others and promptly signed them to release their next album, the acclaimed ‘Angel’. Shortly afterwards the current drummer Jurg Luder joined the band and the permanent line-up was complete.
2004 saw the release of their next album ‘It’s Time For…..The Peacocks’ this album was on five labels in five countries and three continents. In the UK the album was released by Household Name Records who had championed the careers of Capdown and The King Blues. Another world tour followed promptly. The Peacocks label-hopping came to an end in 2007 when they signed to People Like You Records. They stayed in the USA after that leg of their tour to record PLY debut ‘Touch and Go’ at Sonic Iguana in Lafayette Indiana, this was followed up by the mini album ‘Gimme More’ then ‘After All’ in 2010.
2012 saw the release of ‘Don’t Ask’ on People Like You Records, a 14 track stomper of an album that is all that we have all come to expect from The Peacocks – Explosive, rockabilly influenced, stand-up bass driven punk rock, addictive and as catchy as hell.
On tour in the UK in August.
8th CANTERBURY BEER CART ARMS http://www.beercartarms.com/site/
9th WINCHESTER Boomtown Fair http://www.boomtownfair.co.uk/
10th BLACKPOOL WINTER GARDENS http://www.rebellionfestivals.com/
11th DURHAM – RIFFS http://www.riffsbar.com
12th HIGH WYCOMBE SCORPIOS https://www.facebook.com/scorpiosbarhighwycombe
13th NORWICH WATERFRONT w The Creepshow http://www.waterfrontnorwich.com/
14th BRISTOL FLEECE w The Creepshow http://www.thefleece.co.uk/
15th BRIGHTON PRINCE ALBERT https://www.facebook.com/ThePrinceAlbert
16th LONDON UNDERWORLD w The Creepshow, The Brains http://www.theunderworldcamden.co.uk/
17th GRIMSBY YARDBIRDS
We asked you:
WHAT IS THE GREATEST CLASH ALBUM EVER?
Here’s how you voted:
THE CLASH – 45.7%
LONDON CALLING – 27.7%
GIVE ‘EM ENOUGH ROPE – 13.3%
SANDINISTA – 7.3%
COMBAT ROCK – 3.9%
CUT THE CRAP – 2.3%
Now vote in our new poll on the left sidebar asking:
WHICH UPCOMING BAND/ARTIST ARE YOU MOST EXCITED ABOUT SEEING AT REBELLION FEST 2013?