MIRACULOUS MULE are one of a number of bands taking part in the Future Juke Festival in London later this month.

Subtitled “A Festival of 21st Century Blues”, the event lands at five London venues from 29 May to 5 June, and features acts from the outside edges of the blues spectrum, including ELI ‘PAPERBOY’, JAKE LA BOTZ, MUDLOW and SISTER COOKIE.

Full dates are….

Tues 29 May – Jake La Botz + Sister Cookie + Annie Bea @ Paper Dress Vintage, Hackney


Thurs 31 May – Aidan Connell + Husky Tones + Mudlow @ The Islington, Islington


Fri 1 June – Fantastic Negrito + Miraculous Mule @ Dingwalls, Camden


Eli ‘Paperboy Reed’ with the High & Mighty Brass Band + Marcus Bonfanti @ 100 Club, Oxford Street


Tues 5 June – Jerron ‘Blind Boy’ Paxton + Nia Wyn @ Bush Hall, Shepherds Bush


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Edsel Records are to issue two very special UK SUBS box sets.

The band were founde in South West London in 1976 by frontman Charlie Harper, recipient of the King Rocker award at the inaugural Vive Le Rock Awards and who just turned 74. Early on in their career the band set out to release an album for each letter of the alphabet, finally completing the task in 2017.  

The Albums Volume 1 features the first 13 albums (A – M), plus two discs of non-album singles, b-sides and rare compilation tracks comprising 279 tracks in total.  Covering a period when the band were at the peak of their commercial success, racking up no fewer than 7 Top Of The Pops appearances, four of the albums –  Another Kind Of Blues, Brand New Age, Crash Course and Diminished Responsibility – all made the upper reaches of the UK album chart. Engendered Species, meanwhile, includes the song ‘Down On The Farm’, which was famously covered by Guns‘n’Roses on their Spaghetti Incident album.

Discs 14 and 15 in the set contain 58 non-LP cuts, including UK hit singles ‘Stranglehold’, ‘Tomorrows Girls’, ‘She’s Not There’, ‘Warhead’, ‘Teenage’, ‘Party In Paris’ and ‘Keep On Runnin’’, plus the Independent Chart hits ‘Countdown’, ‘Shake Up The City’ and ‘Another Typical City’.

 The Albums Volume 2 features the second half of the A-Z series (N – Z) and, as with Volume 1, it also comes with two discs of non-album singles, b-sides and rare compilation album tracks, totalling 261 tracks.

Volume 1 is set for release on 1 June, while Volume 2 will follow on 3 August.

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One Man’s Madness, the new documentary film about MADNESS sax-player Lee ‘Kix’ Thompson, goes on a tour of cinemas throughout the UK next month.

The film, which was shown as part of the Vive Le Rock-sponsored Soundscreen Festival in March, tells Thompson’s story from his childhood in North London, through meeting the members of Madness and onto major success.

Directed by Jeff Baynes and starring all members of Madness as well as Neville Staple, Lynval Golding, Norman Cook and others, the film takes its cue from the Ealing comedies of the 40s and 50s, music hall and famous BBC arts documentaries, with a nod to those great British comics down the years such as Max Wall, Tommy Cooper, Les Dawson, Dick Emery, Morecambe and Wise and Spike Milligan.

“The whole experience in the making of this Mocu has been a sheer joy,” says Lee. “Miming along to all the characters was slightly tongue-twisting. However, with the director’s patience and perseverance we got there eventually. Jeff makes a fantastic Cappuccino and his wife was most patient with my array of props, wigs and slap. Thank you to all involved, you’ve made a happy man very old!”

Watch the trailer.

Cinemas so far confirmed to screen ‘One Man’s Madness’:

Tue 22 May LONDON: Showcase Bluewater (with Q&A with Lee and Jeff Baynes)

Wed 23 May READING: Showcase

Wed 23 May SOUTHAMPTON: Showcase

Wed 23 May NOTTINGHAM: Showcase

Wed 23 May DERBY: Showcase

Wed 23 May LEICESTER: Showcase

Wed 23 May PETERBOROUGH: Showcase

Wed 23 May LEEDS: Showcase

Wed 23 May COVENTRY: Showcase

Wed 23 May BRISTOL: Showcase

Mon 28 May SOUTHEND: Southend Film Festival

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The NEW YORK DOLLS are to have a wealth of live material and rare demo recordings compiled in a new box set.

Debuting in New York City on Christmas Eve 1971, the Dolls are widely regarded as a precursor to punk, becoming a massive influence a wide range of artists, from Kiss tp the Ramones and The Damned and on to Morrissey and Guns’n’Roses. They were briefly managed by Malcolm McLaren pre-Pistols and ex-Dolls guitarist was special guest on the fables Anarchy Tour of ’77, later returning in 2004 for a Morrissey-instigated reunion.

The 5 CD Personality Crisis: Live Recordings & Studio Demos 1972-1975 brings together early demos recorded with original drummer Billy Murcia prior to his tragic death in November ’72, and demos for their debut album in March 73. The set also features three discs worth of live recordings from Paris, NYC, Long Island, Vancouver, Detroit and Dallas, from ’73 to ’75.

Fully remastered for this release, the set also includes a booklet with full sleevenotes and rarely seen photos.

Set for release on 27 April through Cherry Red, Personality Crisis is available to pre-order here.

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Strike a light! Cockney-ska roustabouts BUSTER SHUFFLE are back with a new video which they’re premiering exclusively with Vive Le Rock!

‘We Fall To Pieces’ is taken from their rambunctious fourth album I’ll Take What I Want which was released through Burning Heart Records last November.

After cruising in the Bahamas with FLOGGING MOLLY, the band have dates in Germany before accompanying THE MIGHTY MIGHTY BOSSTONES around the US, save for a couple of UK shows as guests of MAD CADDIES. Full dates are….

18.04 – Will’s Pub, Orlando, FL – USA
20-23.04 – Flogging Molly’s Salty Dog Cruise, Miami, FL, USA to Bahamas
27.04 – Mephisto, Hannover – Germany
28.04 – Monkey’s Club, Hamburg – Germany
30.04 – Bi Nuu, Berlin – Germany
16-28.05 – Punk Rock Bowling, Las Vegas, NV – USA
26.06 – Ace Of Spades, Sacramento, CA – USA (with The Mighty Mighty Bosstones)
27.06 – The Fillmore, San Francisco, CA – USA (with The Mighty Mighty Bosstones)
30.06 – House Of Blues, San Diego, CA – USA (with The Mighty Mighty Bosstones)
03.07 – The Van Buren, Phoenix, AZ – USA (with The Mighty Mighty Bosstones)
05.07 – Scoot Inn, Austin, TX – USA (with The Mighty Mighty Bosstones)
06.07 – House Of Blues, Houston, TX – USA (with The Mighty Mighty Bosstones)
07.07 – House Of Blues, Dallas, TX – USA (with The Mighty Mighty Bosstones)
31.07 – O2 Academy, Newcastle – UK (with Mad Caddies)
01.08 – O2 Institute 2, Birmingham – UK (with Mad Caddies)
18.08 – Phoenix Concert Theatre, Toronto, ONT – Canada (with The Mighty Mighty Bosstones)
19.08 – Andrews Hall, Detroit, MI – USA (with The Mighty Mighty Bosstones)
21.08 – The Vogue, Miniapolis, IN – USA (with The Mighty Mighty Bosstones)
22.08 – House Of Blues, Chicago, IL – USA (with The Mighty Mighty Bosstones)
23.08 – House Of Blues, Cleveland, OH – USA (with The Mighty Mighty Bosstones)

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Australian punk icons THE CELIBATE RIFLES are back with their first release in 14 years.

Meeting The Mexicans: Live In Melbourne is the Sydney band’s first new album since 2004’s Beyond Respect, and the third live album of their career.

The album is a result of an increased period of activity from the band, who’ve been playing several dates over the past couple of years, including a tour with reformed Aussie legends THE SUNNYBOYS.

Recorded at the city’s Thornbury Theatre in June last year, Meeting The Mexicans features 12 tracks, half electric and half acoustic, including covers of The MC5’s ‘Shakin’ Street’ and Iggy & The Stooges’ ‘Gimme Danger’.

Speaking about the release, guitarist and band founder Kent Steedman told Vive Le Rock, “We had a long soundcheck as we had to set up for two different sets, so it was a longer than usual lead-up. This was the first time in many years that we tried an acoustic set, it went over well as always, despite its imperfections, and listening back to it the feel and humour was there, hence this CD. There’s a couple of handling errors and ‘feet into touch’ because we chose to present it as it was played, rather than fix things in production. The album has been remixed with the intent of giving an idea of the energy conveyed, rather than cleansing and polishing it. Where possible, we included songs that had not been out on previous live records. Meeting The Mexicans is perhaps a happy accident, and is a bit like an old bootleg, but this time we are exploiting ourselves. We hope you enjoy and listen to this CD in that spirit!”

Meeting The Mexicans is released as a limited edition CD here before being made available for streaming.

Check out their version of ‘Gimme Danger’.

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Canadian thrashers AGGRESSION unleash a brand new video which they’re premiering exclusively with Vive Le Rock!

‘Tales Of Terror’ is from the band’s accurately-titled fourth album Feels Like Punk, Sounds Like Thrash, which is out on 25 May through Dissonance.

The original incarnation of Aggression was formed in Quebec in the mid-80s, lasting four years and sharing stages with the likes of ANVIL and VOIVOD, releasing the classic Full Treatment album in 1988. Relocating to Vancouver, the band returned in 2014 with a new line-up built around guitarist Sasquatch and extensive gigging. Feels Like Punk… sees them back on form and touring in honour of the 30th Anniversary of Full Treatment.

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Organ-grinding sibling duo ARCHIE & THE BUNKERS have a new video, which they’re launching exclusively with Vive Le Rock!

‘She’s A Rockin’ Machine’ is taken from the Cleveland OH outfit’s second album Songs From The Lodge, which is out on 20 April through Dirty Water. Pre-order it here.

The brothers are planning a return to Europe this summer. Check their website for details.

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Former Eater frontman ANDY BLADE spoke to Vive Le Rock for last month’s issue. He had quite a lot to say for himself so we thought you’d like to see Hugh Gulland’s whole feature in full…..


Andy Blade’s latest release sees the former Eater frontman taking full control of a solo career that’s seen numerous twists since his former band’s demise in 1979. Hugh Gulland skips off school to find out more.

“There’s a lot of old faces,” Andy Blade muses about the demographic at his recent solo gigs. “Old punks, they make up about fifty per cent. And the rest of it are interested people, who are via the internet, thinking ‘There’s a punk rock legend playing’ − doesn’t matter who I was in! I don’t mind the fact, at least they show up − then it’s a case of getting them on board in reality, and not just liking me because I’m an old punk!”

After a somewhat sporadic solo output characterised by various short-lived writing partnerships, Blade’s recent trio of albums represents a more concentrated public campaign than we’ve seen in some years from this often reclusive artist. His latest offering, the darkly claustrophobic Plastic Penny And The Strange Wooden Horse, reveals something of Blade’s inner workings:

“The original title comes from Denim − you know Lawrence? One of his songs on a recent album was just a list of band names that he thought sounded cool. There’s some really funny ones, like Heavy Jelly, funny words that sound good together. And one of them was Plastic Penny And The Strange Wooden Horse, and that’s how I came up with the title.

“But, I saw it as a metaphor, Plastic Penny being us, and The Strange Wooden Horse being authority, government, or whatever it is we’re being suppressed by. Basically Plastic Penny is all the good ideas, and The Strange Wooden Horse are all the bad ideas, and just that fight between them.”

The language of that title track is strikingly sinister, almost sexually threatening…

“Yeah it is, it’s meant to be, sexually threatening is right. The choice of words, I’m not actually saying anything, but they sound sexually threatening. And it’s the idea of having your power taken away from you by a bigger kind of force, but it’s also having a go at all popular culture; the hipster, trends… I think people have been reduced to ignorance, and unless you use this kind of heavily suggestive, in-your-face kind of language to express yourself, our feelings all get homogenised, and made acceptable and nice. With any songwriter, it’s always a case of not toning anything down, and if you can up the ante, with hints or suggestions, just placing the right key word here and there… it’s not really saying one thing in particular, it’s more about lashing out at invisible enemies that you have no control over.”

There’s quite a claustrophobic tone to the album altogether?

“I think that’s because, in my head I feel pretty claustrophobic… not just in music but every single way, socially. I’m not part of a profession, apart from a musician, which is a very loose profession… I’m not part of any particular group, I keep finding out I don’t belong, the older I get the more I find out I don’t seem to belong.

“Even more so than when I was a punk, at least I had a community there to belong to. There was a very identifiable community, anybody that was pissed off can join. Nowadays I feel like I’m totally alone.”

Might some of this be exacerbated by the nature of your current location, Guildford?

“Guildford’s like a second-class Richmond, without the celebrities and stuff, and it’s so homogenised. They’ve got an ACM school there, which is the rock school, and it produced Ed fucking Sheeran! Everybody in Guildford’s got a guitar on their back if they’re under 25, and they’re talking about the course they’re on that’s going to turn them into pop stars…

“That’s the kind of town Guildford is, as long as they can say to their kids that they helped them try to achieve their dream, even though it’s a total waste of time. But yes, it is a bit of a Stepford town, but I don’t think that’s the reason. Because that’s the way I felt from California, to Richmond, to Muswell Hill, it doesn’t really matter where it is, I never felt like part of what’s going on, anywhere.

“Even with punk, it felt to me as though me and Brian [Chevette], the guitarist, were conning people, at school, that we had a band; we said we did before we did have a band for starters! We obviously wanted a band, but we didn’t have the money for instruments, so we eventually nicked our first instruments − and that’s when, for the first time, I realised if you turned around to someone and said ‘I’m this or I’m that’ and you showed them scant evidence, like a guitar or a card, that’s all they need.

“If I’d been more confident with that, Eater would have been have been hugely successful. The only problem being, at fifteen or sixteen, we were under the impression someone’s going to rumble us any second now and say ‘Hang on a minute, you’re not proper musicians!’ Even though punk’s supposed to be not proper musicians, we still felt like ‘We’re getting away with this’!

“It’s only now, lately, that I realise Eater did actually mean a lot to quite a lot of people, and it wasn’t a case of ‘We’re getting away with this, and someone’s gonna come in any minute and say, go home’. It almost felt like things can only be sanctioned with hindsight, which is sad cos at the time something’s happening, you don’t do as much as you could do, because you spend half the time looking over your shoulder!”

Listening to Eater’s catalogue now, it’s almost like you were the crystallisation of what a UK punk band was truly supposed to be – teenagers still working out how to use their instruments!

“I’m not just saying this egotistically, I think we were the real definition of a punk band! We were actually the first, when Johnny Rotten made that famous comment, he wants everyone to form a band and bla bla, we took that literally! It’s not like we thought ‘We’ll stop playing jazz fusion now’, or ‘We’ll stop playing rock ’n’ roll’; we hadn’t played anything!

“We were just, tune up and we’ll learn three chords now, and those songs that you apparently can write… and it was after buying that Ramones album, [it] was proof that three chords and a short song could be fine. And so I think we really were the definition, most of the bands that are now punk legends had been in, you know, Bay City Rollers tribute bands! Jimmy Pursey for instance, the year before he formed Sham 69, he really was in a Bay City Rollers lookalike band!

“Others, The Heartbreakers, you know, were hardly spring chickens, they weren’t the same, although they were welcomed when they came over, Eater shared their same manager, they were like heroes of ours, purely because of the Dolls rather than what they actually were… although undeniably tight and undeniably good. I listened to LAMF the other day, and there’s one track on it that’s sort of punky and new wavey, that’s ‘All By Myself’, all the other songs are rehashed R&B type riffs and stodgy ‘Chinese Rocks’ type…, it’s all fine, great, they’re played well, but really nothing to make you go ‘Fuck me!’ Just, ‘It’s alright’ − but it was such a change from the weedy sounding people who couldn’t play, on the circuit; you could go and see a band who could play a whole set without guitar strings breaking or without someone walking off in a hissy fit, you could get to the end, applause between each song, professional! It’s all good. But there’s surprisingly few who were the definition of a punk band! Eater were!”

Lyrically, you were deliberately provocative?

“I think you have to do that, because what else were we going to write about? We had a rough idea of the nihilism, like of the Ramones lyrics, and the idea of writing a song based around ‘I don’t wanna walk around with you’, it was easy. And then the idea of slagging off teachers and headmasters was easy, because we were still at school, and we made difficulty at school! I was being taken to court, at the time, I didn’t even realise how serious that was until recently when I found letters to my mother from the education services! They were taking her to court cos I’d missed school, and they were about to put me in a special school, right up until my sixteenth birthday, which was when Outside View, the first single, was released.

“They had plans to more or less kidnap me, and take me off to this special school, I’d broken the law by missing school, but that wasn’t the real reason… I won’t go into that! Lots of other reasons (the headmaster) wanted me thrown out of the school, there was a little bit of that, a little bit of the fact that I’d broken the rules, my mother hadn’t made me go to school, although I don’t know how she could  have made me go to school. And I didn’t realise how serious it was, they hounded me right up till sixteen, which is so weird; I was doing well in this band that everybody was going on about all the time, we’d taken them to see the proof of the pudding − the records, newspapers with our name in it etc. And yet they were still trying to prosecute, send my mum to jail, or whatever they were going to do, or send me to a reform school… but we had something, we were a real band.

“It’s very unusual to find any band under sixteen years old that hadn’t been put together or manufactured by a label, or by a Svengali, and we were probably the only band ever, tied to rock ’n’ roll, that did everything ourselves, literally everything, and no other involvement until we were established. And then we had people get on board.”

Ah yes, the business dealings, starting with Eater’s signing to Dave Goodman’s fledgling label…

“He approached us, he saw an advert in the back of the Melody Maker, which was the bible for advertising at the time, saying ‘punk band require bass player’. We had Dee Generate and Brian in the band, but we needed a bass player. He phoned up, saying he’s a record label, and a sound engineer, he works for the Sex Pistols, he’s starting a record label with Johnny Rotten called Rotten Records and would we like to sign? So yeah, of course, and then it turns into, well Johnny Rotten’s not actually involved in it, and it’s not actually called Rotten Records. They slowly but surely pulled the wool over our eyes after attracting us in, and tied us to a contract I’ve never ever been able to get out of since!”

Eater folded in 1979, was there a final straw or was it a question of gradual erosion?

“It was really a straw, it was getting to the point of… after we found out about the Polydor (Japan) deal, that was really it, and also we wanted more wages, we were then paid £15 a week − which wasn’t that bad for then! The direction we were going was nowhere, without Brian in the band, someone else to write with. It was just Ian [Woodcock] taking control of the band, and he was, cos I wasn’t turning up to rehearsals − he had a perfect band now, when he joined us there was three crappy musicians and him, and by the time we were about to split there was three good musicians and me! And the good musicians jammed, did what good musicians do – take all the excitement out of the music!

“I didn’t like the direction it was going in, I went from being totally up for walking half way across London to get to a rehearsal, walking back at midnight, to not being arsed to get out of bed to get in a car to take me to a rehearsal. So when I suggested we all turn up and tell Caruso [Fuller] what a XX!X he is, they loved that idea, and it brought us all back together suddenly, we turned up in a show of force, and so we had this big scene, with him screaming, begging us to come back into the office,  ‘you can’t split now, we’ve got a second album to come out’ and came out with this classic line ‘You can’t  teach me jack shit about rock ’n’ roll’ − made us laugh all the way back to Finchley!”

So after this you began to work with Brian James?

“That’s when the solo career started, I’d been writing with Brian, and he was looking for a singer for Lords Of The New Church, his next project after Tanz Der Youth, he’d been out of The Damned for a while by then. And I think he was eyeing me up for that job. We recorded a couple of songs that were really OK, and if we’d carried on working together I think it would have been really good, and I was really up for that. But when he started to go to Stiv Bators, it was obvious that was a better move, as far as I could see, for him to do that. Actually looking back, we would have made a good team, I liked his writing, I’d like to have worked with him, but that didn’t come to much, after a bit of recording. And I started working with Billy Duffy, after Slaughter And The Dogs split up. Because of their age, they were closest to our age, they were a bit older than us, but we met them early on, so we were kind of on the same wavelength. They split and formed the band Studio Sweethearts. The band sounded like the name, it was like done up in the studio, all swish production and crap lyrics! And Billy was the best one in it, and we became friends, he moved into the flat above me and we became mates, and he joined my band. Phil Rowland out of Eater, had come in to drum [with Studio Sweethearts], I nicked Billy from him, and we recorded a single together, did a lot of gigs − the songwriting was getting good. He was another guy that I found really good to work with, and he was looking for someone that he could work with, and write lyrics. He’d gone to Morrissey before, and he’d tried to coerce Morrissey into − I think he did a bit, with Ed Banger and the Nosebleeds, a very early incarnation. Just before he met me, he tried again, when he was trying to get out of the Studio Sweethearts, he tried again to see if Morrissey was into doing something rather than sitting in his room, but he didn’t want to do anything! He actually did, he was in The Smiths about a year later, Johnny Marr had to go and get him out his room!

“So eventually Billy and I started to work together, and it was really good, and the songs were great, we wrote about twelve really interesting tracks in the space of a couple of weeks, and just as we’d got a band together and started rehearsing, he got another offer, from Kirk [Brandon, Theatre Of Hate] −  it was big compared to ‘the ex-singer out of Eater’, and so he took that, and then nothing came of it, and  he then joined The Cult. But again, I think if he’d gone a different route, we could have done something pretty good. After that I gave up looking for a guitarist. This trilogy of albums I’ve released since 2008 − I’d totally given up on the idea of working with someone else. It’s a bit self-indulgent when you play and record everything yourself, but it’s making up for a lot of lost time that you’ve spend watering down ideas by working with people who turn out not to be… you don’t have any faith in someone, writing songs with someone, you really have to have them sussed otherwise you’re at risk of giving them something really valuable, for them to kick the shit out of it and turn it into something that’s horrible, ruin its aesthetic value.

“If you’re the one with the ideas, it’s taken me a very long to realise, I have ideas, that’s always been the case, I feel like I don’t have the time to waste, either to write songs with someone or collaborate in any way. Until I can totally have things my way financially, and get the people I want, I’m stuck with having to do everything myself, because I just don’t trust anyone else!”

You’re out there gigging on the back of this new album, what does the immediate future hold?

“I only have short-term aims, I don’t make plans, a lot my time is spent thinking about mortality. Not that I’ve got anything that’s gonna kill me, but I had a bad scare a few years back that really made me have to question that side of things, so I don’t make a lot of plans. But I have a new book coming out, that I’ve almost finished, that will be out this year, and I have a guy in the States − weird tenuous connection – he worked on that very popular comedy sitcom, [Curb Your Enthusiasm]; one of the writers on that show is an old mate of mine, came out to England from California in the punk years, and he’d back out in Hollywood now, is a top guy out there; he loves the idea of turning my original book Secret Life Of A Teenage Punk Rocker into a movie. He wants it to be a movie but has the idea of turn it into a sitcom, after a movie!”

Beyond this, Andy has been nurturing plans for one particular gig some way off the usual circuit:

“I’m hoping to go to Gaza to play a gig. Because a friend of mine, Palestinian, was killed by the Israelis at a demonstration back in the late nineties. And we were really good friends, he effectively saved my life on one occasion, I was really upset when he died. The problem is, as soon as you say you’re doing something for anybody connected with Palestine or Israel it immediately becomes all political. And I’m sick of arguing about the rights and wrongs of the situation… I’m really not interested in the politics, the only reason I want to do a gig there is I promised my mate one day I would do that. In my heart I would like to do that.”

Plastic Penny And The Strange Wooden Horse is out now through Flycatcher / Cherry Red.

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Stars of the UK ska scene will be heading for Southend-on-Sea for a celebration of the 2 Tone Records sound this summer.

The 2 Tone Forever Festival will take place in the South Essex town’s Garon Park on Saturday 21 July.

Acts lined up to appear include THE BEAT featuring Ranking Roger, THE SELECTER, former BODYSNATCHERS frontwoman RHODA DAKAR (pictured), NEVILLE STAPLE from THE SPECIALS and special guests from Jamaica, THE SKA-TALITES.

Tickets are on sale here with discounts for groups.

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On this week’s Generating Steam Heat, DJ Nony Zero jumps back in time for the fourth instalment of their occasional look at the wild world of sixties garage rock.

This time around he’s hand-picked an hour of garage rock freaks and geeks playing hard rockin’ tunes that pre-date punk and heavy rock. These rare slabs of vinyl were designed to both blow your minds and ear drums!

Expect to hear Dr Specs Optical Illusion, The Wailers, The Quests (pictured), The Outside In, Brave New World, It’s All Meat, The Chessmen, Fallen Angels, We The People and more…

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Aussie legends ROSE TATTOO are to have their Blood Brothers album reissued to coincide with their European Tour.

First released in 2007, Blood Brothers is the band’s most recent studio. It was the last to feature original guitarist Mick Cox, who would pass away two years later, and also saw the arrival of slide guitarist Dai Pritchard, replacing band founder Peter Wells, who died the previous year.

The album saw a boost in profile for the band with considerable exposure for the lead single, a cover of EASYBEATS frontman Stevie Wright’s Oz rock classic ‘Black Eyed Bruiser’.

The reissue, which features 6 bonus live tracks, is set for release through Golden Robot on 18 May. It’s available to pre-order here.

Rose Tattoo last year announced a new all-star line-up with Angry Anderson and Dai Pritchard joined by former AC/DC bassist Mark Evans, Angels and Skyhooks guitarist Bob Spencer and former Australian Crawl drummer John Watson.

The band head to Europe in June, arriving in the UK in September. Catch them on the road at….

Jun 05 Hamburg – Germany Markthalle
Jun 07 Sölvesborg – Sweden Sweden Rock Festival
Jun 08 Hamburg – Germany Markthalle
Jun 09 Aschaffenburg -Germany Colos-Saal
Jun 10 Munich – Germany Rockavaria
Jun 12 Dornbirn – Austria Conrad-Sohm
Jun 13 Pratteln -Switzerland Z7
Jun 14 Strasbourg – France La Laiterie
Jun 15 Bochum – Germany Zeche
Jun 16 Alkmaar – Netherlands Victorie
Jun 17 Bremen – Germany Tivoli
Jun 19 Neuruppin – Germany Kulturhaus
Jun 20 Berlin – Germany Astra
Jun 22 Clisson – France Hellfest
Jun 23 Leipzig – Germany Matapaloz Festwiese
Jun 24 Aschaffenburg-Germany Colos-Saal
Aug 29 Nürnberg – Germany Hirsch
Aug 30 Karlsruhe – Germany Substage
Aug 31 Bochum – Germany Zeche
Sep 01 Hartenholm – Germany Serner Rennen
Sep 02 Bremerhaven – Germany Full Metal Cruise
Sep 06 Glasgow – Great Britain O2 ABC
Sep 07 Belfast – Great Britain Limelight 2
Sep 08 Dublin – Ireland Voodoo Lounge
Sep 11 Birmingham – Great Britain O2 Academy 2
Sep 13 London – Great Britain O2 Islington Academy
Sep 14 Kortijk – Belgium De Kreun
Sep 16 Raismes – France Raismes Festival

Rose Tattoo on Facebook

Pic by Darryl Edwards

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The latest in a series of comprehensive box sets from Cherry Red focuses on the second wave of UK punk.

Over four CDs and 114 tracks, Burning Britain: the story of independent UK Punk 1980 – 1983 catalogues the vital scene that reignited in the aftermath of Thatcher’s 1979 election victory.

Covering a wide spectrum, the anthology not only reflects the impact of the anarcho scene, but also alights on Oi, pathetique and other sub-genres, drawn from the catalogues of such labels as Riot City, No Future, Fallout, Clay, Mortarhate, Anagram, Step-Forward, Small Wonder, WXYZ, Rondelet, Spiderleg and Flicknife.


The set is completed by a 64-page book with a foreword by punk historian Ian Glasper, author of the essential book Burning Britain, from which the anthology takes its name.

Set for release on 27 April, it’s available to pre-order here.

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ADVERTS frontman T.V. SMITH headlines a special acoustic punk show in South London this Sunday 18 March.

Taking place at the New Cross Inn in, err, New Cross, the show kicks off at 4pm and features a line-up of singer-songwriters, all of whom are playing unplugged for the night, but don’t assume they’ll be taking it easy, so leave your slippers and Sunday papers at home!

Joining T.V. on the bill are former VIBRATORS frontman Knox, ex-BOYS bassist and now successful power-popper Duncan Reid, Paul-Ronney Angel of THE URBAN VOODOO MACHINE, former CANNIBAL and now RAW FUN frontman Patrice, Rich Ragany from ROLE MODELS, Lucy Ellis of LUCY & THE RATS and Dave Renegade.

Tickets priced £7 are on sale here. Admission on the door will be £10.

T.V. Smith on Facebook

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Northern Irish garage-blues duo THE BONNEVILLES are today premiering a brand new track exclusively with Vive Le Rock!

‘Don’t Curse The Darkness’ is from the Lurgan pair’s new studio album Dirty Photographs, which is out this Friday 16 March through Alive Naturalsound. It’s available as a CD, download limited edition vinyl and t-shirt bundle here.

Says guitarist/singer Andrew McGibbon Jr, “I love this song, one of my favourite Bonnevilles tracks. This song has taken about 10 years to write, believe it or not. One of the million jobs I’ve had in my life, I delivered and removed pianos. After the last economic crash in 2008 I was sent to this guy’s house in the country to remove his piano. He had lost absolutely everything to the banks but the one thing he wouldn’t let go was the piano. We took the piano from his very nice house, which he had just given up and took them into town. He was such a lovely guy, very chipper, especially considering what he was going through, so I asked him why he seemed to be okay with everything that was happening to him and he said back to me, ‘Don’t curse the darkness, light a candle.’ That blew me away. I wrote it down in my notebook. A few years later I wrote the song and we played it out a few times. We even recorded it for our last album (Arrow Pierce My Heart) but the recording didn’t do the song justice, so I pulled it. We rearranged it a bit and tried again on these sessions and it turned out great, I would never allow a crap version of it to go out as I always felt the song has the potential to be meaningful to someone. It might end up being ‘that’ song for some soul out there that needs it.

“We dedicated it to our friend Audrey Extraordinary Fraser, she was in the room the first time we played it at a gig in Montrose in Scotland. She was going through some difficult stuff at the time and it made her cry. We took that as a good sign.”

The Bonnevilles tour mainland Europe this April, before returning to the UK to play Red Rooster Festival, Euston, Suffolk on 31 May and Mandela Hall, Belfast on 15 June.


The Bonnevilles on Facebook

Pic by Svein-Roger Johnsen

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The LONDON INTERNATIONAL SKA FESTIVAL returns over the Easter Weekend, celebrating its 30th Anniversary with an impressive selection of ska and reggae in North London.

And if you buy this month’s issue of Vive Le Rock, you can find out how to get half-price tickets!


There’ll also be the usual array of DJs and sound systems including DON LETTS, CLIVE CHIN, GLADDY WAX, TESSA BASSIE (THE SLITS), WRONGTOM, RAS DIGBY, ASHER G, AXIS VALV-A-TRON valve sound system

Full show details and tickets – including weekend wristband and individual events – are available via www.londoninternationalskafestival.co.uk But get in quick as shows are already selling out!

London International Ska Festival on Facebook



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This month’s Soundscreen Festival, London’s new music and film festival brought to you by Vive Le Rock in conjunction with Rock’n’Roll Cinema and Cadiz Music, will see the world premiere of Uncaged, the story of Brix Smith and The Extricated, the band put together by ex-members of The Fall.

The screening, at London’s Legendary 100 Club on 21 March, will be followed by a special performance by the band themselves.

Taking place at venues across the city from 21 to 27 March, Soundcreen promised an exciting programme of music on film, including the UK premieres of the Radio Birdman story Descent Into The Maelstrom and The Go-Betweens film Right Here, the acclaimed Slits documentary Here To Be Heard, and Lee Scratch Perry’s Vision Of Paradise, accompanied by a performance by the man himself.

With new events being added all the time, full details and tickets can be found at www.soundscreenfestival.com

The festival will be followed immediately by the first ever Vive le Rock Awards at the O2 Academy, Islington on Wednesday 28 March. Featuring a string of guest presenters and live performances by the likes of Ginger Wildheart, The Professionals and Charlie Harper, it’s not to be missed. Tickets are available here.

Brix and The Extricated on Facebook

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MIRACULOUS MULE return next week with a special garage-blues extravaganza in East London.

The trio’s most recent album Two Tonne Testimony was a standout release of 2017, making Vive Le Rock‘s Top 10 albums of the year, and they recently tore the roof of the legendary 100 Club while opening for BOG BOY BLOATER.

The band are already plotting their follow-up release with new material being broken in at live shows during the year. The first of these is set to take place at hip clothes shop-cum-venue, Paper Dress Vintage, Hackney Central, on Friday 9 March.

Check out ‘Shave ‘Em Dry’.

Joining Miraculous Mule on the night are long-serving South Coast punk rock blues practitioners MUDLOW, who are preparing for the release of their restrospective compilation Waiting For The Tide To Rise, due out in April.

Check out ‘Mad Mary Lou’.

Opening the night are happening  duo J.D. HANGOVER – featuring members of legendary Italian punk-blues maestros STIV CANTARELLI & THE SILENT STRANGERS – whose harsh Delta blues channels SUICIDE by way of an ancient Bentley Rhythm Ace drum machine.

Check out ‘Mr Williamson’.

Throughout the night and afterwards, DJs from Stag-o-Lee Records will be manning the decks.


“We’re hoping to get our next album recorded before the end of the year and we’re using upcoming London shows to try out new songs,” says Miraculous Mule’s Michael J Sheehy. “It always adds a little spice as does having a great opening band and we’ve got two at Paper Dress. Too often we’ve found ourselves playing with bands with egos and bad attitudes which far outweigh their ability, passion or tunes, Mudlow and JD Hangover are exceptional, both bands know how to bring it and will light a fire under Miraculous Mule’s arse so expect a night of full on mutated rocking fiery garage blues!”

Tickets for the show, priced at a very reasonable £5, are available here.

Miraculous Mule on Facebook



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