In the last instalment, I was threatening to watch the industry bunfight on TV last night. As it is, I sat down with a cup of coffee – drank it – and subsequently passed out before the nonsense began. I vaguely remember waking to see Stringer Bell on the box but then just turned it off. I’d never have been able to pick up the plot thread.

It was a shame because I sort of wanted to see Lady GawGaw as Cheryl Cole would pronounce it. Or maybe I didn’t really. People are horrified when I admit to sort of liking her hit singles. I warmed to her after Eric Cartman “covered” “Poker Face”.

The Friday FAK show is being reported as sold out. This is a tacit boot up the jacksy with regard to arranging to get tickets in advance. In this instance, my confusion about the size of the venue (approx 100) with someplace down there that Laura (Cantrell) played has resulted in probably having to go to Tuts on Saturday. It’s 300+. Lesson learned. Update @ 7.30pm - Not sold out. Entry vouchers only available via everybody's "favourite" ticket dispenser. Paul "The Cat" Johnston made this discovery. And much as it sticks in my craw, I sprang anyway.

Been having some e-mail hiccups again. In addition to not being able to find time to deal with what’s coming in anyway. Add a sprinkling of trying to reduce the computer addiction and it all adds up to a wee, if not entirely insurmountable problem with logistics.

RIP - Lee Freeman (Strawberry Alarm Clock)

A welcome diversion to my routine yesterday and some logistics juggling abetted my much-attempted ambition to stay away from the computer. Sir Tom Phobic (nee Crossley) dropped by and it was a lot of fun to go over war stories , play music and just sort of get a grip on why all this stuff is important. The general wearing down process can seem all-enveloping sometimes but events like this create an often obscured perspective.

If you’re not familiar with The Phobics then you should be but more mature readers may recall Tom’s tenure with Bad Karma Beckons (not Beckhams, clothears). Anyway, this guy has a star-spangled punk rock pedigree and is one of life’s total gentleman. As ACC sez Been there, done that. He also proudly wears the t-shirt.

Something that came back to mind yesterday after talking to Tom was remembering how I used to go and take out loans to publish the magazine and all that guff. It seems unthinkable now and they’d probably chase me. However, yeah it was all funded in that way and even although it never “recouped”, the spiritual return on that investment of time and green has been amazing. That only really becomes clear when time can be spent with fellow “veterans” or the extended family across the planet. Never something that should be taken for granted.

This will swing into sharp focus again when the Stockholm trip goes down in a couple of weeks. That’s something that real life won’t be able to mark with the proverbial ice axe. Here’s to the next summit down in Tom’s “manor” in May. We’ll be the guys at the bar when The Stooges are on.

Of course there’s stuff I SHOULD do but I’m inclined to watch “The Brits” tonight. A wee bit of rhyming slang with regard with what is likely to be portrayed but I’m curious as to just how lamentable it’ll probably be. The hollow self congratulatory hype notwithstanding, I find the concept of how anybody could rate that caterwauling bisom Florence (and her apparatus) anything other than trés poor bordering on pitiful. Either that or the other way about, take your pick.

So here's a couple of things to keep you occupied...

The v. prolific JD King just keeps knocking out the great stuff and Chapters 12 and 13 of metaphors are available for your perusing pleasure.

Isn’t there a publisher out there that recognises that this ought to be an actual book? I realise that publishing is possibly even more shot than the music but really, their equivalent of A&R operatives are overlooking genuine gold here.

A cyber-chinwag with The Chairman (Marty Thau) by Dick Porter is over at Mudkiss.

The fog hasn’t lifted all day here and the sun is on its way down. I’m going to prepare a wee snack and buckle down to suffering for the closest thing to an art that I‘ve got. Hope me ‘eart is up to processing the anger palpitations.

Not a good start to Monday then... this just in from the Rev. Jon Hammer....

RIP - Dale Hawkins

RIP - Doug Fieger (The Knack)

“Teenage Excitement, Romance and Mystery”. That’s our strapline. It could also be applied to the brand new album by Brijitte West and the Desperate Hopefuls. Ms West, with whom I hope you’re familiar, led a combo by the name of New York Loose. They should have been huge in the days when the record industry had some clout but for some reason it never happened. God knows why. In addition to knocking out a fine line in post-Max’s scuzz rock anthems, Brijitte should have had teenagers of both sexes crying themselves to sleep.

The whys and wherefores are irrelevant at this point because here are 10 great songs that have all the hallmarks of her former band injected with some hybrid vigour. It’s a glam slam, punk rockin’ good time with plenty of cheeky wee shards of her old stomping ground of NYC. Add a dash of Muffs/Fastbacks to the equation and what you’ve got is something that can’t be faked. It’s all about spirit and there are gallons of that here. “Mess of Myself” is the best Runaways song that Joan’s crew never recorded. “Hey Papito” must be a real crowd pleaser when they’re cranking it out in a club, gotta love the rumour of “Girl from Ipanema” that’s sprinkled in here.


I’m thinking that the kids in Spain will love this. They know what they like and this has plenty of that. “All Roads Lead To You” has an infectious, almost Boston-sized riff that’s impossible to get outta your noggin. The skirl of those guitars is largely why the fuck we’re all here. Closing track, “How To Be Good” is a duet with Jesse Malin. I lost track of him when he started hanging out with that Ry*n Ad*ms dufus. Murray is always telling me that I’m missing out and this suggests he’s probably right. This is Suzi Q at her most Jackie DeShannon and would sound manifique blasting out of a little portable tranny and probably equally so on one of those iPod things. Keep an ear peeled for a couple of very tasty little “Chinese Rocks” flourishes also.

Let Brijitte and her gang lift you like the proverbial rocket. The listener will likely remain in orbit for the entire duration of the flight and for some time thereafter. Giddiness is a likely side effect upon descent.

The album is out on Devil's Jukebox on February 22nd.

First Aid Kit’s “The Big Black and The Blue” has getting pretty decent licks in the press since it came out a couple of weeks ago. Apparently a stooshy came about when these two sisters covered a Fleet Foxes song. One of those internet phenomenon deals we keep hearing about. Let me just state hear and now that I don’t see what the fuss is about with those beardy guys. This is an altogether different kettle of fish, particularly after you get over the baroque nature of the harmonies.

These two young Swedish sisters have made the record that Gillian Welch fans should search out ahead of their heroine making another album. The Appalachian nature of this displaced duo is uncanny. Klara and Johanna Söderberg are the offspring of Lolita Pop man Benkt Söderberg so they have an excellent musical pedigree. This is their first album and I think Witchita have as close as there can be to having a hit on their hands. “Ghost Town” is amazing and no, it’s not a cover of The bloody Specials. It’s a plaintive hymn hot a million miles from something wir ain Ms Laura Cantrell might have come up with. “Winter Is All Over You” and “I Met Up With The King” along with “Hard Believer” al emerge as songs that have elements of excellent acoustic pop in addition to being chestnuts of isolated folk.

First Aid Kit will be playing in the UK from next Friday night. Catch them now before the heather ignites.

Anybody that can even come up with the idea of recording covers of Calum Kennedy, The Ramones and The Damned far less pull it off has to be on to something. You might recall being hepped to Mr Shaw’s “Blitzkrieg Bop” somewhere back yonder? Well, he’s brought his unique twist on acoustic routes through this special “covers” album. It’s free and available from the man himself ahead of his first proper set of self-penned material.


His version of Uncle Tupelo’s “Gun” underlines his ability to strip back and apply an altogether mood to songs that you may consider impossible to consider in any way but the original form. Maybe it’s a symptom of being a Lewis native that has forged his unique ability? Being isolated from the mainland and soaking in all manner of influences. Like the way the Australia interpreted The Stooges and sold them coals back to “Newcastle”. One thing’s for sure, you haven’t heard Franz’s “Take Me Out” performed like it is here.


Iain Shaw’s populist outsider folk is headed for the mainstream pulsebeat, infectious in its simplicity and utterly charming. You need to hear it to believe.

This is the way a show should be planned. Two great bands, together. Promoters, take a good look at this and take a leaf out of this book willya? It's not likely that such a practice could ever happen hear but one lives in misguided hope.

RIP - Richard Delvy

It’s a big weekend for greeting card manufacturers, florists and choccy sellers as they up-end individuals on account of "Valentines Day". Cue Hello Saferide song. I just found out that “Before Sunrise” and "Before Sunset” is The Cameo double bill on Sunday. It reminds me of meeting Julie Delpy with her parents just along from Filmhouse once. I spoke to her and I’m sure she hadn’t a scoob what I was saying but she was nice. I sort of like those movies but don’t fancy attending as a gooseberry.

As befits this time on a Friday, I am brimful of positive intentions. This extends past the normal cut-off point because I’m off until Tuesday so the potential for industrious behaviour knows no bounds. Still, let’s see what’s been achieved in real terms before my strong suit of procrastination kicks in. Time is slipping by and with every passing day it’s difficult to figure how so much got done before. Now even a simple trip to the post office is fraught with problems being that the service isn’t what it once was.

And don’t even get me started on how long it takes stuff to get from A to B or indeed if it makes it to the requisite destination at all. This isn’t just something that’s going down here. There’s a bunch of stuff hasn’t made it here (yet) either. For instance Caroline, who has a show tonight (see flyer above) sent 45s from Norway and guess what? That's right, it appears someone has snaffled them. Not that I blame them for coveting the contents of this package but I will foot their collective arse if I ever discover the culprit's identity.

So yeah, it's a braw, bricht, cold blue sky outside so I'm about to grab me some of that.

See you sometime around nightfall.

Following on from the Moon Duo stuff yesterday, I believe it hits the racks today so go get it and bake in its sonic majesty. These people do it right. They drip feed their mesmeric excursions in short number. Although this could be considered a long player because of the length of the four cuts, it’s really a mini album. But what matters is that it’s wall to wall enriching. The y don’t deal in filler. A lot of guff is spread around with regard to psychedelic music but this swirls into places that your mind ain’t been for a while if ever. “Escape” is a space rock concerto in 4 movements. It sounds like it was conducted by Joe Meek using a bizarre world Tornados (or “oes” if you prefer the American spelling).

“Motorcycle, I Love You” revs in like a theme from a never made ITC show that could have been called Department X. This wax before that letter became synonymous with karaoke and worse. There’s a cinematic aspect to Moon Duo that isn’t entirely present in Wooden Shjips. These are soundtrack pieces waiting to be synched with something pretty far out. “In the Trees” is like Neu cut loose in Badalamenti’s “Pink Room” and they’re bouncing off the walls. The title track imagines Rev/Vega hurtling back through space and time to crash the recording sesh for Al Casey’s “Surfin’ Hootenanny”. Peculiar things be goin’ down on the percussion front.

Apocaleptic music for the mind and body, a leading practitioner* of Rawkology has called it “Kraut Mask Replica” *. It's quite a squall alright.

* “Kraut Mask Replica” is a trademark of Dr Steve Hesske of Havre, Montana.

Gracias Marcela (via facebook). It'll all be kicking of in your place tonight!!

“Best value”. That’s another expression that rips my knitting. It’s used as a smokescreen to trick people into thinking that’s what is delivered. Invariably it’s another erosion of trust. A further devaluation of language to cajole a sale. I heard some arsehole on the radio gabbing on about it this morning. An offensive strain of blah used to puff up some empty target strategy. To make some other duffer look good and so it continues up to cloud base. Quality as a spiritual entity is all but gone. It’s all about cutting corners. Creating a façade. Guaranteed obsolescence. What was it I heard recently? “A recession is a hiatus during an extended period of growth”. All well and good as that relatively harmless sounding statement is fired of to illustrate that we’re actually in a shallow depression. Which part of that is expected to snap the world out of its freefall?

I almost never do anything on myspace because all the daft graphics that people use to adorn their pages caw the heck out of my system. Facebook is for having a chinwag and/or a laugh. I don’t do mafia wars or any of that crap and draw the line at Li’l Green patch and Li’l Blue Cove (despite my aversion to seafood). I’m not inclined to add any apps or join a campaign where a sausage roll can attract more followers than Cheryl Cole.

I have no quibble with that particular Geordie lass and besides, it depends on what kind of SR is being touted here. Is that stated anywhere? Trying to regain a semblance of real life as opposed to that of a drone is high on my agenda. By the time that the days come to stretch out properly then maybe it’ll become fact.

Until then, bobbing and weaving in addition to crashing and burning is probably in order. I was mentioning yesterday that I’ve heard some utter guff lately. This does not include tuneage by The Primevals, Ms Brijitte West, Pascal nor Moon Duo. Dr H provided a portal to that today and I’m just about to partake of my initial blast of that particular delicacy.

I think that this and yesterdays sermon pretty much sum up the state of this particular rickety nation. No more pontification is forecast.

I haven’t seen this performance by “The Who” that took place during the Superbowl. Nor do I really want to. However, the fact that it maybe wasn’t up to scratch seems to have surprised and even horrified people. Are individuals really still so naïve as to think that any semblance of glory can be retained by a couple of guys who patently didn’t do what they sang about all those years ago? I remarked to a colleague this morning about how none of us are getting any younger. A couple of stark examples of this have presented this to me in IMAX terms these past few days.

The “live” performance is a peculiar beast. You’re never sure who is doing it for real or who is miming. There are two aspects to this. Making the people who are believe and react, to entertain them. We’ve all been at shows with hairy sound and all kinds of problems but it rises above and becomes an experience. Then there’s the almost mechanical, wheel on – wheel off “performance” that never differs. This is more akin to a theatre production with a very slim margin for any possible error. The latter seldom results in rousing the rabble. When I see the barrier between an act and the audience in most venues, it automatically makes my heart sink.

Rock’n’roll and health and safety are like oil and water. If you extract the “danger” then chances are that the ignition required will fail to take place. I feel the same about lengths of set and the number of bands on any given bill. My own opinion is that there should be not more than two bands. Any more than that and it qualifies as a festival. And also, do 20 or 25 minutes and leave me wanting more. Don’t risk 35, because chances are that it ain’t happening. This may be interpreted as harsh but fuck it. Let’s have that line in the sand be recognised because time, despite what Mick Jagger claimed übermoons ago, is not on the side of any of us.

It is the most precious commodity known to mankind and the supply is running out. Conserve it and use it wisely. No point in concerning ourselves with the pros and manifold cons of the new facebook format. We have to deal with it or shut the bloody thing off.

Almost as irritating as the unsolicited links and mp3s I get sent are the URLs that I send to myself. At the time with all the good intentions of reading them only to be deleted 3 weeks later when I realise that if I do that then what about the others. Trying to be selective is all very well but it doesn’t work for me. My head seems to be a lot more scrambled these days. Yes, I realise that might come as a shock – followed by the question – how could it be?

Writing these days too provides cause for concern because I’m all written out. Sometimes it’s easier than others but essentially I am pathologically opposed to trotting out the same information each time. This manifests itself in log jams. It tests loyalties and ultimately responsibility. Not that I have much experience of the latter recently.

Obligation has no significance in objectivity. It’s a bit like compromise. The problem with so much stuff these days is that nobody is prepared to offer opinion for fear of causing offense. Or appearing to go against the preferred tide. This isn’t a good foundation. Subjective objectivity on the other hand is something that always comes in useful. That and only kicking something to death in print to create a perspective. Ha ha.

I’ve heard some unbelievably average albums and "music" recently and some that I really, in all honesty, can’t bring myself to feature in any way shape or form. There are others that I want to do something with but haven’t come up for air. There’s no schedule – it all just happens. Sometimes the queue can be jumped. Let’s just leave it at that. You don't grudge a guy in his dotage that - surely?

Sort of went off on several there, must have been needing to vent...

Mr Spence wishes it to be known...

"The Brutes are outta hibernation and tearing up THE CAVE at the Flying Duck, Glasgow this Friday (12th Feb). Headliners are the Blackbirds - a Beatles covers band.

Feel free to come w/ polystyrene rocks in yer pockets, and
re-enact Johnny Ramone's visit to Shea Stadium for the real Beatles back in the day! Even tho' it's a club night, bands are on pretty early (8 til 11).

So come on out and stamp on a Beatle!!!"

The inimitable Roy Loney is in Spain this week with The High Risers.

El Sol tomorrow night!!

My mind has been churning over and all roondaboot this past few days and the upcoming short jaunt to Stockholm can’t come quick enough. It should be quite a gathering and a top event. A lot of effort has gone into making it a real cool night (revisited). Three weeks from this coming Friday. Bit of scooting about to be done tonight so this will be brief.

Susquehanna Industrial Tool & Die Co. offers more quick draw Rodeo Bar action this week, pardner! No need to check your shootin' irons at the door, neither...

WEDNESDAY, FEBRUARY 10th /
RODEO BAR / 375 Third Avenue
(at the corner of 27th Street) in ol' Manhattan /
Two shiny, silver plated shows, from 10pm sharp until 12:30am / No cover!

Sincerely, Michael
Susquehanna Industrial Tool & Die Co.
"Ballads, Boogies & Blues"

Very excited about the imminent release of the new album by The Bambi Molesters. Coming this week on Croatia's Dancing Bear label with a Glitterhouse version for Europe coming later (this?) month.

So we’ve been to-ing and fro-ing between Australia and Sweden these past few days. Sadly not physically but that’s the plus of this interweb thing, you can be someplace else in seconds. Heading back down under then and The Soul Movers “On the IN Side” that Career put out toward the end of ’09. This is a superior brand of what The Detroit Cobras are doing. These folks aren’t relying on mining obscure gems.

Their originals feel lived in and Lizzie Mack’s voice is a warm, honeyed instrument that just sits right. She reminds me of Frankie Miller. The Soul Movers count Deniz Tek and Pip Hoyle among their number. This is showing signs of another side of Detroit than what you’re used to hearing them play. I’m not sure what the story is with regard to live shows but I think they were in Spain fairly recently. This stuff would sound pretty damn sweet spilling out of the El Sol sound system for sure.

There are no fancy production tricks just an obvious traction with their roots and it sounds like they had a good time laying these tracks down. If they could somehow get on Jools Holland’s TV show, they’d be on the fast up elevator.

The Intercontinental Playboys (note – not incontinent) “Hymns of the Flesh” is a recent addition to the I-94 Bar canon. It’s unashamedly sixties-ish with a constant Hammond flourish to punctuate that. Fans of latterday Cramps and “Bad News” period Fuzztones will dig these guys. They’re not trying anything fancy and contrary to popular belief, the keyboard motif does not make them sound like the fucking Stranglers. They’re not out to change the world here.

“The Maestro’s Shadow” reminds me of The Johnnys and let me tell you, that’s no bad thing on a Sunday afternoon when the logistics of the next few days are about to descend. The Playboys could easily have been added to “A Real Cool Time Revisited” and passed off as a Swedish combo from the mid-eighties. That’s a compliment by the way.

And finally for your listening pleasure, The Hitmen’s expanded “Tora Tora DTK”. The latest instalment in the Savage Beat resurrection of their catalogue, it includes their “Moronic Inferno” album and a host of extra gear that displays exactly that these guys were the antipodean Dictators. To the extent that Chris Masuak’s “Cowboy Angel” mini album even sounds like The Del Lords. I hadn’t heard this stuff before. “Tora Tora” itself is one of the great live rock’n’roll records. Up there with “On Your Feet Or On Your Knees”.

The band was writing songs that should have swept the world like those of AC/DC. I’m not sure what happened. Maybe there were no videos for MTV or maybe it’s just another case of not being able to see the wood for the trees. “Didn’t Tell The Man” sounds better to these ears than any old Clash bollocks you might care to recommend. They even did a cracking version of Shakin’ Street’s “Solid as a Rock” and also “Shake Some Action” way before it was hip to do so. That Barman, he’s a busy one because there are extensive liner notes here that explain exactly why The Hitmen are an important commodity. They’re another one of the bands that made it possible for you to see The Stooges. They never stopped being “Rock’n’Roll Soldiers”. Not ever. They’re limbering up to play shows around their homeland in April with Niagara. You’d be a fool not to see them.

“Treat Me Like Dirt” is an oral history of punk in Toronto and beyond by Liz Worth. It’s an exhaustive tome that goes into the minutiae. It can do this because of the book’s “two column and small font” format. Edited by our pal, Gary Pig Gold – no stone is left unturned. It’s taken me a while to get through it because of the conversational nature of how the various individuals portray what happened. Much of it centres on the destructive nature of The Viletones and in particular Steven “Nazi Dog” Leckie who may have benefited from a good hard kick up the arse at the time. Countered by the more conventional nature of Teenage Head’s relationship with bands like The Dolls and The Groovies, Ontario's scene seemed to mushroom in much the same order as it did in other major cities across the world. Then there was the more avant-rock that Simply Saucer was building. Attempts to acclimatise them to the burgeoning movement were fruitless. I guess it would have been like putting MX80 Sound on at the 100 Club.

In essence, it had more to do with what was happening in the UK than NY per se. This continuum was much more punk. The music was angry and unperturbed by what would eventually become new wave. The Ugly lived up to their name too. I always thought that they were like a proto-oi band but listening to then now, it’s a lot more Alice Cooper/Dead Kennedys. I don’t think that I ever heard The Curse. Some years ago, the Other People’s Music imprint issued a bunch of collections of recordings by some of these bands. I imagine that they’re still available if you scour the web. They don’t seem to be available from that label anymore. The B Girls who also feature, had a similar set "Who says Girls Can't Rock" too.

Anyway, this digest – published by Ralph Alfonso’s Bongo Beat Books – is the best example of its type since Brendan Mullen’s “We Got The Neutron Bomb”. It documents the years 1977 – 1981 in forensic detail with possibly way more information that is absolutely necessary but it’s interesting to read how it chimes with what was happening here for instance.

Don Waller recently, correctly, noted that many of the histories that are becoming available are being put together by people who either weren’t there or that hardly had a ringside seat. This one is the work of people who were in the trenches. They fought in the war that was supposed to put an end to stuff like Muse. Shells raining overhead, the whole nine yards, respect is due above and beyond.

“Treat me Like Dirt” is available in the UK from Proper Books. Or go direct to Bongo Beat.

GLAMROCKSAMPLER

(info via Mark A. Pyskoty's facebook)

This is great. It includes The Dictators and the word "galumphing". Not together I hasten to add.

"my name is john martin and i am putting on art exhibition in mono bar in glasgow on feb 11. the opening night part is on that date and starts at 8pm along with a reggae disco and collection for haiti disaster commitee-free event. the theme is mostly pop art inspired tributes to musical heroes such as ALAN VEGA - POISON IVY - SCOTT WALKER - B.A.D along with early primal scream gig posters (1984-1987) and posters from a mid 80s club called SPLASH 1 where the likes of SONIC YOUTH-23 SKIDOO-WIRE performed-hope you can list this piece of info -much appreciated-thanks john m. "

the address is MONO CAFE /BAR-KINGS COURT-KING ST-GLASGOW

RIP - Sir John (Johnny) Dankworth

RIP - Ian Carmichael

Cork, Dublin, Belfast... look lively!

It had been hoped that today would have been a case of playing catch up. Things however, have not gone to plan and circumstances prevail that aren't entirely conducive to concentration. Shit, like it used to say on Axl's t-shirt, happens.

“Up North/Down Under” is the subtitle of Volume 1 of Bootleg Booze’s “Bootleg Series”. Obviously the contents are not illicit but like a strain of moonshine, it’s damn strong stuff. As the title suggests, Sweden and Australia’s raucous-est upcoming acts slug it out with the liner commentary supplied by Dave Champion and Craig “The Barman” Regan. You’ll be aware that this label only deals in the highest octane sonic firewater.

The common denominator is varying degrees of sounding like they were born in the Motor City. Detroit style rock is very much the order of the day and that’s pretty much a staple constituent of the finest gear from these territories. The Sewergrooves “Easy to Pretend” sound strangely like Franz Ferdinand might if they’d discovered the SRB. It’s difficult to figure what band comes from where, such is the continuity of spirit. There might be a hint of an accent here and there but when the vocals are being screamed rather than “sung” over a consistently boss racket then the lines get a little blurred here and there.

The emphasis here is on rock. Spelled R-A-W-K. Never lumpy, always blazing - of particular note I think the tracks by Leadfinger, Sure Fire Midnights and Rio Grande will tickle you, as will Sator’s take on The Weirdos “I’m Plastic”. It’s more “Hollywood” than Ann Arbor and they were “made to last” alright. The more astute will note the latter straddling the then of yesterday’s comp with the now of “Up/Down”. It’s hardly comfortable on the turntable until it’s time to flip the beastie over.

I realise these things don’t just come together overnight, or from under a gooseberry bush but wonder what’s in store for Volume 2?

I found myself doing the facebook "networked blog" thing yesterday for some reason. Apparently I can "invite" 20 folks at a time to join but I know what a pain in the ass these "become a fan" messages are. Rather than add to any fb stress, I figured that I'd mention it here - like I did on fizzbang yesterday - and if you want to get on board then you can.

I won't be canvassing hard and sending message after message attempting to wear you down. There are people out there that do that. You'd think that after attempt #10 that they'd get with the program. But no.

Here's the link...

I guess it was sometime around 1982 when I got to be aware of the emerging Scandinavian penchant for garage rock. It took a side road off the punk highway and created a strain which matched Australia for passion and authenticity. Often it would pick up on additional influences and styles that would set it aside from just being reconstructed or merely authentic. The people who played this music weren’t throwbacks or wannabe “cave teens”. These kids had a taste for the hard stuff and they played it fast, loud and loose but never necessarily in that order.

This anthology maps the nascent genealogy well and kicks off with The Nomads version of “I’m Five Years Ahead Of My Time”. They were the pathfinders who kicked the stable door open. The cut of their jib was evident seeing as to how their first release was two songs by a combo by the name of The Sonics. Rock’n’roll archaeologist Four-Eyed Thomas resurrected ancient knowledge long considered lost and in putting this project together has brought the cycle back full circle. There have been several generations of solid Swedish sounds and somehow, this is the logical “rattle and roll” follow up to “Searching For Shakes”. A 2-disc (or bundled download) selection of choice cuts that might inspire or just plain re-ignite your faith in what a good old racket (as in noise) is capable of. It makes me think of our departed pal, Lennart.

It hardly seems possible that much of this stuff is more than a quarter century old. It was The Cramps and Panther Burns that unlocked the possibilities and lit the fire. Nuggets, the Pebbles and Back from the Grave series and other comps recycled relics from the past and this continues that legacy. "A Real Cool Time Revisited" documents a juncture when there were no borders. These bands stormed the battlements and their music reverberated around the world.

Sweden has always boasted a far and away more fertile scene that that perpetrated here by the like of Creation. The jangle and twang never came over as studied. You could never stage-manage a force of nature like The Stomachmouths. The Backdoor Men and The Crimson Shadows displayed a fervour that was like Bomp magazine come to life. The Sonic Walthers “No Lies” is like the Hoodoo Gurus channelling Slade. Remember, all of this was happening when the UK was lapping up shite like Bauhaus. “When I Get Home” by The Hijackers is simply one of the great 7” singles by anyone from anyplace. If you haven’t had the pleasure then it’s right here. And they were real teenagers too.

Union Carbide Productions was another combo that wasn’t afraid fly their Stooge flag even when Iggy didn’t. They sounded dangerous then and they could still eat and spit out The Jim Jones Revue who are more or less peddling a much lesser ramalama. The BottleUps gave us the one and only Robert Johnson whose surf and destroy guitar action continues to light up the galaxy. He’s using technology to mutate the form these days but I think his battleplan is pretty much on track. The world will catch up with him one of these days, like they never did with Problem, a big RJ influence. Thinking Wray as opposed to Dale.

"Carry On" by The Public Vein on Garageland Records (from Umeå) always reminded me of Scotlands own Primevals and how they translated The Gun Club’s off kilter blues. Sator’s “Pigvalley Beach (remix)” is The Ramones vs Sigue Sigue Sputnik on a deserted landet wasteland. The Leather Nun’s “Primemover” is no relation to that of Zodiac Mindwarp but it does predate Marilyn Manson by a good many years. I recognise that “can you feel it?” mantra. Ha ha.

So I could spoil the whole enchilada by jabbering on but you’ve seen the tracklist. It was a very male domain back then. I think that the only girl involved is Anna Nystrom who was in The Stomachmouths? Or was there a gal in The Pushtwangers? I don’t recall. Please feel free to correct me or add info in the comments section. This twofer offers a bloody fine ride back in time and it never ever sounds backdated in that “what was I thinking?" sense you get when you tackle “Sandanista”.

Måns, Johnny, L-P and Mr 4-ET himself did a bang up job in assembling this time capsule.

All that remains to be said is that Debaser in Stockholm is the place to be when this will all take human form for an all star revue Real Cool Night Revisited on March 5th 2010.

See you in church.

More Oil City screenings...

Vue Romford 05/02/2010, Filmhouse Edinburgh 5-7/02/2010, Empire Basildon 08/02/2010, Phoenix Arts Leicester 11/02/2010, City Screen Cinema City, Norwich 16 - 18/02/2010, Aberystwth Arts Centre 03- 04/03/2010, Phoenix Arts Leicester 09-10/03/2010, Glasgow Film Theatre 20/03/2010, MacRobert, Stirling 14/04/2010

Kogar's at it again, this time with Slickee Boy Dan. More cool Lux antics.

As I get ready to turn this blighter off for the night, I recall last February 4th very well. Duglas Bandit called me around 11pm and asked if I'd heard what happened. At that point I hadn't but set out immediately on a mission to prove that it wasn't true. As you know, that mission failed miserably and as it turned out, this time it wasn't a rumour or a mean-spirited lie. So yeah, I've been thinking of this post-Lux world a lot today. Life has gone on of course but it's hardly the same. I'm going to watch TIN4 and I'm not answering the phone. Not tonight.

Click on the image and head over to Kogar's. He has something you'll like!

(Thanks to Nimereht via staysick)

OK, here's the info I was tapping away about earlier...

So I Can Remember, What Made A Wreck Of Me

A year ago today, Lux Interior, the singer in a band that quite literally changed the world and changed the lives of so many of us, died aged 63. It’s some indication of the impact that he and the band he created with his partner and paramour, Poison Ivy had, that one year on tribute events in honour of this great man are taking place all over the world.

If you’re in Scotland on February 20th, cut along to Henry’s Cellar Bar in Edinburgh to tear it and get fucked up in the company of nine of Scotland’s premier combos carrying the torch each giving us 2 or 3 songs from the Cramped canon. We won’t tell you what they are, you have to come and find out.

The Fnords
The Primevals
The Rohypsters
The Pharisees
Z28
The Wee Baby Jesuses
Uncle Dad
The Trumpton Radiophonic Workshop

And if that wasn’t enough, there’ll be tunes from Mr Colin D’uff, a raffle for rarities and ephemera, a special memorial CD compilation available for one night only, and a whole lot more…. Don’t push, don’t shove, there’s room for one and all…

Wrong way tickets available on the door (so come early to avoid disappointment) for the pittance just £5.

Lux’s own comments on rock’n’roll and do-gooding notwithstanding, All funds raised go to DEC http://www.dec.org.uk/

SO COME ON AND DO YOUR BIT BY ENJOYING US DOING OURS

last year was a riot.... let's do it all again.... let's get fuuuuucked up!

I'm waiting on the scoop of an event coming up to mark one year of Lux's passing but in the meantime, here's info on a couple of shindigs you may care to take in. Should you be in the immediate proximity of course.

THE GO-GO

Saturday 6th February.

DJs Tall Paul Robinson & Big Gus will be paying a DeeJay homage to Lux Interior and the music of the Cramps.... (ie we will be playing Songs by The Cramps, and songs they covered etc)

60's garage, beat & pop, soul, mod, girl groups, psychedelia.

11pm til 3am.

Upstairs @ Studio 24, Edinburgh
£6 / £4 students and S24 members.
free before 11.30pm.
________________________________________
next date Saturday 6th March

And, in N. Ireland... The Sabrejets are limbering up.

Are you gonna be there... at this once in a lifetime garage extrav?


Good to see a big turnout at GFT last night for "Oil City Confidential". The satellite link up all went tickety boo also and the "show" was pretty good with the odd lurch into the blues noodle. Alison Moyet was bloody good though from where I was sitting. And he might be a decent moothie player but I can't abide CSM.

With being out on the town last night, things are a little behind. No jokes about bum steers please. I'm getting together some info on celebrations to mark a year since the big fella checked out. Of course we'd rather that he was here but you know that he is really, despite not making the earthly scene. Raise a glass of red tomorrow and play nice.

Feelgoods doc in Glasgow tonight with additional live set by Wilko (notice the K?) so it’s unlikely I’ll be back on here tonight. If any of you folks have Lux tributes or whatever going on over the next wee while, let me know and I’ll put the word out.

Hard to compute that it’s been a year but the calendar presumably doesn’t lie.

... and there's another Wreckless Wradio instalment available for your listening pleasure.

I'm really not in the tid to be spending much time on here tonight/today but if you've dropped by in the hope of finding some entertainment then head over here.

Some really fine, good old music writing.

Jings, JD is serving them Metaphors chapters quicker than I can post them...

Chapter 10 and Chapter 11

Though my reputation as a shut-in is relatively intact, I have dragged myself out of the bunker this weekend. Yesterday, I went to Glasgow to pick up various bits and pieces including a proper film festival programme. Besides the fact that the PDF version is fine for scanning through, you can’t get to the nitty gritty. By the time it got to leaving town, I’d had quite enough of the Saturday crowds. My quest even took me into a couple of “department stores”. To say my navigational skillis in such places suck is do damn such abilities with glowing praise. In one of them, I saw licensed Ramones T-shirts and no amount of heel clicking would make them disappear. Some plans for the close of February were made but more about those, as and when. Meanwhile, if you’ve a mind to attend the GFT Feelgoods thing on Tuesday (2nd), you should sort out your tickets now. It's also at Filmhouse in Edinburgh from February 5th - 7th.

Today I saw “Where The Wild Things Are” and it’s a well realised thing indeed. I’m not entirely sure that the film itself isn’t just a more stylised version of HR Pufnstuf with some metaphoric underlay but it’s a reasonable way to spend 94 minutes or however long. Much as I don’t rate the Yeah Yeah Yeahs, Karen O’s soundtrack is the perfect punctuation of the “wild rumpus”. I do like Catherine Keener in anything and to be honest, “Max” should have got a clip round the ear for running away and destabilising the monsters equilibrium for a while rather than getting a hug. The costume was more like a sheep than a wolf too and it must have been pretty ripe after all his time in the canyons of his mind. There were very young kids there and I think certain aspects scared the bejeezus outta them. Time will nae doobt tell for the parents that inflicted this on them for their own selfish ends.

By the time it gets to now on a Sunday, it’s pretty much all over bar the shouting. This will be a short week though so I shouldn’t complain too hard although it won’t be a cakewalk. The plan at this juncture is to spend the remainder of the day, reading in total silence. Wish me luck. 'bye January, mind the door doesn't hit your bahookie on the way out.

It seems like a good time to bring up “Pardon Us For Living But The Graveyard Is Full”. Been meaning to do that for some time but really wanted to tie it in with some kinda screening, someplace, sometime. And that will taking place in the fine city of Stockholm over the weekend of 12/13th February. The band is headed for Scandinavia this coming week kicking of in Copenhagen on Thursday (4th). Then they return for a run through France in March. Of course you have their site bookmarked so you’re hip to all this right?

Clocking in at 61 minutes, the storyboard for the doc is based on Joe Bonomo’s “Sweat”. Indeed the author offers much informed commentary as to why anyone with a penchant for the real stuff loves the band. Indeed many folks out there don’t know they exist because their inundated with guff on far lesser combos. I defy anybody to watch this thing and not be left with a craving to see them. Their infectious nature is right here for all to catch.

Peter Zaremba’s notion that they’ve been written out of history chimes with something that Don Waller mentioned to me last week about those who are writing it not necessarily being there. That’s the diplomatic take. I think that their not being mentioned in “Please Kill Me” is a massive oversight on the part of the authors. End of. There’s no other excuse. Still, only a handful of folks from that period remain on the road. Some of those are as good now as they were then, perhaps better.

It is criminal that they never enjoyed “material” success but any band that can pummel out a show like they do is in many ways more precious than what tangible popularity might bestow.
It’s no secret that the NBT bullpen are biased and that we’re hardcore supporters. They’re a sweet bunch of guys and watching this really makes me wish I could be raising a glass with them over at Morten’s pad next weekend when they return to the House of Rock in Moss.

Total entertainment is guaranteed and there aren’t too many acts out there that can promise that. Be glad that they’re out there then. Hopefully, somehow they might be able to return to the UK and indeed to Scotland. The sick administration of work permits makes it a little expensive for them to visit this fucked up isle but believe me, there are people working on rectifying this quite frankly wrong, restrictive practice. The world has changed beyond all reasonable recognition but it needs this band. The sobering statement that they'll continue to roll until one of them dies is reassuring in the meantime. Fingers crossed that they run for a long time yet.

You’ll see Andy Shernoff, Miriam Linna, Dave Faulkner, Peter Buck, Jeanine Attaway and wir ain Steve Coleman and Joe Bonomo among others, testifying as to just why you should care. Geoffray Barbier and Dorrotya Mathe at Coldcuts Productions have made a concise appraisal of a genuine, fuel injected phenomenon.

Like Handsome Dick says, “They never mail it in”. Amen.

Go visit Brijitte...

No - I will at no time, EVER, care about seeing Flouride and her Apparatus. READ THIS CAREFULLY – I have nothing – NOT A THING - to do with a festival of the same name as this blog. Nor the HMV version of such blasphemy. Who knows, maybe those two things are the same. I remember writing to a TV show of the same name telling them they were taking our name in vain and they didn’t reply.

Incase some of you folks don’t know. We took our name from The Dictators song from The Dictators Go Girl Crazy. This album came out in 1975 and this malarky started in 1977. Ergo, we have time on our side and a claim to the fact that their interpretation is a clichéd distortion of the finite original intention. I’m pleased you want to hold a party for this festival and it's lackeys but I CAN’T HELP YOU. Can you read? Judging by the messages I've received of late, perhaps not.

Talking about The Dictators and parties though, it’s Handsome Dick Manitoba’s birthday. May he roll in the thunder for many moons to come.

RIP - JD Salinger

A big thanks to Ms M for passing this Runaways movie casting call info... I need you to think of Butthead telling Beavis, "hey this is prutty cool" before you dig in.

Open Casting Call for the Feature Film: The Runaways

Starring: Dakota Fanning, Kristin Stewart

Seeking the following SUPER-SPECIFIC types:

• Hollywood Party Types
• 18-to-look-younger Roller Skaters
• High School Types
• Club-Goers
• Joan's Street Punk Friends
• Rough Crowd Types
• Preppy College Crowd
• Japanese Businessmen/Journalists
• Japanese People of All General Types
• Japanese 18-to-look-younger
• Teacher Types (reference photo only, NOT for open call)

Casting Notes:
PLEASE review the above photographs so you know the look we are seeking.
If you do not have this look, it is not necessary to attend this casting call because each look is EXTREMELY specific.

This is for SAG and Non-Union talent. Everyone, at all times, MUST have the right hair. This is not Austin Powers, over-the-top 1970s. This is REAL, a reproduction of true events, VERY authentic rock’n’roll in the 1970s.

Girls' hair should be long, straight, or wavy—no modern cuts or colors—only natural colors. Hair can be shorter, but not super short. Hair was not stick-straight; no appliances to straighten the hair were used.

Guys' hair should be shaggy, longish, or completely long—no crew cuts.
Hair for both sexes was generally parted in the middle and worn long or waved back Farrah Fawcett style. 18-to-look-younger guys should have no facial hair. No visible tattoos except for Joan’s Street Punk Friends!! No tattoos on either gender!

Everyone should be on the thin/skinny side. Clothes are provided for the most part, but any clothing you can provide is welcome.

New faces to Hollywood OS are very welcome, especially all Japanese types, 18-to-look-younger types, and Club-Goer types.

At the Open Call:
You MUST come dressed and camera-ready for a photograph. Again, your hair, makeup, and wardrobe should reflect the look in the photographs. (Please do NOT wear the color white.) Open call is for the aforementioned types, but there is no guarantee of work.

I'm sorry I don't have the photos... this takes me back to when Jake and I went to see the real thing in London. Now did we see them in Glasgow before or after that?

A message from the Monorail Film Club

Hello,

We'd like to remind everyone that as well as selling records we run a film club every month at the GFT. It's a very informal film club and open to all. We are now in our third year and have had some amazing screenings, special events and illuminating discussions in Cafe Cosmo!

This Sunday we are screening one of the great Italian cult films of the 1960s, Pasolini's Theorem (Teorema). The story of Teorema is simple. A mysterious stranger arrives at a bourgeois household in Milan and successively seduces the son, the mother, the daughter, and the father, not forgetting the maid. The consequences for each are decisive and as Pasolini brilliantly maps out the disintegration of the fragile family we begin to understand his allegory which merges his ideas on social forces, religion and sexuality. An intense yet rewarding film with a brilliant Morricone score.

It will be introduced by Stephen McRobbie from The Pastels. It would be great to see you there.

Tickets can be reserved from the GFT box office on 0141 332 6535.

MONORAIL FILM CLUB: THEOREM (Teorema)
Sunday 31 January at 7pm
Director Pier Paolo Pasolini
Cast Silvana Mangano, Terence Stamp
Italy 1968, 1h 38m, subtitles

GFT, 12 Rose Street, Glasgow G3 6RB.

Mr Percival sent me this link to a review of The Runaways movie from Sundance.

I wonder who plays Phast Phreddie in it?

Thought you might like to take a look at the cover art for the mucho anticipated new Bambi Molesters epic...

Ever having the feeling you were in over your head with this life business? Not that I actually have a fully-functioning one of course but hopefully you get my drift. The ongoing 5am rise pretty much means that I peg out before “The Daily Show” and I’m getting a little tired of this routine. Haw haw. I just realised that I made a wee funny there. Earlier today I got a message from someone who wanted to know if I wanted to receive an album for review consideration. It was described as sounding like Radionapper and Queen. They also mentioned that travesty that has a singer called Brandon. Even reading about that qualifies as suffering for my art.

The least offensive part of that, to me, is Freddie’s crew because I saw them with Mott The Hoople. And because my buddy Art Fein likes them and The Blasters even opened for them once. However there are things that tend to reverse the general wearing down process.

I’m going to use an Americanism here to state that I am “stoked” at the response to The Legendary Tigerman and Rita Redshoes post from folks out Portugal way. Never in all my time doing this have I had such a fervent support for recognising something as obvious as these two artists make great music both individually and together.

It’s led to a few leads on other stuff from that neck of the woods and I’ll be checking that out in due course. Of course, I imagine that other countries get a little sick of being bombarded sub-standard guff from the UK when they have such high calibre talent themselves. I don’t think that acceptance here makes any difference anymore because we're down in the big ledger as the country that buys into all the TV led/Z factor shit. It possibly does in the US because of the potential money reward but even then you have to wade through your chest height in hype for crap. Just thinking out loud here…

So music fans should take a leaf out of the book of our Portuguese friends. They have a passion and appreciation for their artists that would go a long way if adopted in other territories. It’s always good to get a reaction and especially one as overwhelmingly positive like this.

HS @ ATP!

Just announced, HELLO SAFERIDE is to play this seaside bunfight in May. Let's hope there are some other shows across Blighty.

May is shaping up to be a busy month!

Attenshun, citizens o'Bath, Brizzle n'surrounding areas!

You! Yes, you! Is there anywheres in yer vicinity that be spinning Mose Allison, Amy Allison, Amy Rigby, Will Rigby, The Troggs, Jim Dickinson, Jim Tarbutton & The Memphis Sounds, "The Memphis Train", "The Right Side Of My Mind", "Outta My Mind" and so much other righteous tuneage that youse can barely grokk it and plan your teatime treats simultaneously?

Non? Well, you is wrong! Come quaff, burp, fall over and pick thyself up in a most spiritual manner at the twice monthly B-SIDE THE A-SIDE nite at The Royal Oak, Lower Bristol Road, opposite Windsor Bridge, Bath, Zumerzett!

Saturday January 30th will see BigKegShandy and Steptoe, who has been partneners in turntable crimes for near-as-dammit a quarter century, taking to the wheels of polycarbonate for another FREE vinyl-only celebration of all we holds dear, including tribs to the great Jay Reatard, Mick Green and Bobby Charles, plus some serious Dutch biet action, in celebration of yon recent Outsiders tome...

Make you know it sense! From eight til' late – "the kids bring zucchinis and stay all day", as the Young Fresh Fellows would say...

See you at the bar!

Selah!

BigKeg & Steptoe

B-Side the A-Side
The Royal Oak Free House
Lower Bristol Road
Bath
Somerset
Saturday January 30th
8pm-?am
FREE

Welcome to the good folks of Portugal who have been dropping by this neighborhood over the course of the last wee while. Pleased to make your acquaintance!

There are a lot of good records coming out and after I’m done with this I’m going to get in about the new Pascal opus due on Novoton soon. Despite the ongoing gloom mongering about the “industry”, I think the positive aspect is that perhaps the element of measure isn’t taking into account the fact that ardent fans of the stuff maybe aren’t buying the treadmill crap that has a limited shelf life. Also, many of these artists end up appealing to the thieving types that have forgotten or never knew that maybe the people who make the music maybe need to get paid? That’s the line in the sand. The computer software exists to aid accounting certainly with regard to the gadgets that are aimed at those who are likely to be most likely to consume music.

It has done for a while. It should be easy for record companies, distributors or whoever to provide information to artists, labels and those that they represent. This isn’t the rule but rather the exception. Put yourself in the shoes of the person being shaken down. You wouldn’t like it.

So with ever decreasing outlets in terms of tangible media and an exponential increase in the places where you can be exposed to things you might like and may want to buy. The sheer volume of what you have to process is overwhelming. My position as trying to offer some kind of filter is limited. It’s also a privilege. The fact that people can easily hear what is “reviewed” to ultimately make up their own mind had rendered the hype merchants toothless. Most reviews these days don’t offer an opinion or anything other than to fill up space in a publication or screenspace. Hell, often they aren’t even reviews, just the press release presented as a text stream.

And then there’s all this “Hall of Fame” crap. Is that even good in terms of commerce anymore? Surely not. Recognition is one thing but this has become like everything else. Soon it’ll be the ultimate accolade not to win an award. Or not to feature in the Quoon’s Birthday Honours. Enough with the tinplate and/or glass doorstop shit already.

Where will it all end? Hornswaggled if I know. “Hornswaggled” sounds so much more polite than “fucked” right?

RIP - Pernell Roberts

Picking up from Lindsay's post about Dr Feelgood the other day, kids (young and old) in search of similar kicks should do themselves a favour and investigate King Salami & The Cumberland 3. These guys come across as the bastard offspring of the Feelgoods and Barrence Whitfield and the Savages. Hey, they even perform covers of "Mama Take The Hammer" and "Bloody Mary" so you know that the taste factor is not an issue here.

This international band of Stoke Newington habitués, comprising of two Frenchmen, a Jap, and a Welshman, have the greasy r'n'beat nailed down to perfection. Last Sunday night's freebie gig at The Stag's Head in London N1 was the stuff that heaven is be made of. Non-stop r'n'r action, a punchy-as-heck sound, great beer and plenty of good looking women dancing away.

Trust me, it will be just like this when we join Mick Green et al. Should this sound like your kind of deal then look out for hip swinging 45s by King Salami on Dirty Water Records and Soundflat Records. In the meantime, check out their MySpace page for a flavour of what they have to offer. Besides, how can you resist a band that invites you to "Do The Wurst"?

Winter doldrums got you down, dear friend? Take the hillbilly cure with Susquehanna Industrial Tool & Die Co. -- this week at tropical Otto's Shrunken Head Tiki Bar & Lounge!

THURSDAY, JANUARY 28th / And the last Thursday of every month! /OTTO'S SHRUNKEN HEAD /
538 East 14th Street (just west of Avenue B) in ol' Manhattan /Two temperate shows, from 8:00 sharp until 10:00 / With DJ "Son of Scratchy", salty snacks -- and no cover!

Comfortably yours,
Michael
Susquehanna Industrial Tool & Die Co.
"Ballads, Boogies & Blues"

AVAILABLE MARCH 3rd

ON THE AMIGO IMPRINT!

Kicksville's "Letters from Lesterville"

Of all the overtures I make about exploring new avenues of music of all types, I have to admit that I’m always happiest with loud fast rock’n’roll. The first round of this album took me back to Glasgow last autumn when Cj Ramone, Daniel Rey and Brant Bjork joyously laid the best Ramones set on us that the brudders never played. JP has captured that brand of energy and added a few of his own ingredients. A couple ounces of glam, a smidge of power pop and some hard rockin’ chops all simmered together in order to deliver a considerable sucker punch. Americans still use imperial measures so run with me on this alright?

Swinging in with the title track, I got to thinking that this should be available as a set of 45’s. Or for extra loudness in the cut a caseful of 12” singles. “On and On” reminds us that although Slade perhaps didn’t break America, they certainly marked their territory.

Abetted by Dean Rispler and CJ Sciosca, I can unequivocally recommend this to you NBT types because deep down I know you can’t get enough of this stuff either. JP prompted me to say that it’s the best thing I ever heard and that it could be a huge hit in the UK. I can tell you that it’s right up there and I don’t think I’ve heard a celebration of good ol’ new York rock like this in quite some time. I would feel a lot better about my country of origin if this could indeed be a hit here but there’s simply no such thing anymore. I like to think that I still know one when I hear it though and “Hand Grenade Heart” is reverberating around my noggin bigstyle. There’s more to JP than him just being the drummer with one of the greatest combos that ever was. Often a maligned species, this one has several strings to his bow, in addition to being a diamond geezer.

No lightning, no Galileo, no sodding Figaro just some very, very frighteningly good rock’n’roll. Magnifico!

There’s a great interview with the man by The Barman here that goes into some detail about what you can expect.

No Fun releases are available via Get Hip and ostensibly from the remaining good record stores that are peppered a cross the planet. However, if in doubt – go to the source.

“ROBERT BURNS”. When I see or hear the name, I recall the great Chris Gaffney enunciating it in his approximation of a Scottish brogue. In a coincidence, I heard Dave Alvin’s amazing version of Artesia from the tribute album this morning and that brought Chris to mind again. Yesterday morning, a presenter on BBC Radio Scotland’s “Greetings Programme” offered the info that Dave and the Guilty Men were his favourite act of all time. Not the kind of thing I’m used to hearing just prior to 8am on a Sabbath but quite an inspiring statement.

So that brings me to the Burns day hoopla. Scotland’s national bard and all that. In actual fact, my opinion of his work is somewhat akin to my non-appreciation of The Beatles. It was spotty at best. This isn’t helped by interpretations by people like Eddie Reeder. Recitations will be made all over the daftest wee country in the world and beyond today. Much haggis, neeps and the odd tattie will be consumed, all washed down with the singin’ ginger and then tomorrow it’ll be 364 days until the next such stramash.

In my opinion, both Chris and Dave are greater poets than the Rabster will ever be. You’re entitled to disagree but that won’t alter my worldview.

Via Ulf Ramone's facebook... for a minute I thought Joe had his NBT shirt on...

One thing you’ll notice with “Oil City Confidential” is the way that the music is cut into it. It’s twice as loud as the rest of the audio and I’m pretty sure that’s intentional, to punctuate the pounding that the band created. The final part of Julien Temple’s “music trilogy” goes back before the creation of his other two subjects. Both of which make brief appearances in the film to complete the weave.

Anyway, this is the best of the three and perhaps it’s the best music documentary since the finest example you’ll never see “A True Testimonial”. The reason is that the Feelgoods were a proper rock’n’roll band, completely wired and for real, maybe even dangerous.
As characters too, these weren’t just personas. They were the product of the Thames delta and a new word “canveycentric” was coined especially for this documentary.You’ll even see Bob Harris having a fly puff during “Keep It Out Of Sight”. Wilko does a great job of relating the story but the all out star for me is Lee’s mum. She refers to Wilko gently as “a troubled kind of person”. What a lovely woman.

So with the advent of the film opening in February, you need to grab tickets for the GFT screening on February 2nd. There are also screenings that day across the rest of the country. These will be all the more poignant following the recent passing of Mick Green of (Johnny Kidd and) The Pirates.

Hearing the sound fly out of a proper theatre sound system should be big fun but this isn’t just a story about a band. It’s about how something can grow in isolation and eventually sweep the world. Brilleaux’s widow recounts a line that her husband quipped, “I’m not fucking Shakespeare, I don’t write ‘em, I just sing ‘em”.

Don’t you wish the so-called acts of today would take a leaf out of that book. “Oil City Confidential” is an excellent film about a catalytic combo that kicked off a revolution in my lifetime when it really mattered.

By the time The Pistols and The Clash came along, it was about something else. There was love in their hopped up, cut and shut R&B and you’ll feel that when you watch this.

I told you folks a week ago ago how great this was, now you can hear/see it... The Legendary Tigerman and Rita Redshoes red hot take on "Lonesome Town"...

Another one from Tex...

RIP - Jean Simmons

Thanks to T Tex Edwards for the tip-off...

M E T A P H O R S - Chapter 9

Celebrating 365 days of "Grand"!...