Sunday, June 13, 2004
Apparently there's some football tournament on the go. That'll be why there's a bunch of sad, footie-related records in the Top 40 today then. Not knowing one end of a pitch from another is a major claim of mine. The TV schedules are even more pish than usual as the networks kowtow so I imagine i'll be watching a few dvd's or maybe even undertaking some of the tasks that have seen some serious procrastination over the last wee while. Finally saw BUBBA HO-TEP last night. It's "a redemptive, Elvis, Mummy picture", sez it's star Bruce Campbell. You oughtta see it too because it's damn good and very, very twisted.
Saturday, June 12, 2004
All these bands that get compared to the MC5 these days seldom end up as worthy of being mentioned in the same sentence. THE HELLACOPTERS on the other hand are pretty much the exception to the rule. These guys are honoraray denizens of the motor city sound and it is fitting that Nicke will be joining the DKT/MC5 ensemble in this part of the world. Why they don't rule the world is beyond my conception but that's a bugbear for another day. The Hellacopters are to the '5, et all, what Teenage Fanclub were to the resurrection of Alex Chilton's career. Prepare then to see, hear and fall headlong for THE SOLUTION for they and only they have the chops to save your sorry soul. Scott Morgan and Nicke Hellacopter have made a record that deserves to be so massive that I boggles the mind to try and use mere words. I wanna see a sea of hands fork over their hard earned for the upcoming album on the WILD KINGDOM label in Sweden and SWEET NOTHING in the UK. Visit SCOTT'S WEBSITE for US availability. Doubters and believers alike can take a look at the video for "I Have To Quit You" here in the news section.
Just received this report on the latest MAGIC CHRISTIAN gig in SF and figured I'd share it... thanks Don.
"just got back from the parkside show...they had a different drummer-- mike. looks like ginger baker. he was pretty good. in fact considering the tiny venue in a way i was glad prairie prince wasn't playing. he's just so powerful the band has to play super-loud to compete. with this guy they were turned down and you could hear things better than at the music hall show. small but spirited crowd. roy loney was in attendance. cyril played his dan armstrong thru the pod and into his reissue fender twin reverb. alec palao played a gretsch hollow body bass thru gallien kruger amp. paul sang and shook a tambourine. they did some new originals and a couple of beatles tunes. here's the set list: (which i'll save for mr stax)
made my bed
till i looked in her eyes
anytime at all
ride the light
my gal (the spoonful classic, "for roy loney")
things she said
no time to cry (for yers truly...thanks paul)
things we said today
right back
she's so good
too close to zero
encore: i can see for miles
the place was tiny with just a foot high "stage" and not the greatest PA but like i said, i could hear them better than at the first gig. cyril played without a pick like he did last time. mick green style. he's got a very bright, overdriven sound these days which he describes as being like keith on "street fighing man". and that's a very apt description.
new songs were good. i still love "no time to cry" - that's killer. but i also like "she's so good". i think they ought to move that one up in the set. great monkey beat song.
all in all a very good 2nd show. next one is sunday at the haight street fair. they should go on around 3 in the afternoon. haight and stanyan. see ya there -- don in frisco"
"just got back from the parkside show...they had a different drummer-- mike. looks like ginger baker. he was pretty good. in fact considering the tiny venue in a way i was glad prairie prince wasn't playing. he's just so powerful the band has to play super-loud to compete. with this guy they were turned down and you could hear things better than at the music hall show. small but spirited crowd. roy loney was in attendance. cyril played his dan armstrong thru the pod and into his reissue fender twin reverb. alec palao played a gretsch hollow body bass thru gallien kruger amp. paul sang and shook a tambourine. they did some new originals and a couple of beatles tunes. here's the set list: (which i'll save for mr stax)
made my bed
till i looked in her eyes
anytime at all
ride the light
my gal (the spoonful classic, "for roy loney")
things she said
no time to cry (for yers truly...thanks paul)
things we said today
right back
she's so good
too close to zero
encore: i can see for miles
the place was tiny with just a foot high "stage" and not the greatest PA but like i said, i could hear them better than at the first gig. cyril played without a pick like he did last time. mick green style. he's got a very bright, overdriven sound these days which he describes as being like keith on "street fighing man". and that's a very apt description.
new songs were good. i still love "no time to cry" - that's killer. but i also like "she's so good". i think they ought to move that one up in the set. great monkey beat song.
all in all a very good 2nd show. next one is sunday at the haight street fair. they should go on around 3 in the afternoon. haight and stanyan. see ya there -- don in frisco"
Saw THE MOONEY SUZUKI at a fairly busy King Tut’s in Glasgow on Wednesday past. I haven’t been convinced by their records but harbour a great deal of respect for their line in pastiche of a Grand Funk Railroad sleeve, right down to the board Electric Sweat was printed on. So anyways, if there’s some kinda kudos in throwing rock shapes then the MS are right up there. In terms of energy and the ability to put on a great show they don’t slouch either but I just don’t hear any songs. Spectacle-wise they have it down and I can’t believe that anybody seeing them wouldn’t warm to the effort. However, is that enough? It seems that in this day and age it can be and I wish them well for that 15 minutes or so. They don’t have a Tommy Volume though…
On the subject of the MS, UK visitors can log on to the Sony Music website to score a copy of a 7” that features tracks that won’t be on their “Alive and Amplified” set due in August. The were sharing the bill with a band called Lowfive who were competent to fair at best, the title of their debut single kinda summed them up, "Too Much of Nothing". Headliners were YOUNG HEART ATTACK who Gran’pa here had never heard of. Turns out they have an album on XL and have supported The Darkness etc. They’re perfectly acceptable for 10 or so minutes and then it all gets very conveyor belt. They’re actually more like Slade than AC/DC and if the lead guy is looking for a career after this then he can do a bloody good Noddy Holder. YHA are better than The Dorkness but only just and their pantomime rawk is typical of the triumph of style over substance that seems to be finding favour with “the kids”. I knew it was time to leave when thoughts of when my Nine Pound Hammer album might turn up to blow all this fluff away crept into my noggin plus it was a school night. The moral here is, by all means see The Suzuki. If they were playing festivals then compared to most of the other alleged entertainment, they’d take your head off. They can blow a head of steam alright but they need some hooks to supplement all the trouble they go to in projecting.
On the subject of the MS, UK visitors can log on to the Sony Music website to score a copy of a 7” that features tracks that won’t be on their “Alive and Amplified” set due in August. The were sharing the bill with a band called Lowfive who were competent to fair at best, the title of their debut single kinda summed them up, "Too Much of Nothing". Headliners were YOUNG HEART ATTACK who Gran’pa here had never heard of. Turns out they have an album on XL and have supported The Darkness etc. They’re perfectly acceptable for 10 or so minutes and then it all gets very conveyor belt. They’re actually more like Slade than AC/DC and if the lead guy is looking for a career after this then he can do a bloody good Noddy Holder. YHA are better than The Dorkness but only just and their pantomime rawk is typical of the triumph of style over substance that seems to be finding favour with “the kids”. I knew it was time to leave when thoughts of when my Nine Pound Hammer album might turn up to blow all this fluff away crept into my noggin plus it was a school night. The moral here is, by all means see The Suzuki. If they were playing festivals then compared to most of the other alleged entertainment, they’d take your head off. They can blow a head of steam alright but they need some hooks to supplement all the trouble they go to in projecting.
Friday, June 11, 2004
Looks like the Nitwitz are wowin' the Spanish masses as we speak, just take a peek at this forum where the general sentiment seems to be either "ahíiiiiiiiii", "pa'arribaaaaaaa !!!!!!!!!!!!!!!!!" or "OLE Y OLE!!".
Mrs Stim hepped me to this whole 'nother universe. Take a look at Planet Homestar Runner but beware, you might be trochling around this site a while. Certainly if you dig classy, strange, downright mental animation you will.
Thursday, June 10, 2004
Playlist: Here's the infrequent update on what's doin' the rounds on the hi-fi here at NBT's Dutch HQ: Top of the pile is the trio of 'Forth Worth Teen Scene' discs on Norton, as fine a set o' six-o garage blasts as y're gonna get. Great, great line-up o' both familiar cuts and previously un-issued ones. Sound's mighty-fi, 'n the de-luxe packaging features big-ass gatefold sleeves w/ pics galore 'n liners that rival 'War & Peace' in length, these babies set new standards for how this music should be served. Mark these as "absolutely essential" on your shoppinglist. Also vying for the RPMs is the Misunderstood's 'Lost Acetates' LP on Ugly Things , even w/ most of this predatin' the Glenn Campbell era, this is the perfect companion to the ol' 'Before The Dream Faded' discus. Wild as the early R&B stuff is, when sparks start flyin' offa that pedal steel I'm sold... You young uninitiated un's might scratch your skulls here, but we're talkin' loud, distorto-screechin' feedback here comin' from that steel guitar !. Make sure you memorized the 'Dream' disc first 'n then by all means get this... The UK Soul Jazz label delivers another great comp w/ 'Chicago Soul', a fine-as-wine set of late 60s Chess recordings, and I only refrain from givin' it the full thumbs up c/o of Phil Upchurch and the horrid incense reekin' Rotary Connection, turd is the word here, and I really have know idea how they've ever ended up in the company of Etta James, Bo, Muddy 'n the Wolf. Otherwise this makes for a solid soundtrack to your next shindig as long as you make sure to hit the skip button on time. It's gettin' way past midnight here, so in brief; the Thermals 'Fuckin' A' (Sub Pop) gets the vote even tho' I'm not to keen on the somewhat "English" vocalisin', but the tunes are top notch. The Oblivians demo LP (Goner) mentioned below has finally reached my doorstep, and even tho' it's a bit lo on the fi, the genius these guys shared is clear as day even at this early stage. Gotta go get some sleep...
Wednesday, June 09, 2004
The one and the only Ms Karen McBurnie sent me this yesterday and having contacted the man responsible, he's given me the nod to reproduce it here...
Remembering Robert Quine
Dear Friend,
By now you may have heard the sad news: Over Memorial Day weekend, Robert Quine died at age 61, reportedly of an intentional heroin overdose. He was preceded in death by his wife Alice Sherman, who suffered a sudden fatal heart attack in August 2003. Friends say that her loss sent Bob into a deep depression from which he never emerged.
Because Bob Quine was one of the most original and innovative electric guitar players of the past 30 years, I knew about him long before I ever had an extended conversation with him. I never met his wife, never visited their Grand Street apartment, never even shared a meal or listened to records with him. We had just begun to get acquainted in the three years prior to Alice's death, but the combination of his playing and his personality left a deep, indelible impression on me. I'm going to miss those infrequent but prolonged phone conversations marked by Quine's acerbic humor, passionate enthusiams, withering critiques, even his wry, Akron-bred tone of voice.
Bob was eight years my senior and had been thunderstruck by rock & roll in 1955 at age 12. Consequently, he had witnessed a lot of amazing music ranging from Buddy Holly at a civic auditorium in Ohio (where Holly was the only white act on the bill) to the Allman Brothers Band in a college dorm lounge in St. Louis. Once, when I worked at Sony Music in the late Nineties, I sent him the Sony Legacy box set The Complete Miles Davis Quintet - Live at the Plugged Nickel - 1965. Bob called to thank me--and casually mentioned that he'd been in the audience for two nights of Miles' run. He followed the Velvet Underground so devotedly that, in 2001, Polygram/Universal issued a three-CD compilation of live VU performances recorded by Bob in 1969 (Bootleg Series Volume 1: The Quine Tapes).
It was my privilege to see him play with three different live groups: Richard Hell & the Voidoids, the Lou Reed band (with bassist Fernando Saunders and drummer Fred Maher), and the short-lived Deadline (with bassist Bill Laswell and the late drummer Philip Wilson). I remember one middle-period Voidoids set at C.B.G.B. where I thought the walls would cave in from the combined playing of Quine and Ivan Julian. They were putting out so much music that night, at such a ferocious level of engagement, that it didn't seem possible for the building to contain it all.
Although Bob himself didn't own a computer and had never used email, Steve Caratzas has created an excellent Quine website including a career discography. Bob did multiple recordings with Richard Hell, Lou Reed, Matthew Sweet, Lloyd Cole, and John Zorn. Other Quine credits include Tom Waits (Rain Dogs), Marianne Faithfull (Strange Weather), and Andre Williams (Bait and Switch).
In a lengthy 1997 interview with Jason Gross of Perfect Sound Forever, Bob states that he made "two weeks of tapes" with Brian Eno in 1980, none of which have ever been released; and that Richard Hell's Blank Generation album was recorded twice in its entirety, with the first version (from the spring of '77) still in the can. One of my personal favorites is Hell's Destiny Street (1982), on which album producer Alan Betrock cut Quine loose to lay down "backwards guitar, feedback guitar, speeded-up guitar...I got that out of my system for once and for all."
Other Bob Quine quotes from the PSF interview:
"There have been good and bad years in rock but the best years were '55 to early '61."
"A turning point for me was in 1966 when I was in San Francisco. I saw John Coltrane with Alice Coltrane, Pharoah Sanders, Rashied Ali. I'm trying to analyze this stuff and figure it out. I'm in the front row and all of a sudden, these two horns are right in my face. I said 'yes, I understand this.'"
"'He Loved Him Madly' [from Get Up With It, 1972] is like my favorite Miles Davis track of all time...[E]motionally, when the smoke has cleared, that will be regarded as one of his most profound statements. You could listen to it when you're depressed, when you're having sex or whatever."
"I play with singers/songwriters and one thing that's crucial is that I listen to the lyrics. Like with Lou Reed's 'Waves of Fear'--if it had been about making an egg cream, my solo would be different than a guy having a nervous breakdown."
"I'm in situation where I've accomplished something. Half the time, I can't believe that people care about me."
Well, we did care. And although he'd probably be embarrassed to hear it, I'll say it anyway: Thank you, Bob Quine.
Andy Schwartz, New York, NY
Gramercy7@yahoo.com
(For anybody who maybe doesn't know. Andy Schwartz is the former editor and publisher of New York Rocker magazine (1978-83))
Remembering Robert Quine
Dear Friend,
By now you may have heard the sad news: Over Memorial Day weekend, Robert Quine died at age 61, reportedly of an intentional heroin overdose. He was preceded in death by his wife Alice Sherman, who suffered a sudden fatal heart attack in August 2003. Friends say that her loss sent Bob into a deep depression from which he never emerged.
Because Bob Quine was one of the most original and innovative electric guitar players of the past 30 years, I knew about him long before I ever had an extended conversation with him. I never met his wife, never visited their Grand Street apartment, never even shared a meal or listened to records with him. We had just begun to get acquainted in the three years prior to Alice's death, but the combination of his playing and his personality left a deep, indelible impression on me. I'm going to miss those infrequent but prolonged phone conversations marked by Quine's acerbic humor, passionate enthusiams, withering critiques, even his wry, Akron-bred tone of voice.
Bob was eight years my senior and had been thunderstruck by rock & roll in 1955 at age 12. Consequently, he had witnessed a lot of amazing music ranging from Buddy Holly at a civic auditorium in Ohio (where Holly was the only white act on the bill) to the Allman Brothers Band in a college dorm lounge in St. Louis. Once, when I worked at Sony Music in the late Nineties, I sent him the Sony Legacy box set The Complete Miles Davis Quintet - Live at the Plugged Nickel - 1965. Bob called to thank me--and casually mentioned that he'd been in the audience for two nights of Miles' run. He followed the Velvet Underground so devotedly that, in 2001, Polygram/Universal issued a three-CD compilation of live VU performances recorded by Bob in 1969 (Bootleg Series Volume 1: The Quine Tapes).
It was my privilege to see him play with three different live groups: Richard Hell & the Voidoids, the Lou Reed band (with bassist Fernando Saunders and drummer Fred Maher), and the short-lived Deadline (with bassist Bill Laswell and the late drummer Philip Wilson). I remember one middle-period Voidoids set at C.B.G.B. where I thought the walls would cave in from the combined playing of Quine and Ivan Julian. They were putting out so much music that night, at such a ferocious level of engagement, that it didn't seem possible for the building to contain it all.
Although Bob himself didn't own a computer and had never used email, Steve Caratzas has created an excellent Quine website including a career discography. Bob did multiple recordings with Richard Hell, Lou Reed, Matthew Sweet, Lloyd Cole, and John Zorn. Other Quine credits include Tom Waits (Rain Dogs), Marianne Faithfull (Strange Weather), and Andre Williams (Bait and Switch).
In a lengthy 1997 interview with Jason Gross of Perfect Sound Forever, Bob states that he made "two weeks of tapes" with Brian Eno in 1980, none of which have ever been released; and that Richard Hell's Blank Generation album was recorded twice in its entirety, with the first version (from the spring of '77) still in the can. One of my personal favorites is Hell's Destiny Street (1982), on which album producer Alan Betrock cut Quine loose to lay down "backwards guitar, feedback guitar, speeded-up guitar...I got that out of my system for once and for all."
Other Bob Quine quotes from the PSF interview:
"There have been good and bad years in rock but the best years were '55 to early '61."
"A turning point for me was in 1966 when I was in San Francisco. I saw John Coltrane with Alice Coltrane, Pharoah Sanders, Rashied Ali. I'm trying to analyze this stuff and figure it out. I'm in the front row and all of a sudden, these two horns are right in my face. I said 'yes, I understand this.'"
"'He Loved Him Madly' [from Get Up With It, 1972] is like my favorite Miles Davis track of all time...[E]motionally, when the smoke has cleared, that will be regarded as one of his most profound statements. You could listen to it when you're depressed, when you're having sex or whatever."
"I play with singers/songwriters and one thing that's crucial is that I listen to the lyrics. Like with Lou Reed's 'Waves of Fear'--if it had been about making an egg cream, my solo would be different than a guy having a nervous breakdown."
"I'm in situation where I've accomplished something. Half the time, I can't believe that people care about me."
Well, we did care. And although he'd probably be embarrassed to hear it, I'll say it anyway: Thank you, Bob Quine.
Andy Schwartz, New York, NY
Gramercy7@yahoo.com
(For anybody who maybe doesn't know. Andy Schwartz is the former editor and publisher of New York Rocker magazine (1978-83))
The latest Star Spangle, direct from their bunker, info is as follows...
Hey! (If you have a lisp, good luck with this one…)
The Star Spangles declare their independence from everything (except their fans) Saturday, July 3rd at Sin-e, NYC (Attorney at Stanton St.)
The Star Spangles, 11pm
Back In Spades, 10pm
Sexy Magazines, 9pm
The Stalkers, 8pm
Back In Spades is from Detroit. Usually that would be enough, but, as an added bonus, it also features Jackson Smith. They are the best new band out there, according to me. Do not miss them.
Our shows with the Chesterfield Kings and the Romantics were as good as it gets and next, we look forward to hooking up with the Real Kids at Boston’s Coolidge Comer Theatre on June 11th to celebrate the premiere of their bio-pic, “All Kindsa Girls” Anybody in the vicinity should check it out.
Those of you who live on, or near Long Island, NY can come and see us at the Crazy Donkey in Farmingdale on June 22nd. We’re “special guests” on a Battle Of The Bands show that Little Steven is promoting in conjunction with his excellent Underground Garage
This from Japan, last year - www3.stream.co.jp/web/mtvi/meta/s/ss03_live/starspanglers.ram
(Sadly, they cut it just before TV threw his socks into the crowd)
When they’re not on tour, Nick & Joey spin the good vinyl at Lit, 93 Second Ave every Monday. It’s highly entertaining, and sometimes a geezer with mammoth tits shows up.
Those of you with Concert TV on your digital cable system, should check out the glory that is Tom Walker’s video for the single that should have been: “I Don’t Wanna Be Crazy Anymore” It’s on for a month. If you don’t have it, bug your cable company. http://www.watchconcert.com for a tease…
Keep August 14th free…(trust me)
www.thestarspangles.com (new t-shirts any day now…)
The logo competition is still on. Closing date is July 30th. Info@thestarspangles.com has been getting A LOT of mail with viruses attached. They get deleted immediately without being opened. We acknowledge every submission we see, so if you sent something and didn’t hear from us, you are diseased. Please be more careful.
Remember…there’s a lot of stuff out there passing itself off as “rock & roll.” You are a Spangles fan, so you know the difference. It is your duty to educate others. We’re doing our bit. There was a time when radio was fun to listen to, and the charts were exciting. Now we are subjected to shite presented as “cool” or “hip” by droogs who wouldn’t know the good stuff if it pissed down their throat. Scope out alternatives. Satellite and/or web radio is worth a try. Steven’s slowly making a difference. The Spangles did 2 hours on East Village Radio last week. It’s a pirate, AND on the web. We love pirates, those who reject the system. www.eastvillageradio.com Supporting live music is another way to make changes. Patronize your local indy record store, too. And trade files. Pick a side…take a stand…this is the modern war
*******************************************************************************
We are deeply saddened by the death of NY guitar great, Robert Quine. He was one of the few musicians who could justifiably be called a genius.
Hey! (If you have a lisp, good luck with this one…)
The Star Spangles declare their independence from everything (except their fans) Saturday, July 3rd at Sin-e, NYC (Attorney at Stanton St.)
The Star Spangles, 11pm
Back In Spades, 10pm
Sexy Magazines, 9pm
The Stalkers, 8pm
Back In Spades is from Detroit. Usually that would be enough, but, as an added bonus, it also features Jackson Smith. They are the best new band out there, according to me. Do not miss them.
Our shows with the Chesterfield Kings and the Romantics were as good as it gets and next, we look forward to hooking up with the Real Kids at Boston’s Coolidge Comer Theatre on June 11th to celebrate the premiere of their bio-pic, “All Kindsa Girls” Anybody in the vicinity should check it out.
Those of you who live on, or near Long Island, NY can come and see us at the Crazy Donkey in Farmingdale on June 22nd. We’re “special guests” on a Battle Of The Bands show that Little Steven is promoting in conjunction with his excellent Underground Garage
This from Japan, last year - www3.stream.co.jp/web/mtvi/meta/s/ss03_live/starspanglers.ram
(Sadly, they cut it just before TV threw his socks into the crowd)
When they’re not on tour, Nick & Joey spin the good vinyl at Lit, 93 Second Ave every Monday. It’s highly entertaining, and sometimes a geezer with mammoth tits shows up.
Those of you with Concert TV on your digital cable system, should check out the glory that is Tom Walker’s video for the single that should have been: “I Don’t Wanna Be Crazy Anymore” It’s on for a month. If you don’t have it, bug your cable company. http://www.watchconcert.com for a tease…
Keep August 14th free…(trust me)
www.thestarspangles.com (new t-shirts any day now…)
The logo competition is still on. Closing date is July 30th. Info@thestarspangles.com has been getting A LOT of mail with viruses attached. They get deleted immediately without being opened. We acknowledge every submission we see, so if you sent something and didn’t hear from us, you are diseased. Please be more careful.
Remember…there’s a lot of stuff out there passing itself off as “rock & roll.” You are a Spangles fan, so you know the difference. It is your duty to educate others. We’re doing our bit. There was a time when radio was fun to listen to, and the charts were exciting. Now we are subjected to shite presented as “cool” or “hip” by droogs who wouldn’t know the good stuff if it pissed down their throat. Scope out alternatives. Satellite and/or web radio is worth a try. Steven’s slowly making a difference. The Spangles did 2 hours on East Village Radio last week. It’s a pirate, AND on the web. We love pirates, those who reject the system. www.eastvillageradio.com Supporting live music is another way to make changes. Patronize your local indy record store, too. And trade files. Pick a side…take a stand…this is the modern war
*******************************************************************************
We are deeply saddened by the death of NY guitar great, Robert Quine. He was one of the few musicians who could justifiably be called a genius.
Monday, June 07, 2004
From Flyin' Bri'...
"saw The Manikins link, if youre up for it can you mention they're playin at the Dog 'n' Parrot in Newcastle on 2nd july (with the illlegal movers) 'n' The Fishtank, Durham on 3rd July (with The Loaded Hoods). Both the Movers 'n' Hoods could well be doing selected dates around the UK with The 5678's in August!"
"saw The Manikins link, if youre up for it can you mention they're playin at the Dog 'n' Parrot in Newcastle on 2nd july (with the illlegal movers) 'n' The Fishtank, Durham on 3rd July (with The Loaded Hoods). Both the Movers 'n' Hoods could well be doing selected dates around the UK with The 5678's in August!"
While diggin' around for more info on the below, I noticed that Richard Hell's site has a message on te recent passing of Lizzy Mercier Descloux.
Sunday, June 06, 2004
Went out tonight to see the Ponys here in town. I'd passed on their LP, considerin' it too new wave-ish, but I gotta say that in a live setting they were actually pretty good. They've got a strong 1977-NYC-Talking Heads-Television-Richard Hell kinda vibe goin' which is fine by me, in fact I wouldn't have been surprised if they'd included 'That's All I Know Right Now' in their set. Only complaint was the long freak-out thing they choose to close with. Heck, I would really apreciate it if bands would can this shit in the future. I mean; why bother?.
Truth be told: main reason for goin' out was support band the Sack-O'-Woes, who I've been eager to see for some time now, but shoot me if I didn't arrive late into their set and only caught a couple of their songs. My loss obviously, 'cause these guys do a real straight forward punk thing and do it good. Their recent 10" is proof positive of just that. These guys deserve your support, and believe you me, next time they're playin' 'round here, I'll make sure to be there on time.
(Dutch readers might wanna check Sack-O'-Woes mainman Niels' fanzine 'I Hate Music', available right here).
Truth be told: main reason for goin' out was support band the Sack-O'-Woes, who I've been eager to see for some time now, but shoot me if I didn't arrive late into their set and only caught a couple of their songs. My loss obviously, 'cause these guys do a real straight forward punk thing and do it good. Their recent 10" is proof positive of just that. These guys deserve your support, and believe you me, next time they're playin' 'round here, I'll make sure to be there on time.
(Dutch readers might wanna check Sack-O'-Woes mainman Niels' fanzine 'I Hate Music', available right here).
I dunno what it's like today where you're reading this but the radio, papers and TV here in the home of the haggis are awash with the 60th Anniversary of the D-Day landings. The marking of this event is all well and good but it seems to have been hijacked by visiting (in)dignitaries. Individuals who, for the most part, are in my opinion just using it as a platform for their own pathetic grandstanding. These gimps have all but halted the roaming of the real people who fought and lost comrades. Security is said to be so tight that they can't get to the places they need to go. Surely it should be understood that these veterans should have the key to the whole bloody country, at least for a day? On Radio Scotland this morning it was reported that one of the soldiers returning to the site had asked if what they were being subjected to was "freedom". Take Wee Jack f'rinstance. The media was awash with the shame that the leader of the Scottish District Cooncil had plumped to go to a dinner in celebration of St Andrews Golf Club and not France. Then shock, horror - pressure is brought to bear and he decides he'll U-turn and head for France.
His mind was made up. He should have been refused entry and been turned back. The survivors of the landings and their families of all sides shouldn't have to be subjected to arseholes jumping on the bandwagon created around such an event. And who exactly is paying for all this security? That'll be us, the chumps of course. Who usually pays for such a jolly? Not the (in)dignitaries that's for sure. I understand completely how having all these figureheads might make Normandy a target for that group that always gets the credit for doing very bad things but all the more reason for the freeloaders to stay at home. Let freedom reign? Will they hell is like?? Not if there's a bucket of Ferrero Rocher to be guzzled with a swally. If there's a charabang trip that'll get their fizzogs beamed all across the planet then they're in there, like a wee furry critter up a pipe. What does any of this have to do with rock'n'roll you may ask yerself? Well not much but sometimes it becomes necessary to consider the bigger picture. We're sailing in concievably perilous waters in the run-up to November and eggs cannot be unscrambled. The stage management is set and we gotta hold on tight to our hollyhocks and hope that we all make it out the other side. It'll be a bumpy ride with plenty of twisted turns and that's just about the only thing I reckon we can count on at this point. Have a nice day.
His mind was made up. He should have been refused entry and been turned back. The survivors of the landings and their families of all sides shouldn't have to be subjected to arseholes jumping on the bandwagon created around such an event. And who exactly is paying for all this security? That'll be us, the chumps of course. Who usually pays for such a jolly? Not the (in)dignitaries that's for sure. I understand completely how having all these figureheads might make Normandy a target for that group that always gets the credit for doing very bad things but all the more reason for the freeloaders to stay at home. Let freedom reign? Will they hell is like?? Not if there's a bucket of Ferrero Rocher to be guzzled with a swally. If there's a charabang trip that'll get their fizzogs beamed all across the planet then they're in there, like a wee furry critter up a pipe. What does any of this have to do with rock'n'roll you may ask yerself? Well not much but sometimes it becomes necessary to consider the bigger picture. We're sailing in concievably perilous waters in the run-up to November and eggs cannot be unscrambled. The stage management is set and we gotta hold on tight to our hollyhocks and hope that we all make it out the other side. It'll be a bumpy ride with plenty of twisted turns and that's just about the only thing I reckon we can count on at this point. Have a nice day.
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