THE BOBBY McGEES The Latest Music Bar, Brighton 28th October 2009

I have had the opportunity to see THE BOBBY McGEES before have always managed to miss them, mainly because they have always played outside, frankly creating a barrier between me & a veggie burger with my name it. Almost dismissed as Twee for the sake of it, tonight was the first time I had stood & listened to them.

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Tonight it is just Jimmy & Eleanor facing each other with their ukes. Eleanor in glasses & bold colours, a cracked Helen McCookery tone to a voice, Jimmy with his splendid beard, Captain Birdseye hat & a tone to his voice that of the… Krankies. In fact I asked a young lady next to me .. “If I said Fandabidozi to you would it mean anything?” “Is that American slang?” … “Close” I said “It was actually a Scottish ice lolly that help bring to an end the Glasgow ice cream wars!” .. I wasn’t questioned, the young lady was probably in her late 20’s… I am VERY old!!

In fact I think Jimmy had missed out on some stage craft as with his long beard (& I do wish I had the patience to grow one like that) & shaven head, he looked like the Mr Magnetic Face I used to play with in the early 70’s.. I am sure when he trims that beard there are cuttings.. With those cuttings between songs he could move them around his head like Mr Magnetic Face’s iron filing hirsuteness.

Tonight it is just Jimmy & Eleanor facing each other with their ukes. Eleanor in glasses & bold colours, a cracked Helen McCookery tone to a voice, Jimmy with his splendid beard, Captain Birdseye hat & a tone to his voice that of the… Krankies. In fact I asked a young lady next to me .. “If I said Fandabidozi to you would it mean anything?” “Is that American slang?” … “Close” I said “It was actually a Scottish ice lolly that help bring to an end the Glasgow ice cream wars!” .. I wasn’t questioned, the young lady was probably in her late 20’s… I am VERY old!!

In fact I think Jimmy had missed out on some stage craft as with his long beard (& I do wish I had the patience to grow one like that) & shaven head, he looked like the Mr Magnetic Face I used to play with in the early 70’s.. I am sure when he trims that beard there are cuttings.. With those cuttings between songs he could move them around his head like Mr Magnetic Face’s iron filing hirsuteness.

I’m a lover of the ukulele. They always remind of Viv Stanshall, & I always like being reminded of Viv Stanshall. They are the perfect foil for THE BOBBY McGEES songs of love, unrequited love, or in one case, unrequited, unrequited love. At one point Jimmy announces “This is called L.O.V.E. LOVE”… I thought .. Nah! They daren’t. Didn’t they know the problems that Uncle Edwyn had? It wasn’t. It was an exercise in (Bearsuitesque) shouted questions & answers whilst Jimmy engaged in indiepop semaphore.. At one point as the song speeded up I thought he may achieve flight..

“I got ney friends.. Not one..” Not quite true, but if they played more than 25 minutes the fun & enjoyment natured in those 25 minutes may have returned Jimmy to dancing to THE SMITHS on his own…. FUN!

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LUNG LEG John Peel Session 29th January 1995

On the anniversary of PEEL’s sad passing, my mind wanders how much he come into the psyche of my youth.. Inevitably the conversation at school or the 6th form bus started with “Gee PEEL is shite at the moment” or “PEEL’s really great at the moment” .. I can’t think that anyone else would ever be given a second chance. “Hey Dickskin is really shite at the moment” “Yeah and??!!”
When I think of him, I think of all the bands & people his show introduced me to & all the music I’m petty sure I would never even considered without his loving introduction. One of which was LUNG LEG, a screamy-shouty, stop-start all girl band from Glasgow. They always seemed to get “bagged” with the RIOT GRRRL moniker, but I could see no hint of scissor ear-rings, more homage to the bands I loved some 15 years previously. I could hear snippets of KLEENEX, RAINCOATS, (my beloved) MODETTES, LUDUS & even THE CHEFS.. In fact the guitar line on “Small Screen Queen” sounds very much like THE CHEFS “Boasting” .. I was completely hooked within seconds of RAVENSCROFT’s airing.. This is their first PEEL session. I think young people would say “Loves it!”

• mp3: "LUNG LEG John Peel Session 29th January 1995"

1. Blah Blah Blah
2. Edith Massey
3. King Fu
4. Lung Leg
5. Palmolive
6. Small Screen Queen

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30th August 1939 to 25th October 2004

I can't believe that there are kids out there now that have gone through their whole secondary school education without the help of old misery guts... I miss the old bugger!

THE CHEFS John Peel Session 11th May 1981

It’s funny how my day at work didn’t do anything to disprove the theory that life is just a series of endless relentless grinding disappointments..& that I had actually achieved the anti Midas touch (the status not the song tabular) when by chance someone on myface reminded me of THE CHEFS. I can honestly say that I think it hard to feel crap & not feel better for hearing a CHEFS song.

Helen McCookerybook once described THE CHEFS as the worst punk band in Brighton… But with the best songs. There is a nice little insight to the early CHEFS in this interview. I think three minute sets should be considered more, certainly shorter sets. I was first drawn to them via the old Brighton VAULTAGE compilations of the late 70’s… The one that included THE CHEFS also included (the mighty) GOLINSKI BROTHERS single "Bloody" (Phew wow!) but more so when I heard “Boasting” for the first time, which includes the line “I have a pair of pointed crepes, a 10" WHIRLWIND record that I think is great..." Which I could relate to directly as frankly I did (don’t let anybody tell you they were split toed Cuban heels.. No Siree!!) & it was (still is)... They just made me smile, sometimes laugh out loud. Ladies & gentlemen THE CHEFS.. (Possibly) the worst punk band in Brighton, with the best songs .. & the voice of Doris Day.

• mp3: "THE CHEFS John Peel Session 11th May 1981"
  

1. I'll Go Too
2. Love Is Such A Splendid Thing
3. Northbound Train
4. One Fine Day
5. Springtime Reggae
   

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BEARDS South Street Arts Centre, Reading 6th August 2009

I had not heard of BEARDS up until this point. A three piece from Leeds, the two lasses swap drums, keyboards & bass throughout & the lad guitarist is displaying a “flying V” & three quarter length trousers, which under normal circumstances would require him to have a flame tattoo just above his ankle. He had decided to flout tradition.

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For me it was a time-slip. The girls in the band not only looked like a combination of the bands I so adored thirty years ago… Think DELTA 5, MO-DETTES, RAINCOATS.. In many ways they sounded like them. (Last post) post, post punk? There is a lot of angular guitar, bag of spanners drumming, burping bass, yelps, scream & shouts… Everything is short & energetic, with not the remotest consideration of smoothing all those rough edges. One track in particular where the lass who mainly occupies the keyboards just screams along with the guitar line (what she is shouting I have absolutely no idea) is just fantastic.. Her yelping voice actually reminds me of Janine from MAXIMUM JOY at fall screech. Another thing I noticed (which actually accentuates the screaming) is when she sings & plays the keyboards at the same time she has to do so, on tippy-toes. Then out of blue, as if by chance they add a hint of “Chicory Tip” & groove!!! I so longed for the cartilage in my knees to return.. It almost extracted the pointy dance out of me, a concern for all & sundry!!! It is a shame there wasn’t more people to witness them. I not only envied the handsome good looks, youth, fluffy moistness but the fact that they were having so much fun doing what they do. Recommended!!

• mp3: "Unknown Track To Me"

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THE JASS BABIES John Peel Session 19th October 1981

The only thing I know about THE JASS BABIES is they came from Liverpool, that vocalist Peter Coyle went on to form THE LOTUS EATERS, the rhythm section, became the rhythm section for HERE'S JOHNNY... & this session. That is it. I don't think they were a going concern for too long, like so many of the Liverpool bands of the time. The vocals were more in the vein of Richard Butler reverberation rather than the more delicate popism of THE LOTUS EATERS that were to come. With the sustained distorted guitar & flanged bass added an almost Gothic tinge their sound that really wasn't the norm of the Liverpool bands of the time.. I particularly like the "Ah Ah Ah... Choo.. Choo" in "Talk In Tongues" ... There is just not the contrived sneezing you used to get, back in the day.

• mp3 "THE JASS BABIES John Peel Session 19th October 1981"

1. "Let Me Soak It Up"
2. "My Love Makes You Melt"
3. "Parable"
4. "Talk In Tongues"

MISTYS BIG ADVENTURE The Joiners Arms Southampton 3rd June 2009

I have always liked MISTYS BIG ADVENTURE, mainly on the account that Grandmaster Gareth looks a bit like Steve Wright (the American comedian not the equally comic but not remotely funny UK DJ) & sounds a bit like Julian Cope. Tonight they don’t disappoint. Grandmaster Gareth still looks a little bit like Steve Wright & sounds a bit like Julian Cope. Tonight is no different from other Misty gigs as we are treated to a range of quirky, amusing pop songs ranging from hints of Madness to The Flying Burrito Brothers, interspersed with delicious horn stabs (I am a sucker for horns)… There are new songs (well new to me, but I am behind the world by some months/years)…. It’s not long before EROTIC VOLVO is bouncing around the stage with a smile that looks that he has drunk just a little bit too much Sunny Delight, & as time goes by his blue face melts with the sweat a la Robin Williams in “Bicentennial Man” but in reverse. They come on early & feel obliged to play until 11 O’clock, an hour & 45 minutes Grandmaster Gareth is concerned that they have turned into Ken Dodd & they might have to be dragged off stage or the power might be switched off. There is a reference to a MOR rock band fronted by Ken Dodd called “By Jovi” but the (sadly) small crowd have been treated to a set of simple pop songs, none of which seem to go one much longer than 3 minutes.. It looks great fun to be in MISTYS BIG ADVENTURE…

MISTYS BIG ADVENTURE The Joiners Arms Southampton 3rd June 2009

• mp3: "Just Another Day"
• mp3: "Mickey Mouse"
• mp3: "I See A Cloud"

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Happy Birthday 30th August 1939

Gee I miss the old bugger...

PRIMAL SCREAM The Clarendon Hotel, Hammersmith 20th October 1985

Bobhead Billy, eh? Hula hoops for tambourines, neckerchiefs for cravats, huddles for set lists, eh? The Clarendon Hotel for The Odeon, polo-necks for goal-posts... Endearing memories.. Marvellous!!

• mp3: "PRIMAL SCREAM The Clarendon Hotel, Hammersmith 20th October 1985"
  

1. I Love You
2. Subterranean
3. Aftermath
4. Imperial
5. Tomorrow Ends Today
6. Crystal Crescent

The Golden Age Of Indie Fanzines....

Whilst digging around his basement, former June Brides / Phil Wilson front man & all round good egg, Phil Wilson found & scanned a number of old fanzines on his facebook page.. Which created some dialogue with regard to "Wouldn't it be nice to have these in one place" So I've had a go at creating a FLICKR group for said purpose..

For me fanzines were either part of the sobbering up process on the train home... Or in many cases, some solace whilst I spent the night at Waterloo Station waiting for the "Milk Train" that never bloody existed...
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THE PASTELS The Bridgehouse, Elephant & Castle 4th July 1984

Where I got mine....

THE PASTELS Kid Jensen Session 1st July 1984

It's funny around 1984 & into 1985, THE PASTELS seemed to be at every gig I attended, as either headline or support... Morrissey was always given tagged “Miserable” but I always thought one Stephen McRobbie, nay Pastel, always pushed him for the title, although I have always suggested not so miserable but more the whiney kid at the back of the bus complaining about everything. Then again there something about that “decand class redurn to dottingham, please” vocals, a refusal to employ the services of a guitar tuner (which I always was in favour of … Frankly, I considered it cheating) & a determination to keep it simple, direct & catchy, drew me in. I always felt it a bit unfair that they have always appeared to struggle with the tag of “awkward & wilfully twee.” I just felt that they just “did what they did.” I could never quite understand why they were held in such high reverence, could do no wrong when certainly live, on occassion be a right crock of bollocks. Then again, I quite like that, because on occasion they could be REALLY good. In fanzine land there appeared to be a pre-occupation of owing a PASTELS badge, akin to Blue Peter patronage, I never could quite work that one out either. I quite like the fact that Stephen appears to have a small attention span as it would appear it created the inspiration for diversity.; I loved a lot of the 53rd & 3rd” records back in the day but today still sees THE PASTELS playing, albeit sporadically, Stephen is involved with Geographic Music label within Domino & the MONORAIL MUSIC shop..

Oh.. I got my PASTELS badge at the gig at the Elephant & Castle, Bridgehouse a few days after this session.. It was a right Birthday treat!

• mp3 "THE PASTELS Kid Jensen Session 1st July 1984"

1. A Million Tears
2. Baby Honey
3. She Always Cries On Sunday
4. Twenty Five Unfinished Plays

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HURRAH! Keele University 30th November 1983

I have finally got around to loading up the companion to THE DAINTEES gig.. from HURRAH! .. This a foldback recording, thus it's mainly vocals & drums.. However, its the songs ... The songs!! In my little world this was the time, between "Hip Hip" & "Who'd Have Thought" that they were at the height of their powers. Paul Hangdyside, Taffy Hughes, Dave Porthouse & Damien Mahoney), four lads that should have shook the world not just Wallsend....

• mp3: HURRAH! Keele University 30th November 1983

1. Who'd Have Thought
2. Holiday
3. Around & Around
4. Lonely Room
5. Sunshines Here
6. The Point Of Perfection
7. I'll Be Your Surprise
8. Who Wants To Live By Love Alone
9. Saturday's Train

LAUREL & HARDY Kid Jensen Session 17th March 1983

Watching the video of "Clunk Click" on the London Nobody Sings blog, made me get nostalgic & dig out this old Paul Dawkins & Tony Robinson (no not that one) A.K.A LAUREL & HARDY session... I liked them, because their brand of "sarf" London Dancehall, "Pop-Up Toasting" was incredibly catchy, their insistence on wearing bowler hats that always seemed seem to be in conflict with their hair, & their on stage vibra-slap competition.

I suppose they will always be considered a one (minor) hit wonder with “Clunk click” & as a result were never taken seriously. I preferred their later single “Lots of Lovin’ & She Gone” .. I saw them support PIGBAG around the time of this session.

• mp3 "LAUREL & HARDY Kid Jensen Session 17th March 1983"

1. Government Training Scheme
2. In By A Certain Time
3. Lots Of Lovin' & She Gone
4. Video Traffickin'

WHITE & TORCH John Peel Session 10th March 1984

Roy White & Steve Torch, “White & Torch” I knew of in a previous life when they were in one of my favourite Liverpudlian post punk outfits PINK MILITARY. I knew that they had a number of singles out previous to this session, but I only knew of their existence because PEEL said “they have had a number of singles out previous to this session”… So where they the natural progression to PINK MILITARY’s post punk airy meanderings? No! What we got was something akin to blueprint to Robert Palmer’s 80’s chart success .. A cross between Righteous Brothers pop pomp, nasty early 80’s synths replacing the “wall of sound” instrumentation & possibly a cough induced by the tongue being firmly imbedded in the cheek.

It was so alien to anything that PEEL was playing at the time, I like to think if they had come from a Home Counties or Medway town as opposed to Greater Merseyside that demo tape would have been flying out of the window of his car before he left Greater London on his nightly drive back to PEEL ACRES. I glad he didn’t. It is such an oddity & further proof you could never predict what the old bugger would like. My particularly favourite is “Bury My Heart” which sounds like that they have just taken the titles of their favourite Northern Soul songs & made them into a chorus. It has also inadvertently got me to engage the “Dad at the disco shuffle” incorporating the pointy dance… To which my loving Wife has just observed “You fat twat!”

Please note that this is a tape that got bitter & twisted which I have restored with sellotape & a stanley knife, so if the nasty synths sound wobbly & nastier than you would expect.. You know why.

• mp3: WHITE & TORCH John Peel Session 10th March 1984

1. Dont' Be Shot
2. Can You Feel The Heart-Beat
3. No, Not I!
4. Bury My Heart

LE TETSUO, BEARSUIT The Buffalo Bar, London 14th March 2009

First on tonight is THE WIZARD & THE FROG, less The Frog, which left us with The Wizard, a Russell Grant lookilikey dressed as a Gandalf cock monkey strumming nursery rhymes on his battered acoustic. “Hello Babes!!” he declares as he goes into a variation of the rugger buggers non swearing song, he also has a peach impediment that really comes to the fore with the song “Robot Cop” which because of said peach impediment comes out as “Rubber cock, rubber cock, rubber cock” which (& I am not proud) amuses me no end. I actually warmed to The Wizard as he only played about 15 minutes or so, 16 minutes or so & he would have crossed the line from being vaguely amusing to vaguely irritating.

Next are the WHITE HARES although I think they are called something different, but that is how they are billed. If you had taken some stem cells from the PINK FLOYD in the mid 60’s & finally found the technology to reproduce a la Jurassic Park in the late 80’s, the “White Hares” would be the result, mid 60’s experimentation in clothes & drone. The soundman is convinced that they are hearing something completely different from what they are playing, I suggest that are the only people in their school to download early PINK FLOYD… They play a short set droning white noise, which again I quite like, but I a very much in the majority here. Even the lines of assorted girlfriends resplendent in 60’s beatnik garb have that “I want to like this but it really isn’t doing it for me” expression on their faces.

Next BABY GRAVY from Oxford, a guitar-less agit pop band who have a singer that looks remarkably like Alice Marine Girl when she had a Mohawk, but actually sounds a bit like Poly Styrene. They have a great girl drummer that beats the crap out of her kit & is in the Premiership of gurning drummers…. I can’t remember any of the songs.


Next on are LE TETSUO, angular, shouty, juddering popsies. A three piece from Norwich, the singer has a quirky wobble to his voice, which reminds me of the first time I saw Elle Milano, difference being that no song seems to be much longer than 2 minutes, you think that if that they got into 3 minute territory that they would all get nosebleeds. The girl bass player has a voice that reminds me of the post punk girl bands I loved so much in the late 79’s but…. Harsher! There is a great song about elbow fighting, (I sure someday a young person will explain that it is a euphemism for something rather unpleasant) & they finish with a song about a fire engine where the guitarist manages to make his guitar sound like a stylophone (unless there is someone out of my sight actually playing a stylophone). Yes, it looked fun to be in LE TETSUO.


Just before (my beloved) BEARSUIT arrive, Mr DJ plays THE FIRE ENGINES’ “Candyskin” Frankly, if BEARSUIT were a crock of shite, I still think I would have been a happy man.
The ALL new (well newish) BEARSUIT duly arrive. The “all new” being the result of the departure of Richard, Cerian & Matt due to their increased family responsibilities. It has to be said that BEARSUIT if nothing else are a most fertile band. Ms Charlene who always reminds me of Ayesha Brough as in “Lift Off With Ayesha” although she really doesn’t look like her at all (I know … I know what I mean if nobody else does) is now incumbent on bass, as is Joe Naylor on drums. The result? BEARSUIT are a more rockier proposition. Something that Mouse was wondering but couldn’t work out why? No doubt distracted by the recent (then) release of “Terminator Salvation.” As always they go through the process of amps not working, DL boxes not being connected properly & keyboards feed-backing at extreme pitch but just because some of the personnel have changed, I see no reason to do away with tradition. Tonight sees them fly through “the hits” (in my world) at quite frightening speed. I still love it … But then again, I am considerable biased.
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LE TETSUO The Buffalo Bar, London 14th March 2009

• mp3: "Song about a Fire Engine"

BEARSUIT The Buffalo Bar, London 14th March 2009

• mp3: "Pushover"

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THE DAINTEES Keele University 30th November 1983

For some years now one Ricard(o) Cundills has been threatening to write a book about Martin George Stephenson, & for some years I have been ripping the piss out of him mercilessly for not finishing it. It certainly won’t stop me ripping the piss out of him but he has now finished the book. “The Song Of The Soul” is now available from ARDRA press & I’d like to think available in all good bookshops (& some shite ones as well).

For some years now one Ricard(o) Cundills has been threatening to write a book about Martin George Stephenson, & for some years I have been ripping the piss out of him mercilessly for not finishing it. It certainly won’t stop me ripping the piss out of him but he has now finished the book. “The Song Of The Soul” is now available from ARDRA press & I’d like to think available in all good bookshops (& some shite ones as well).

I have found most Martin Stephenson fans that I have met became fans way after THE DAINTEES (as such) or at least the first album “Boat To Bolivia” which frankly I struggle to listen to. Not because it is a dreadful album, the songs I love but they just don’t sound like how I remember them. Personally, I am not a huge fan of bluegrass, so post DAINTEES a great deal of Martin’s later catalogue past me by. I have always preferred the “my” DAINTEES of the pre “Boat To Bolivia” era, which was Martin, Anth Dunn, John Steele & (The Mighty) Marty Yule, when getting pissed up & playing was a catalyst to a more than fantastic night out & not (as later times) a catalyst for depression, anxiety & self doubt.

The last time I saw Martin play he seemed to be in good place & providing no idiot shouted out “tell us a story Martin” & gave him opportunity to ramble, the songs still sounded great. I still consider Martin a great pop song writer. I think this gig confirms that. Yes I know they are pissed, but you will never convince me “Me & My Friend Cecil”, “55 Friends A Day”, “Make A Day” & “Smile On The Sunny Side” aren’t great pop songs!

• mp3: "THE DAINTEES Keele University 30th November 1983"

1. Rag
2. Watch Where The Kisses Blow
3. Hypocrite
4. Piece Of The Cake
5. Slaughterman
6. Better Plan
7. Trouble Town
8. Involved With Love
9. Lifetime
10. 55 Friends A Day
11. Make A Day
12. Louies
13. Tremelo Men
14. Smile On The Sunniside
15. Cecil
16. Rag Tribute To The Rev Gary Davis
17. Watch Where The Kisses Blow (Reprise)

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GRAB GRAB THE HADDOCK The Basement Brighton 24th November 1984

This was GRAB GRAB THE HADDOCKs first foray into live performance, supporting the Dan, Jowe & Jeffrey variant of THE TELEVISION PERSONALITIES... Sadly, this is a desk recording & thus highlights all the frailties of Alice’s vocal tuning & the heavily woven plinky plinky guitars. More than anything else I liked the fact that GRAB GRAB THE HADDOCK seemed to have no middle ground with regard to people’s reaction. They were either loved or hated to either extreme. Every reference I see of them today is of being twee or terminally cute. I remember at the time thinking they were just the next DIY generation from the punk(y) bands of 6 or 7 years earlier but playing simple little pop songs that implied the charm of British seaside holiday, but cute? This particular night Alice was sporting a Mohawk & full Annabella Lwin pop pirate garb! OK she looked cute!

• mp3: "GRAB GRAB THE HADDOCK The Basement Brighton 24th November 1984"

1. When The Leaves Turn Grey
2. That Day
3. My Oh My
4. Love You More
5. All Of This & More
6. Last Fond Goodbye
7. That Big Word But
8. I'm Alright Shame About You
9. Times Are Changing
10. I Say You Say
11. Wan But Smiling
12. For All I Know
13. I'm Used Now

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THE POPTICIANS John Peel Session 20th July 1983

Just completing the THE POPTICIANS sessions set, with their first John Peel session. I look at the picture below & feel sadness as it was about 10 years ago, that Russell Greenwood, erstwhile drummer with THE POPTICIANS & THE CHEFS passed away as the result of brain tumour. He was a very amusing guy & I like to think that it wasn't an "urban myth" that he got the sack from YIP YIP COYOTE for turning up for a gig dressed as a cactus!

• mp3 THE POPTICIANS John Peel Session 20th July 1983

1. Hello Everybody
2. He's In Love With A Brown Paper Bag
3. Song About Losing Your Glasses
4. Mobile Home

NORTH OF CORNWALLIS The West End Centre, Aldershot 5th December 1987

Post GRAB GRAB THE HADDOCK, Lester Noel, one time MARINE GIRL groupie, BEATS INTERNATIONAL vocalist & all round good egg, fronted pop mimsies NORTH OF CORNWALLIS. On this misty December evening in Aldershot, they were supporting Bradford's PASSMORE SISTERS (where they seemed to be good terms with each other & weren't slugging chunks out of each other) & PRIMAL SCREAM when they had just started to metamorphose into leather bound cock rock bollocks.

What makes me smile listening to Lester’s introduction was, “It’s really great to be back in Aldershot” was said without the even the smallest hint of irony. Listen hard…There is none. Even with traditional Aldershot patrons walrus belch welcome, Lester was unfazed & carried on regardless into a short set of great little pop songs, punctuated by some GRAB GRAB THE HADDOCK favourites. I remember saying to Lester at the time, that he is a bone fide popstar for having the gall to include such a frankly “point & laugh at” key change on “All Of This & More” … I also suggested maybe it was not probably the best thing to do to get the West End Centre faithful to engage in a bit of a “sing song” as they were more influenced by the juice of Holsten Pils than the pop sensibilities of NORTH OF CORNWALLIS. Lester of course, loved it. You do have to remember this was at the start of the evening. By the end of the evening, security was scrapping people off the ceiling.

I find it almost incredible that they never released anything at the time. Lester, did kindly give me a song for the long lost cassette compilation “Uncle Arthur’s Pop Parlour” …. Sadly, NORTH OF CORNWALLIS realised nothing after that until inclusion in the first “Sound Of Leamington Spa” compilation. This was where we would meet again. You see I played in a band that played with NORTH OF CORNWALLIS on their first foray into Aldershot. Uwe Baby, very kindly included us as on the first “Sound Of Leamington Spa” compilation as well…. Ladies & gentlemen NORTH OF CORNWALLIS

• mp3: NORTH OF CORNWALLIS The West End Centre, Aldershot 5th December 1987

1. Billy Liar
2. Last Fond Goodbye
3. Think Before You Speak
4. Too Temperamental
5. All Of This & More
6. See Her Now
7. Shank's Pony

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BIG FLAME The ICA London 4th October 1984

“You’d better come out of the bar because we’re not gonna mess around.” This was my live introduction to bIG fLAMe, Manchester premier purveyors of crunch & thud.. I had previously heard them on PEEL & was intrigued, but live they were positively intoxicating. I didn’t realise this at the time but supporting Aussie industrial electro pop mimsies SPK was their first foray into London.

Intoxicating? From the cocksure moment they strode across the ICA stage (“You’d better come out of the bar…” wasn’t really required, the body language said it all) to the crash, crash thud intro of “Debra” I was on board. How could I not be? Vocals that was a manic hybrid of Dave Jackson’s (THE ROOM) crooning & PAUL HAIG’s emotive drawl. JOSEF K guitar, tremble “to eleven” played at 100mph. Burping wandering bass, that filled the high ceiling of the ICA, intertwined with drums that sounded like a bag of spanners being kicked around a playground. I remember having a conversation with an American chap (who admittedly was only there for SPK) who thought they were “making it up as they go along” … My reply was “You have just witnessed the future of music”…. Sadly the future of music left us just five great 7” singles & didn’t usurp FRANKIE GOES TO HOLLYWOOD from the charts (apart from the world that I inhabit). I read somewhere that they gave themselves a “sell-by date” when they felt that the length of the existence would be considered more than decent, & that they would split up on that date. I believe it was towards the end of 1986 & they kept to it. If I knew that at the time, I suspect that I would have loved them EVEN more…..

• mp3 BIG FLAME The ICA London 4th October 1984

1. Debra
2. The Illness
3. Chanel Samba
4. Breath Of A Nation
5. Sink
6. Saragasso
7. All The Irish Must Go To Hevard (I Have A Cold)
8. Where's Our Carol?
9. Man Of Few (Guitars) Syllables

MOONSHAKE John Peel Session 22nd November 1992

I ‘m more than slightly embarrassed that I behind in my “Yr Heart Out” & have just read Number 5, when Number 6 is already out. Frankly, readers so should you if you have yet to indulge. Number 5 there is a reference to realisation of MOONSHAKE’s connection literally & sonically with everybody’s favourite Cologne suburb based pig farmer’s Krautrock collective, CAN

As many of you know I was, still am, a mad WOLFHOUNDS fan. MOONSHAKE was Callahan’s natural progression into post rock, jazz tinged, dub looped experimentalism. I truly loved MOONSHAKE but that love was put to the test on two occasions: The first was when I saw MOONSHAKE version one at the end of 1991 at Sussex University. I had got the single “Coming” prior to the gig… Loved it to bits…. They started that night with “Coming”… Horror!! That absolutely delicious feedback that runs from the introduction to the body of the piece was …. Was a sample loop! They were great though, more PIL than CAN with those thunderous dub loops. The second time was at a MOONSHAKE version 2/3 gig about 5 years later in a room behind Paul Raymond’s Revue Bar in Soho. I had a chat with Callahan before they played & tried to express how much pleasure I derived from THE WOLFOUNDS some years previously. His attitude was .. “Well THE WOLFHOUNDS were OK I suppose” … I likened it to a Liverpool fan bumping into Kenny Dalglish at the bar to have him say “Och, I was never really inta the fitba that much!” … A bit of a fist biting situation for me, but all was forgiven, as although the crowd was relatively sparse they were staggeringly good that night, completely different from the Sussex University gig but equally impressive. I have added the PEEL session here… I think it is more than quite good!

• mp3: "MOONSHAKE John Peel Session 22nd November 1992"

1. Beautiful Pigeon
2. Coming
3. Mugshot Heroine
4. Sweet Heart

STEREOLAB The Concorde2, Brighton 18th December 2008

I approached this STEREOLAB gig with some trepidation. For two reasons; (1) Some friends had seen them in the States not so long ago & said that it was a more than lack-lustre affair (2) I had Mrs Fruitier Than Thou in tow, & her attitude to music is “I hate music, especially when it’s played” … She has mellowed with age.. “All the music YOU play is shite!” & on occasion she will obtain a dispensation from the Pope for STEREOLAB, LAMBCHOP & BEARSUIT (the latter, only if she wants to see me get really drunk & get beaten up as a result of just being plain annoying .. I suspect that the bass player from the CHEMISTRY EXPERIMENT has ever understood why I felt the need to sing to him the theme tune of the “Flashing Blade” to him … All night)… I digress.

The great thing about waiting for STEREOLAB to come on stage is actually waiting for them to come on stage. There is always one of their friends playing the most mentalist Franco electro guitar pop on the sound system.. Tonight is no different. When they did come on stage, I remember thinking “Can you just give it five.. This is brilliant”

I shouldn’t have had any apprehension. Laetitia wandered on wearing a little flowing Grecian number & smile as big as stage.. “’ello .. Are you ready to rowk?” … I thought “You know what Laetitia.. I actually think I am!!” Straight into the huge chunk of groove that is “Percolator” & off we go.. I found it took some time top get into “Chemical Chords” but live it “Rowks!!!” Tonight STEREOLAB were stupendous, the best I seen them for some time, even Mrs Fruitier Than Thou punched her way to the front (being short in the arse department) & danced her merry tits off… I don’t think “French Disco” could physically be played any faster & although there was a hint of rocking out … There wasn’t any hint of fiddly, twiddly outro’s.

The only sad part of tonight’s performance, as it is with every STEREOLAB gig for me. It has been more than 6 years since the tragic death of Mary Hansen being knocked off her bicycle. I still find it strange seeing STEREOLAB without her up there on stage.

STEREOLAB The Concorde2, Brighton 18th December 2008

• mp3: "Neon Beanbag"

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ROLO TOMASSI The West End Centre, Aldershot 13th December 2008

I wasn’t particularly filled with Christmas cheer, but my favourite Sheffield prog hard core band ROLO TOMASSI came to Aldershot. Named after LA Confidential Detective Lieutenant Exley’s personal bogie man, they are a difficult band to describe. I quite like that they don’t really look like a band. My learned colleague described them as “Big Bang Theory” festival waiting to happen… Which I think was a bit harsh. There are elements of Rick Wakeman but without the beards, capes & unpleasantness that would normally get me running from the room, before you could shout “The Court of King Arthur …On Ice” I think it’s the juxtaposition of Eva Spence timid taking voice, (The last time I heard a chorus of “ahhhh” in a manor of seeing a photograph of a kitten sat in a Wellington boot, after a young lady said “thank you” after a song, was ALTERED IMAGES), to the absolute guttural roar when she is “singing”. It really is something special & quite disconcerting that such an absolutely manic cacophony should come from a frame so slight. Occasionally, it veers towards, CAPTAIN BEEFHEART, DEEP PURPLE, incidental music for SPACE 1999 & every now there is a DURAN DURANesque keyed arpeggio…. But it works (for me anyway). They seem to be playing most places throughout April … You ought to treat yourself, they are more than entertaining.

ROLO TOMASSI The West End Centre, Aldershot 13th December 2008

• mp3: "I Love Turbulence"
  

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THE POPTICIANS John Peel Session 4th November 1984

Well, my PC seems to be functioning again... Which is probably better than I am. After a gap of 25 years, last night I went I saw THE POPTICIANS again. More of that another time, but it did make me dig out an old PEEL session.

• mp3: THE POPTICIANS John Peel Session 4th November 1984

1. Private
2. Red Ken
3. Somehow You Look Different Tonight
4. Song About John's Brother's Glasses
5. Song About The Misery Of Human Existance
6. The Old Scout Master
   
   

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AZTEC CAMERA Kid Jensen Session 28th February 1983

I was listening to Allan Kingdom (The Sidderleys) & Marion Hodges (Hungrey Beat) wax lyrical over ORANGE JUICE on DUBLAB.... It brought back great memories, & gave more credence to my side with regard to long standing argument I had with a friend all those years ago that the reason why the guitar break on “rip it up” ends so abruptly was because it was borrowed from THE BUZZCOCKS “Boredom”.

It’s funny the things that you subconsciously remove from your memory. Looking back at that the “rip it up” TOTP video, I had genuinely forgot about that bloody saxophone break.

Marion is looking to do further the POSTCARD tributes & is working on doing something on AZTEC CAMERA & my (beloved) JOSEF K... Here is the AZTEC CAMERA Kid Jensen session to assist the project

I don’t have to tell any of you about song writing talents of Roddy Frame ... Really I don't think I should have to. I generally don't go a bomb on "singer-songwriters" but Roddy is an exception.. One man his guitar, OK bloody loads of guitars, he always has an over abundance of guitars, but what he does with them sets me in floods. My Wife can't understand how I can derive any pleasure from Japanese cyberpunk thrash electronica played at extreme noise, but she agrees that you do well to find a more beautiful song than Roddy's "Small World"

AZTEC CAMERA Kid Jensen Session 28th February 1983

• mp3: "Back On Board"
• mp3: "Down The Dip"
• mp3: "Release"
• mp3: "Walk Out To Winter"

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JENIFEREVER, ILIKETRAINS The Joiners Arms, Southampton 9th December 2008

It almost sounds a slur but it isn’t. I find JENIFEREVER … Just really, really.. Pleasant. Somewhere between “CURED” Sweden’s biggest CURE tribute band, endless rolling TOILETS OF DESTRUCTION guitar delay & good old Thames Valley shoe-gazing, I am happy to slowly sway to the huge sweeps of flanged guitar & dual bass, bouncing around the L shaped room that is The Joiners. Granted, I ‘m sure that they aren’t singing about the joys of walkin’ talkin’ running through the fields, pressing wild flowers… But there is a happy, sad melodic quality to their tunes & they do quiet / loud really well, in as much it is nearly all gradual construction, rather than just bursting into hard strumming. Even in the maelstrom of the cacophony, you can always pick out something interesting going on, be it a burping bass or odd keyboard, which you spend an age trying to work out where it is coming from. I also greatly admire the guitarist long-hair, whose cut is the kind that I suspect that only Nordic men can wear without any fear of open ridicule. He is also one the skinniest musicians I have seen, to the point you do have concerns if he stamps on that fuzz box any harder he runs the risk of snapping a leg.

JENIFEREVER The Joiners Arms, Southampton 9th December 2008

• mp3: "New song ... To me"

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I have concerns about ILIKETRAINS. I have never seen them before, I vaguely remember hearing them on the radio sometime but could not recollect a sound. No. My concern has been generated by the fact that two separate people have said to me, that they are not as good now they haven’t got the visuals guy with them. I can’t get my head around it. To me, it makes me think of something akin to .. “Yeah those post radio Picasso’s are cack … He painted them without the radio on in the background..” How can you tell? Can they really be that dull? Was the “visuals guy” such a vessel of distraction that people will shout “King new clothes”? OK maybe too much caffeine that day. When ILIKETRAINS arrive, they are four beardy (to different levels) guys, in slightly different variants of same shirt design.

More sparse than JENIFEREVER, but the same spiralling guitar, the difference being the singer’s deep rolling gothic brusque, which reminds me of Brendan Perry of Australian early 80’s gothic mimsies DEAD CAN DANCE… That’s it. They are a good old Goth band. The lack of a line of gothic girls wearing backward sloping heels, crushed velvet brocades & fingerless lace-net gloves doing the invisible window cleaning dance at the front distracts you from the fact that is what they are. In this setting it works (enough) for me. I suspect in a larger venue, I wouldn’t have lasted the distance. I was thinking these boys have some pretty disturbing things going on in their songs

Post gig it was explained to me that a lot of the songs are based on historical situations, & not the particular nice historical events. I suppose there has been very little mention in history books that Oliver Cromwell told a really good “knock knock” joke & it’s sad that no one has picked up on it… The references to gauging, hangings & many other unfortunate ways to meet your maker is a great juxtaposition to listening to them between songs, where they frankly sound like the nicest people you could sit down with to have a cup of tea. On disc, they rarely deviate from how they sound live with maybe a touch more layering… Though is one song that inexplicably reminds me of THE EAGLES which for some I know is probably a trip to the gallows for sure. It is odd by the end of their set I remember thinking, I have enjoyed this far more than I expected to when halfway through their set… The Oliver Cromwell “Knock, knock” joke? “Knock, knock” “Who is there?” “Charles” “Charles who? … Hang on, hang on I have just had an idea!


ILIKETRAINS The Joiners Arms, Southampton 9th December 2008

• mp3: "The Voice Of Reason"
  

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THE MO-DETTES John Peel Session 4th February 1980

Ahhh... MO-DETTES! I have been reading the latest issue of YOUR HEART OUT, where Kevin reminisces & confesses his post-punk, post pubescent attraction to Ramona Mo-Dettes. Indeed, there was something quite fetching in the way she would sing, “Dak Parc Cray Peng” but I was always a fan of Jane & June. Jane, for it appeared she had shaved her eye-brows off only to meticulously paint them back on again & June for the way she drummed, in as much that there seemed so little upper body movement, but that tick, tick, thud, thud, sound would cut like a goods train passing by.
Kevin made the point that they could be viewed as quite intimidating live, but I can’t say I ever felt intimidate. If you can remember that feeling you get when you lean backwards on a chair, nearly toppling over but managing to stop yourself just in time… In my world, that was MO-DETTES live. I liked that they sounded like they were fighting with their instruments & HAD to win. Kevin does make a good point regarding the name. I do remember standing next to smart dressed kids & you could see on their face “Well they’re not the female version of THE QUADS or THE STA-PRESSED, but what the heck?”

There was certainly a uniqueness about them that sadly didn’t get a wider coverage. I can always remember at 6th form when I managed to prise the record player away from the long-hairs, if I ever played “Masochistic Opposite” there would be a flood of people trying to find out who it was.
I used to try & convince people that I was the Dave that inspired the MO-DETTES “Jackie” photo graphic vignettes on the back of their singles, until I found another Dave trying to do exactly the same thing. I won that one, on the basis that both of parents had “gone” & I inferred it was because they had once tried to stop me seeing…. THE MO-DETTES

THE MO-DETTES John Peel Session 4th February 1980

• mp3: "The Bitter Truth"
• mp3: "Dark Park Creeping"
• mp3: "Normans He's No Rebel"
• mp3: "The Kray Twins"

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THE DORIS DAYS The Basement, Brighton 24th October 1987

Many years ago in Brighton, THE DORIS DAYS developed their brand of simple pop music of acoustic instruments combined with the latest technology (then) they could beg, borrow or steal, mainly from Brighton (then) Polytechnic. Back then they very kindly contributed to a little cassette compilation me & a friend put together. At this time there were plans to release a split single with THE JUNE BRIDES on Grant Lyons’ fledgling LA-DI-LA label. Sadly, this never came to fruition. THE DORIS DAYS would morph into PACIFIC & after playing a gig in Alan McGhee’s living room (his front room, not the club) released; a single “Shrift”, a 12” EP “Sea Of Sand” & the album “Interference” on the CREATION label.

Here they are supporting McCARTHY at the old Basement that used to be on Grand Parade. The recording is a bit rough, & you have to put up with me & friends swearing at the tape deck in concern over whether the bloody thing was on or not, & talking general bollocks!

Dennis, the hub of THE DORIS DAYS is still making (quite beautiful) music under the name of SHRIFT & I would well recommend “Lost in a Moment”

• mp3: "THE DORIS DAYS The Basement, Brighton 24th October 1987"

1. "Feet Stuck Sound"
2. "Another Day"
3. "Henry Said"
4. "No Time For Feeling Sad"
5. "View From This Room"
6. "I Will Die"
7. "Those Sad Words"
8. "Remembering"

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BEARSUIT Marc Riley Session 7th January 2009

Now I know that Noah Benjamin Hutchings has successfully entered this world screaming & shouting, on the evening of 29th January, I think we should all celebrate & listen again to BEARSUIT's recent Marc Riley session & go out & buy "Pushover" by the bucket loads.

BEARSUIT Marc Riley Session 7th January 2009

• mp3: "Pushover"
• mp3: "Muscle Belt"
• mp3: "Dinosaur Heart"

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MIMAS, CROWNS ON THE RATS ORCHESTRA The Hope, Brighton 9th September 2008

I wander in mid-through an attractive young lady with a lisp & guitar, called MARTHA ROSE. Strumming very pleasant little tunes. Songs are reminiscent of SARAH BROWN / TWA TOOTS with a hint of HELEN McCOOKERYBOOK, every time her voice goes upwards. A nice unexpected start to the evening. If she had played "Please don't play a rainy day in Georgia, I'll break down I really wanna warn ya!" it may have brought a tear to my eyes.

Everything appears to go right for CROWNS ON THE RATS ORCHESTRA. This is not the norm. Tonight, the sound, the phrasing, the melodies all come shining through, like a great big shiny thing. They haven’t played for a while & where you would think there may be apprehension is freedom & enjoyment. There is a new composition, that conjures up something really quite unpleasant, with the soul stripping chant “…we were all but left for dead” fused with an assortment of trumpets & strings. I hope they get to play further a field than Brighton & Hove… Soon!

Of MIMAS, up until this point I had only heard of the name.. No music. Named after one of the moons of SATURN, & with more effects pedals on the floor, than actual visible floor, my initial expectation of this four piece from Denmark was post rock ‘quiet, quiet, quiet’ followed by ‘loud, loud, loud’ with added ‘louder, louder, louder.’ Their “death-indie” (their reference, although with my ageing myopia, I read it as “death to indie”…) sound is hard to pinpoint. There are strange guitar sweeps, sad trumpets, sweeps of the sound of children playing & .. Noise.
I have to confess to liking them for 3 main reasons:

1. They had a power out on the first song… When the power was regained, they finished the song from the point where they finished. The recommencement lasted approximately six seconds.
2. They had a song that repeatedly referenced “Fokker” almost in a Stan Boardman kind of way.
3. They maid numerous references about getting “shit faced” after the gig, something of which, from my limited experience of Danes & Islanders, I have found them to be extremely accomplished.

CROWNS ON THE RATS ORCHESTRA The Hope, Brighton 9th September 2008

• mp3: "Opus No 5"

MIMAS The Hope, Brighton 9th September 2008

• mp3: "Dads"

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LUX INTERIOR & POISON IVY Kid Jensen 6th June 1984

0

Erick Lee Purkhiser AKA Lux Interior

21st October 1946 - 4th February 2009

I was saddened to hear of the recent passing of Erick Lee Purkhiser AKA Lux Interior at the age of 60. I can honestly say I have always quite liked THE CRAMPS, always found theme amusing, Lux in particular, but have never been a huge, huge fan. That said, I have always absolutely adored "Googoomuck". I had a friend at 6th form at the end of the 1970's who had a thing for "Uncle Lux".... "There is something very special about a man in size 11 stiletto heels" .. You know I could never argue with her on that one!

It's one of those strange things, that only last week I was digging through some old cassettes, when I came across this; Lux & his beloved Poison Ivy on "Collectors Choice" with Kid Jensen nearly 25 years ago. I was thinking how great ANDRE WILLIAMS "Pass The Biscuits Please" is, especially all the background noise ... & could it have been an inspiration for MAX SPLODGE’s "Two pints of lager & a packet of crisps.." Just one of those strange coincidences, I suppose. I think it not unfair to say, that PEEL championed THE CRAMPS with a only a small “c” but each of Lux & Ivy’s choices certainly would not have been out of place on his show.

Zulu King CANNIBAL & THE HEADHUNTERS
Jump, Jive & Harmonise THEE MIDNIGHTERS
Pass The Buscuits Please ANDRE WILLIAMS
Hot & Cold MARVIN RAINWATER
Valerie JACKIE & THE STARLIGHTS

LUX INTERIOR & POISON IVY Kid Jensen 6th June 1984

• mp3: "Collectors Choice 6.6.1984"

ORANGE JUICE Mike Read Session 9th January 1981

Another thing that seems to have become a bit of traditional as the years have gone by is synchronised cacking & vomiting. This year Mrs Fruitier Than Thou had the good grace to join in as well. When all this fun has died down, I feel the need for something to cheer me up. This year serendipity in the form of listening to old POP RIVETS tape help me find the old Mike Read ORANGE JUICE session, I knew I had but had lost for many years. It cheered me up no end … There is some seriously jangly guitar on this version of “One (‘Wan’) Light”…. Enjoy

ORANGE JUICE Mike Read Session 9th January 1981

• mp3: "Felicity"
• mp3: "Upwards & Onwards"
• mp3: "Wan Light"

BAMBOO ZOO John Peel Session 28th August 1981

On of the things I do like about Christmas is it gives me a chance to dig through old scribbled upon cassettes & find old sessions. I came across the BAMBOO ZOO session. I know nothing about them apart from the came vaguely from the "Hicks from the sticks" area. They certainly had that feel of something akin to THEY MUST BE RUSSIANS, I’M SO HOLLOW, colours out of time, the next groop from the HFTS ... I have the single above. There was an LP but I have never seen it. Although, I do remember PEEL playing a track or two at the time.


BAMBOO ZOO John Peel Session 28th August 1981

• mp3: "Binding Wire"
• mp3: "Fools Colours"
• mp3: "Ghost Party"
• mp3: "Look! Listen! Consume!"

JOHN WALTERS Walters Week 1983-1985 (6)

More Walters...

• Mp3: "John Walters 1983-1985 No 25"

With Richard Skinner… Cake-shop girls on ice. The friends of Valdimar vs a disconcerted Gilbert & George & Richard Skinner … Come on down!

• Mp3: "John Walters 1983-1985 No 26"

With Kid Jensen ….Sing the song of Simon LeBon who rode into Nottingham town. Walters in Feminist Pebble Mill outrage & too much botty

• Mp3: "John Walters 1983-1985 No 27"

With Janice Long … Angry Mumbo raps Rambo rumpo! Bruce McLean's wendy house & the popodom of rumpy pumpy.

• Mp3: "John Walters 1983-1985 No 28"

International businessman demands PEEL goes back to his bed. Cinderella or the desperate demon's direful doings & cupids careful caustious callings & bubble bath for England & St George

VIVIAN STANSHALL John Peel Session 22nd, 23rd, 24th & 26th December 1975

I know it’s a bit late for Christmas now, but in response to a request from the PEEL yahoo group I loaded up the VIV STANSHALL “Christmas At Rawlinson End” sessions.

It’s funny, most people my age that I know that have kept an interest in new music as well as old music have inevitably been like me, enthused by PEEL. However, I would love to admit I first got into listening to PEEL under the bed-sheets with a less than sound sympathetic transistor radio, listening with glee to the latest Dortmund pig farming collective’s 8 minute thud crunch, which I could regale to all & sundry in the classroom the next day. No doubt that was to come. My interest in music was a combination of the actions of my Grandmother (she had no interest in music… but that’s another story) & picking up PEEL & in particular VIV STANSHALL after I had given up on the white noise that RADIO LUXEMBOURG became after about nine o’clock. I had heard of (but not really heard) the BONZO DOG DOODAH BAND & had heard the hit “Urban Spaceman” but oddly never really connected the two.. I was young & still in that early 70’s pre-teen music cycle MARC BOLAN, SLADE, DAVID BOWIE & very little else.. Although, I do remember, just before hearing these sessions liking R. DEAN TAYLOR’s “There's A Ghost In My House".. (It was the line “& I can’t hide” that I think I related to). So it was catching VIV’s dulcet tones more than anything that PEEL was playing that initially grabbed me. I do remember PEEL at that time played a lot of stuff that really didn’t get me going .. BRAND X in particular was guaranteed to get the sandman to swat kick down the door to my psyche.

So started a life long love of the “GINGER GEEZER” The film of SIR HENRY AT RAWLINSON END a surreal parody of British Colonialism, is still one of my all time favorites.
Stephen Fry was right in that “Scrotum, the old wrinkled retainer” is one of the top 10 all time jokes. It is sad that such an extraordinary talent as Viv came to such a horrendous end in a house fire in 1995.

I would recommend everyone read Lucian Randall & Chris Welch’s book “Ginger Geezer. The Life Of Vivian Stanshall” as it details that his “Godlike Genius” came at a heavy personal price. Self loathing & depression given a healthy catalyst of booze & valium created a life that chaos theory doesn’t even get close to. The needs of family & friends pushed to the limit. I have a friend who lives his life in a similar way. He is no Godlike Genius, but he likes the “swallie”. Everything is a good anecdote but at the time …. At the time its “I think we have found the only Dutch police station where no one speaks English!” etc, etc.. There is a piece in the book that makes reference to Viv realizing that you can be unbelievably offensive as long as you do in an intrusive way. He was on an afternoon booze bender with Keith Moon; Moon dressed as Adolf Hitler & Viv dressed at Martin Boormann. They finally came to a Bierkeller in Soho, where the barman more concerned with the state they were in, rather than their Windsor party outfits, declined them further booze. To which Viv straddled the bar grabbed the barman by the collar .. “You vill not zerve zee "Führer?”.. “”OK OK but sit down there & be quiet!!” I assure you the book is worth buying purely for the detailing of the events leading up to Ringo Starr being in receipt of a prize “shiner” at the Isle Of Wight festival

• mp3: Viv Stanshall John Peel 22.12.1975
• mp3: Viv Stanshall John Peel 23.12.1975
• mp3: Viv Stanshall John Peel 24.12.1975
• mp3: Viv Stanshall John Peel 26.12.1975

THE HOUSEHUNTERS The West End Centre, Aldershot 14th February 1987

Uncle JOWE (Head) has recently started a myspace page for the rather wonderful HOUSEHUNTERS. It made me think of a gig in Aldershot on Valentine's Day in 1987 (shite is it really 21 years ago? Beghads!!) They were supporting the BMX BANDITS.

According to JOWE the HOUSEHUNTERS were named to some degree as a result of their involvement in the local (to them) squatting scene. JOWE claims they had an affinity with the “noble Viking people” as MERCEDES’ (Mole) family have a Nordic background. Personally, I think JOWE just wanted to wear silly hats & talk in a vaguely German / Finnish accent. “Ello, we HOUSEHUNTERS are!”…. “Yeah, we’re from Finland, yeah” The crowd were completely fooled? I think not.

This particular night love was probably in the air, which made a change, as at the time Aldershot & more so Reading gigs could be somewhat violent affairs. HOUSEHUNTERS were a vision, JOWE sporting wrap around mirror shades that were effectively vision blockers as it was evident that JOWE couldn’t see what he was playing with the things on, which meant he spent a great deal of the time balancing them on the end of his nose, trying to see over them to his guitar. A guitar in fact that mirrored (sic) the glasses as it too was of the mirror variety & far too expensive for THE PASTELS to purchase. They also sported silly hats, bizarrely the on stage squabbles seemed to be over a beret, personally I would have fought anybody that tried to remove the plastic Viking from my personage.

They wandered on their “Househunting” introduction tape, with JOWE doing a “Peter Glaze” trip (ah.. Those glasses). After a few seconds of looking at each other, a look that had a combination of what are we playing, & who is going to start it… They suddenly burst into “Cooler Than Thou!” & “The Kids” are treated to a 35 minutes of indie-cabaret which included “I Am A Mole In The Hole” … By the end “The Kids” were … Well pissed really, but wanting more. The recording is a bit rough, but I think it reflects the fun of the evening.

I think HOUSEHUNTERS were one of the “missed” mid 80’s bands that time was a little unfair to …. The singles on 53rd & a 3rd were fantastic & the album “Feeding Frenzy" still sounds as fun as when I first heard it. If you contact JOWE via the HOUSEHUNTERS myspace he still has some vinyl LP’s available.. You know you want to!!

• mp3: "THE HOUSEHUNTERS The West End Centre, Aldershot 14th February 1987"

1. Househunting (Househunters Introduction Tape)
2. Cooler Than Thou
3. Cuticles
4. Synthetic Flesh
5. Snow Queen
6. Shopping City
7. The Mole In A Hole
8. Punch & Judy's Crocodile
9. Tell Tale Heart
10. Minotaur

Later that night DUGLY of the BMX BANDITS dealt with much aplomb, the loud drunken “young rascals of Aldershot”. They played the single that never was, “Flipper” three times. The video below of the BMX BANDITS in FSD was virtually the same time of the gig. In fact DUGLY wore the same green shirt as in the interview, although sadly Norman was not dressed up as an old man (which was a shame). So enjoy DUGLY not portraying the typical macho rock star type image & when you get to 1 minute & eight seconds .. You will do well to find anything more ridiculously poppier than “Flipper”. “It’s nice to rid the world of all the ugly people…” still makes me smile today.

CABLES, ANGRY BOY Sausagefest 4, The Links Hotel, Fleet 3rd August 2008

More of a free barbeque outside a pub, rather than the traditional festival, Sausagefest is a summer get together of local (to me) bands, to bash out their wares. I primarily went to see CABLES & ANGRY BOY but there were a plethora of other “DJ’s” & artistes who would fanny about with digital loops whilst punching the air with one arm, the other firmly pressing his headphones to his ear with the expression of someone trying to cack a sea urchin. There was one in particular that did a set made completely from intendo game sound-loops, which was quite amusing.
CABLES were the first “proper” band on. There is something vaguely amusing about three Home Counties boys, sporting Liverpool away shirts, starting their set acappella, chanting invective at Chelsea FC for having “no history”, confirming my thoughts, that franchise has now replaced the word clubs when it comes to football. However, from this little foray into chants from the stands, CABLES launch into a frenetic, energetic, set of power pop screamee shouty pop. Lots of stop-starts, clever tweedly bits, the only thing they lack for me is a bit more melody. A pleasant twenty minutes. As ANGRY BOY start, there is a sustained cloudburst, which ensures that everybody is huddled under the covered area, usually the domain of banished smokers. I hadn’t seen ANGRY BOY for some time. I always thought they were the product of the last 2/3 albums they had been listening too. Today, that thought hasn’t changed. The last time I saw them, they were a balaclava’d punk noise, with a great deal of shouting & fist punching. Today, there are a lot of loops & handclaps bouncing around in the background that vaguely remind me of CARTER USM. I have no idea what they have been listening to recently.

CABLES Sausagefest 4, The Links Hotel, Fleet 3rd August 2008

• mp3: “Your So Frankie Come Lately”

ANGRY BOY Sausagefest 4, The Links Hotel, Fleet 3rd August 2008

• mp3: “Unknown track to me”

YOUNG MARBLE GIANTS John Peel Session 18th August 1980

Back in 1979, when I was at 6th Form College, I used to spend the many hours lying on my back, starring at the ceiling in the dark thinking of logical positism in a post punk society, & as a result could PIL actually be shite? Whilst listening to “Colossal Youth” … OK, OK I was thinking of girls with Louise Brooks haircuts, mini skirts & Doc Martens, (I still do on occasion).

YOUNG MARBLE GIANTS came out of nowhere, nowhere at the time being Cardiff, but also nowhere musically. At the time I was listening & devouring every one of the 57 varieties of post punk that PEEL was favouring, whether it be the developing 2 Tone SKA explosion, the power pop of the MOD revivalists or the long overcoat laden NEW psychedelic … All of which did make you want to jump about (& indeed in those days when my knees included a great deal more cartilage than they do now.. I did). However, none of this sweaty jumping around stuff for YOUNG MARBLE GIANTS.

A trio consisting of Alison Stratton, & brothers, Phil & Stuart Moxham, combined to make the most minimalist, simple pop melodies. There was something almost hypnotic about Alison Stratton’s voice. It always sounded like she was lying on the other side of the room just gently drifting in out of the music as if she was just making it up as she went along. It was the complete other end of the scale to all the other music I was listening to at the time. After a number of ep’s & the album that came out in early 1980, Stuart Moxham put the group “to bed”. I read somewhere that he was very frustrated at the time with Alison’s inclusion in the group, as his vision was probably even more minimalist. However, Phil’s determination to ensure Alison’s addition to the group, (he & Alison where partners at the time) ensured a most startling piece of music in “Colossal Youth” & one which I have to listen to in its entirety every time I listen to it.

Post YOUNG MARBLE GIANTS, the Moxhams developed a more poppy version of the previous life, with THE GIST & continued their avioli’s dedication to nicotine. Alison fronted the jazz tinged WEEKEND, each branch of the YOUNG MARBLE GIANTS family tree releasing rather wonderful singles.

YOUNG MARBLE GIANTS John Peel Session 18th August 1980

• mp3 "Searching For Mr Right"
• mp3 "Posed By Models"
• mp3 "N.I.T.A"
• mp3 "Final Days"
• mp3 "Brand New Life"
  

Buy! Buy! Buy! Buy!

See "Post Punk In The UK" .... "No 4"

23 SKIDOO John Peel Session 16th September 1981

I have to admit to liking to a point, every variety of 23 SKIDOO… Of their initial scratch white reggae of their first single “Ethics” which I bought the day after I heard it on PEEL, to this day I still can’t explain why it sounded so different from how I heard it on the radio… FM modulation or something. I new they had started in North London supporting MADNESS, but I didn’t realise until recently, that Bedders from the band had more or less financed & produced the single.I really started to listen when they started to move to the more scratch funk of ACR. Live they were quite different from ACR. I remember that the 23 SKIDOO events by early 1981 had turned into a visual overload, with multiple slideshows enveloping he band, which no doubt (if it had existed in 1981), would have resulted in rampant photosensitive epileptic break dancing. The funk was far more trebly in the guitar & repetitive than that of ACR & would drop into bouts of reverb laden farts in a wind tunnel experimentation. This PEEL session sees that period of 23 SKIDOO. Early next year they brought out the “Seven Songs” LP which I openly admit played to death. Post “Seven Songs” when everything seemed to be going POP at the time. 23 SKIDOO went the other way & started to work with loop taped ‘wall of noise’, incorporating rhythms provided by the Drummers of Burundi & the Balinese Gamelan Ensemble. I remember liking the fact that they went off at a tangent from their previous incarnation but I do remember many I knew who loved the scratch funk 23 SKIDOO didn’t “go a bundle” on the new world music experimental 23 SKIDOO. Some years later I witnessed them play a bad tempered (the audience, not the band) set at the Bloomsbury Theatre. I think people were expecting sparkling funk. They got something very dark indeed. It still makes me snigger thinking of it now, I remember from that Bloomsbury Theatre gig in early 1983, a chap on the other side of the hall, shouting out… “But.. But the king is not wearing any clothes! He is naked as the day as he was born!” … Punters, eh? Such fickle buggers.

23 SKIDOO John Peel Session 16th September 1981

• mp3: "View From Here"
• mp3: "Four Note Bass"
• mp3: "Retain Control"

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NITKOWSKI, YNDI HALDA The West End Centre, Aldershot 25th July 2008

From gloom enter NITKOWSKI, a three piece comprising of two guitars & drums, no bass. They start with chiming, sustained guitars that slowly builds to adjit-angular guitar crescendo, with the occasional scream (truly guttural but I have no idea what he was shouting). They move into something that reminds me of Robert Fripp’s League of Gentlemen, with strange guitar loops & very odd rhythms, that almost sound if they are completely detached. As their set goes on it gets decidedly heavier as their gurning gets decidedly stranger & there are moments when it actually sounds like they wobble, like if you have a crease in an old cassette.. I suspect that it is more to do with guitars being pushed to detune rather than cleverness, nevertheless certainly makes you listen if only to try confirm someone hasn’t dropped something in your drink. By the end they actually remind me of favourites of my youth THE CRAVATS or DCL variant of THE VERY THINGS.
Tonight sees Ollie former of MEET ME IN ST LOUIS deputise on violin for YNDI HALDA’s “NAME” as this is a warm up for there first American tour. The first half of YNDI’s set is fine as I have witnessed times before. The second half fair’s not so well. The sound seems to phase unintentionally & everybody seems to be struggling, the result being a very fragmented piece last piece. Still I sure a twenty date plus, tour of the States will sort it out.

NITKOWSKI The West End Centre, Aldershot 25th July 2008

• mp3: "The Taste & Stink Of Old Coins"

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LOS ALBERTOS, ANYA MARINO “Westival” The West End Centre, Aldershot 18th July 2008

The “Westival” is the West End Centre’s annual indoor antidote to rain laden outside festivals; bring the grass indoors, get an eclectic group of bands on & see what happens. I think I have mentioned before, I like the idea of creating a Heath-Robinson version of the pyramid stage & completely turfing the inside of the art centre (it smells great!) but after a while the grass only assists in turning the place into a sauna. I wander into the smaller room. ANYA MARINO is a young pink haired singer-songwriter from San Diego, California. A place I visited 30 years ago, of which I can only remember as a venue of endless tattoo & whore parlours, (those crazy sailor boys!), not an obvious setting for a burgeoning bohemian singer songwriter community. Simple (very) catchy pop songs, that aren’t spoiled by being over long, the scourge of the singer-songwriter & a single guitar. Halfway through her set, another young lady joins her on stage to brush or hand pat some drums (Debs?). I could only see her perma-grinning face heavenly looking upward, from the triangle created by Anya’s guitar strumming arm, guitar & body. Occasionally, Anya sings through a copper-phone mic (or as I call them PORTISHEAD mics), which is a nice touch. The only mistake is asking for some audience participation by the medium of whistling. The result was one man & his dog after a mixture of speed & acid.

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ANYA MARINO “Westival” The West End Centre, Aldershot 18th July 2008

• mp3: "Clean & Sober"
  

LOS ALBERTOS wander on stage looking like a cross between Rip Rig & Panic & a group of extras from Eastenders, (Los Albertos Square?). LOS ALBERTOS are a new experience for me. A huge horn stab & suddenly everybody is jumping about (they know something that I don’t). I suddenly find I am surrounded by middle age men, (OK men as old as me, in fact probably younger). Skinheads by necessity rather than choice, wearing Fred Perry’s that appear just a “little” too tight & feel obliged to shout “Oi! Oi!” at every opportunity. LOS ALBERTOS can only be described as pub rock ska. The vocals are a mixture of IAN DURY patois & CHAS & DAVE lager “Joanna” ditties, accompanied by an absolutely cracking horn section. Having lived through the summer ska explosion of 1979, I have always wondered why that the blueprint taken for modern ska bands has been Bad Manners as opposed to The Specials, but there is no denying that live, I thoroughly warmed to LOS ALBERTOS, in fact they ARE the perfect, “Fuck art, lets dance!” festival band. Although, my cartilage –free knee caps prevent me from bouncing around like all the born again skinhead tiggers, shouting to their kids “watch & learn” that surrounded me, I did find myself exercising the PEELesque “pointy” dance.

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INSTRUMENTS The West End Centre, Aldershot 27th June 2008

Up until this point I have neither heard nor heard of INSTRUMENT. A post rock(ish) quartet from London. Odd time signatures, stop start, stop start, pinged harmonics, looped chiming arpeggios’, the girl bass player to the fore belching burp-laden bass lines. There are occasional vocals, stretched & fractured, that really remind me of something/someone but who I cannot recall. They remind me of a pre-three piece GREAT ESKIMO HOAX, or the early days of CATS CATS & CATS. They finish almost as soon as they have started, the victim of other bands overstaying their slot & the headliners time. Shame, I will make time to see them when they visit close again.

INSTRUMENTS The West End Centre, Aldershot 27th June 2008

• mp3: "We didn't think it through"

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LAUGH "Paul McCartney"

As I have mentioned in comments before ... I love this single. LAUGH were one of the loudest bands I encountered in mid 1980's. I once made a list of the of the greatest things that came out of Stockport.. There was a long gap between LAUGH & Liam Dickinson.. I AM KLOOT on a good day could make the list. It's hard to tell from this video, but I always thought the singer from LAUGH could be a looky likey for MARTIN STEPHENSON.

THE HIGH 5 GROUP John Peel Session 3rd March 1984

Here is the other HIGH 5 GROUP session, that I have. I did have the 1982 session but that has long since been chewed up by old (nee murdered) vivacious tape recorder. The last time I saw them was supporting THE SMITHS at Kings College in October 1983. In my little world they never quite captured on record what they did so well live... The PEEL sessions were a bit closer.


mp3: "THE HIGH 5 GROUP John Peel Session 3rd March 1984"

• Hard Lines
• Hundred Tons
• Walk Them Back
• Working For The Man

THE HIGH 5 GROUP John Peel Session 23rd May 1983

For Mr Kevin P (sorry for the very low recording)....

• Cold Steel Gang
• On The Banks Of A Bloody Great River
• Hand On My Heart
• Big Village

mp3: "THE HIGH 5 GROUP John Peel Session 23rd May 1983"

HUNGRY BEAT riding on a crest of a new wave...

Back in the eighties I often used to read fanzines on the train home, or more accurately, when I missed the train home & was spending another night at Waterloo station waiting for the fabled "milk train" to turn up or if my learned colleagues had managed to convince the old pouf night watchman at Baden Power House that we WERE venture scouts who had forgotten our cards..."We ARE part of the movement! Could we sleep on the floor of the canteen please?" Anyway one that no doubt spawned at least 150 MANIC STREET PREACHERS t-shirt slogans was one "HUNGRY BEAT" ...

So with permission, although he maybe averting his eyes & for "Anon" I present to you.......

• Fanzine: "HUNGRY BEAT riding on a crest of a new wave..."

I have zipped the scans but they may take some time to download

MELT BANANA, BEARSUIT The Soul Tree, Cambridge 24th June 2008

I suspect that over the years this would have been included in one of my “dream line-ups”... The pop cacophony of my beloved BEARSUIT & the in your face abrasion that is MELT BANANA. First BEARSUIT, magnificent in newly fashioned capes... I have to make an admission of coveting those capes. Tonight sees Ms Charlene occupying the bass for the first time, deputising for Richard Bear whose Wife was due to give birth that night. Mouse explained that the reasons for being in a band consisted of the following in this order: ABBA, THE CARPENTERS, NIRVANA, THE PIXIES ...& MELT BANANA. “Without MELT BANANA I wouldn’t be subjecting you to this God awful racket!” Tonight sees the BEARSUIT 100mph set. There is hardly a chance to catch for your breathe, with the exception of a rather natty keyboard disco loop (apparently called “I love your Mum!”) between songs to allow for re-tuning & the repair of fragile keyboards, to which Cerian & Ms Lisa Bear pull some rather groovy shapes, that would have not have looked out of place on an old HOT GOSSIP performance. I’m biased I love them... They are off to the States for the first time ... I have to go out to the States but return just as they go out, & have to go back out to the States just as they come back.. Frankly bollocks, but life can be like that at times.

The last time I saw Tokyo’s MELT BANANA was more than three years ago in Brighton, they were truly astonishing. I have always been told that MELT BANANA are a marmite band.... You either love them or you hate them. I compromise; I love them live & hate marmite. I have always adored the short 10 second songs, followed by the immediate “hank-yu,” their hard-core intensity & have always believed there must be an innate pleasure in making your guitar sound like a Boeing taking off (“His name is Miki”), but tonight MELT BANANA employ something I have never encountered with them before... The slow grinding rock riff!! I am sure on occasion I can riffs that I associated with the NWOBHM of nearly 30 years ago... It scares me, but not for long, in fact I was more concerned with the tattooed Auk of a man jumping up & down in front of me (in such a polite way) ... I swear his neck was as wide as his ears ...& his ears stuck out!! The short set of short songs came to the rescue. There is maybe 7 or 8 songs amassing no more than a minute & a half in total. Back to the hardcore.. In fact I think it is now written in any band’s contract that hints at being hard-core that they have to have a crack at “Monkey Man.” MELT BANANA adhere to this contractual obligation. Sung in the key of helium, it actually sounds like a 33rpm record played at 78rpm.. A RAMONES record of 33rpm played at 78rpm!! It’s amusing but doesn’t really work, but I like the fact that they had a go at it. They encore with a rather odd sounding but remorselessly energetic “shield your eyes” to which bassist Rika changes the riff half way through... They finish, collapse & crawl off stage. Not quite as impressive as 2005, but frankly that would was virtually impossible to match....

MELT BANANA The Soul Tree, Cambridge 24th June 2008

• mp3: "Short Songs"

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ÓLAFUR ARNALDS, YNDI HALDA The Barbican Hall, London 20th June 2008

I arrive half way through YNDI HALDA’s set. They are playing to a half full Barbican Hall, or at least the two levels available. A sell out show? Yes, but there is obviously a belief that any show on at the Barbican is going to be inhabited by people who work in Central London who will just have enough time to have a quick snifter post work & gently stroll down to the Barbican for a night’s entertainment. Starting on a Friday night at 7.30pm prompt almost guarantees that the first act will be playing to a half populated auditorium because not everybody lives in the central of twating London. It’s a shame, because as I arrive YNDI HALDA are in full flow. The large stage & clear sound system suits their post rock rumblings of quiet, quite, loud, loud. What I find bizarre, is that James YNDI on the left, who seems to have to change guitars on a regular basis or move to keyboards, erecting keyboard stands as suits, is left to fend for himself, whereas as he cohort on the other side whose main source of instrument modification is moving from electric guitar to acoustic, has a little helper to assist in reducing time obstruction. It’s good to be king! The last track doesn’t quite work. I don’t know why? I think it’s the volume, which seems to disappear at the pinnacle of the finale. At least it proves that it can work on a larger stage.

ÓLAFUR ARNALDS the young Icelandic pianist enters stage left with a twinkling backing tape, to tumultuous applause. His string quartet arrives a few seconds later, resplendent in string quartet black. He sits & starts to play a gentle loop to which the string quartet slowly joins in. It really never diverts away from this premise of Thomas Newmanesque atmospheric piano stabs, with beautiful sweeps of string quartet embellishments. There is the occasional repressed drum ‘n’ bass loop but this is kept to minimum. A sporadic sample of what sounded like a piece of paper being screwed up or children laughing, would phase across the speakers, the latter actually catching me out as I thought it was people talking behind me, I was just about to turn around to project me very best librarian shsssh, when I realised what it was. One track had a full drum machine at the close, which in an odd way makes me think of BRUCE HORNSBY & THE RANGE... Frankly, a thought that could have ruined the entire evening, but Ólafur kept everything to the minimalist piano & stings. Fragile, delicate & undeniably beautiful or as my Wife put it as I played the album the following day...”It’s just like that SIGUR ROS lot you like, but without the noisy bits!” That is true as well, but I found myself enjoying just sitting there, letting my mind wander to the unassuming compositions glimmering from the stage, slowly emptying my mind of malevolence to the Barbican for starting the event so bloody early. One thing that did reinforce my opinion why I think encores are a complete cocking waste of time, is when Ólafur finished his last piece, the crowd went crazy apeshit bonkers... Ólafur duly came back & dedicated a nursery rhyme composition for his parents who had flown over from Iceland, “Because we don’t really play in Iceland” which I can understand as when I visited the place (& I would recommend everyone should visit Iceland, it is breathtakingly beautiful) was alarmed to find that the majority of the population like air punching ROCK!!. Ólafar played his last composition & very beautiful it was too, but when they finished there was just a polite spluttering of applause & everyone started to get up before he left stage. What was the point of that? It’s not Ólafur’s fault but I would have much preferred him dedicate the last song to his parents, said “we’re done” & off he went. What I did find odd was afterwards speaking to some young people I know who are actually studying classical music, had the view it was all very pretty but didn’t actually go anywhere. I said, I thought that was the point & why I liked it. I don’t know, these young punk rock kids!!

ÓLAFUR ARNALDS The Barbican Hall, London 20th June 2008

• mp3: "Fok"

.....Give it a while (approx 6 minutes) it does liven up.

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FALENIZZA HORSEPOWER The West End Centre, Aldershot 30th May 2008

FALENIZZA HORSEPOWER, a two-piece consisting of drum & bass, but unlike other bands I have seen that inhabit this format, they employ the tried & tested primal screaming. Tonight, sees them included within the “floor” bands, a la “Later” sandwiched between CABLES & CASSETTE CASSEE. They are wearing face masks of each other, perched on their faces at sixty degrees, which from the spot where I am standing, gives the impression of a couple of undiscovered Picasso’s or a rhythm section consisting of the Zaphod Beeblebrox twins. They are less abrasive than the likes of THAT FUCKING TANK but have the knack of suddenly creeping up on you. Just when you have got into the groove of hybrid blues they explode into something that sounds like genuine aggression as opposed to shouting loudly for the sake or effect of it. One song in particular reminds me of THE FOLK DEVILS “Brian Jones’ Bastard Son” ... I suddenly felt my age when I realised that FALENIZZA HORSEPOWER weren’t even conceived when that was a hit (in my little world!!)

I did manage to witness an unintentionally amusing injustice. Whilst FALENIZZA HORSEPOWER were ramping up their “thang,” the singer from CASSETTE CASSEE managed to completely flatten a young lass in a red t-shirt with his more than exuberant if not particularly rhythmic or coordinated dancing. As the next song was CASSETTE CASSEE’s, said singer got to the microphone & was in the process of offering his sincere (& I believe genuine) apology for flattening said young lass in the red t-shirt. However, this was just at the moment when said young lass in the red t-shirt got up, dusted herself down & launched a plastic beer glass at said singer. An action of Olympian accuracy, & one which, as the pint pot ricocheted off the apologetic CASSETTE CASSEE only resulted in the young lass in the red t-shirt attracting, until then, bored & unemployed, security. As the lass in the red t-shirt was escorted from the room protesting her annoyance more than innocence. I managed to attract the security guy’s attention & explained it was an action of frustration, not malice & “things were cool” (I still can’t believe that I actually said “things were cool!”). A cluster of her friends followed her & the security man out... She returned about 10 minutes later so I can only assume things “were cool!”

FALENIZZA HORSEPOWER The West End Centre, Aldershot 30th May 2008

• mp3: "Unknown track to me"
  

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