LIVE REVIEWS, JULY-DECEMBER 2019
JOHNNY STINGRAY BAND. Bad Idea Factory, Leytonstone, 4/7/19. The Bad Idea Factory is a new Bar / Gallery at the top of Leytonstone High Street and it seems like a very nice place indeed. Johnny Stingray is a former member of The Stingrays (you’d never have guessed) amongst others, and an artist whose work veers towards the darker, Voodoo-esque aspects of Americana, much of which has been appropriated by various bourbon-soaked bands. This evening is a launch event for an exhibition of his work and, as befits the occasion, he’s brought together a selection of musicians, including Urban Voodoo’s, Revillos and Pork Dukes, for a shambolic but highly enjoyable celebration. It didn’t have to be over-rehearsed as rock’n’roll was never meant to be too technical and the important thing is that everyone, the audience, bar staff and musicians, all had a great time. Admittedly, the frequent-beers probably helped, but that’s no reason to complain ! Great new venue, great Art, great music. What else could you want for free ?
KISS. O2 Arena, London, 11/7/19. This was something I wanted to see but wasn’t going to pay £75+ for a ticket. Fortunately, at the last moment, Tom Phobic and I discover some tickets available online for less than £20 each which seemed like an offer we couldn’t refuse ! Supposedly their final tour, although they also announced a farewell tour nearly 20 years ago, so who knows ? Whatever the deal, you should know that it’s going to be entertaining. I can understand those that don’t like their records, but the live spectacle is so ridiculously over-the-top that it reaches almost surrealist proportions. Even Spinal Tap didn’t go this far and you’d have to be a professional cynic not to enjoy this show. There’s a fireworks display beyond-belief (everything blows-up !), silly costumes, between-song banter that verges on stand-up, and plenty more to keep you laughing. Plus, despite those naysayers, they do have some great Glam-stompin, hard-rockin’ songs as well. Only the most pretentious could fail to enjoy ‘Detroit Rock City’, ‘Deuce’, or the magnificently-pompous ‘God of Thunder’. Gene Simmons struts, breathes fire and spits blood whilst Paul Stanley acts as self-appointed ring-master, condemning the crowd when they don’t make enough noise, but ultimately flying above their heads on a zip-wire to perform two songs on a special podium in their midst, up close and personal ! Things do get a bit weird when Paul, clad in tight black spandex, sings ‘I Was Made For Lovin’You’ to a mostly sweaty male audience, but we can get past that….The main set ends after nearly two hours and, of course, the encore has to go even further. It begins with Eric Singer performing the ‘sensitive’ ballad ‘Beth’, complete with grand piano (at no point could we see if he was actually playing, but that’s not really important…) Then we have ‘Crazy Crazy Nights’, complete with giant balloons (borrowed from Alice Cooper) and glitter bombs, followed by the inevitable ‘Rock’n’Roll All Nite’ with Paul and Gene hovering above the audience on crane- platforms. And fireworks. Always more fireworks ! Will I go out and buy any of their records ? No. But I’ll be laughing and talking about this show for ages. As the lights go up and the crowds file-out, they play ‘God Gave Rock’n’Roll To You’ over the PA… the precise details are debatable, but somewhere, the sentiments abide.
NEGATIVE APPROACH / STIFF MEDS. Venue 229, 12/7/19. In one of those weird bits of synchronicity, the day after seeing Kiss playing ‘Detroit Rock City’, I’m going to see a band from that very place ! Negative Approach are, of course, an important part of the Detroit Hi-Energy Rock’n’Roll heritage and it’s always great to see them. This time, they’re playing the smaller room at the 229, which is just about perfect for them. It has a good stage, a decent stage and it’s just about the right size… the audience comfortably fills the place but there’s still enough room to breathe ! I get there early to catch up with the chaps. It’s always good fun hanging out with them, talking about great music and sharing some beers. And this time there’s a bit of a bonus as their original bass player, Pete Zelewski (who lives in London these days) has come along to catch his old friends, so it’s nice to meet him as well. Anyway, there’s a couple of support bands but I only manage to see Stiff Meds, a relatively young band playing fast, aggressive hardcore with their feet in both US and UK camps. They’re actually pretty impressive and I certainly wouldn’t mind hearing / seeing them some more. A really good way to warm-up the proceedings ! Once they’re done, Negative Approach take to the stage to get ready and whilst Ron is setting-up his equipment, we’re briefly treated to the sight of a (possibly drunk) girl Go-Go dancing to the PA tapes right in front of him… I can only say that he looked bemused ! But once they’re ready to go, the place goes off. The band tear into the first song and the audience go berserk. Bodies are flying across the pit and onto the stage, it’s as close to utter chaos as things can get without it all falling apart. But this is what Negative Approach are good at – they push things to the limit but somehow keep it all together. In the true Detroit tradition, they kick out the jams and leave the rest to the audience. They never disappoint and I’m sure that if they ever thought they might, then they just wouldn’t do it. They run through all of the classics from the original album and EP, this time adding the bonus of a guest appearance from Pete, playing bass on ‘Ready to Fight’, a song that he co-wrote. Not that many can see him playing as his arrival prompts a massive stage invasion… There’s a great cover of ‘Borstal Breakout’ and, right at the end of the set, a cover of the Weirdo’s classic ‘Solitary Confinement’. It’s a great finale, but unfortunately we don’t get an encore… I think this was down to the venue rather than the band, turning up the lights far too soon, but then again it’s always a great feeling when a gig leaves you wanting more rather than less. I can not recommend Negative Approach enough. I know that it’s easy to be cynical about bands reforming after such a long absence, especially when they do it without all of the original members, but the fact is, there are few hardcore bands you can still see who can play as well as this. Just go and see them, then try to tell me it isn’t the real deal…
PETER PERRETT / OH GUNQUIT. Somerstown Festival, 13/7/19. Somerstown Festival has been happening for quite a few years, but it’s only been in the last few that it’s expanded and become more ambitious. It has to be careful because, as a local community-based festival, it wouldn’t be able to cope with huge crowds, especially as it’s a free event, but so far it seems to be managing to keep the right balance. Basically, Chalton Street (halfway between Euston and Kings Cross) gets closed-off for the afternoon and the organisers fill it with stalls, several stages, funfair rides and places to buy food and drink. There’s a real mix of people but the important thing is the genuinely friendly and inclusive atmosphere. I really hope they can keep this going for a long time. Today, there are several bands that I’d like to see but some of them are playing early in the afternoon and, with the best intentions, I don’t manage to get there until 3.30. But at least I do get to see Oh Gunquit who play their set with all of their usual frenetic sense of fun. Always an act that will put a smile on your face. After they’ve played, there’s a gap of an hour or so, which gives me plenty of time to catch-up with various friends and have some food and drinks, before heading down to the main stage to get a good vantage point for the headliners, the Peter Perrett band. They seem to be having a few problems as they set-up, but eventually they’re ready to play and, despite some PA limitations, they sound great. Starting with an older song, ‘Baby Don’t Talk’, they then delve into songs from the previous album with the title track, ‘How The West Was Won’, slowly building but drawing-in the audience and their attention as it does so. This is a truly classic song, one that will go down as one of the best he’s ever written (and there’s plenty contending for that place already !) Further tracks from the last album follow, before the real treat of the day, as Peter welcomes John Perry and Alan Mair onstage for an Only Ones reunion ! They only play four songs together – ‘From Here to Eternity’, ‘The Whole of the Law’, ‘Another Girl,Another Planet’ and ‘In Betweens’ – but it’s a pleasure to see these guys playing together again (and in many ways, even more cool that they did it at a low profile event like this !) Sadly, Mike Kelly is no longer with us, but I wonder if this event was an indication that the material they recorded during their last reunion may finally see the light of day ? Fingers crossed ! Anyway, after these songs, Peters’ current band return and this time we get a selection of songs from the current album, ‘Humanworld’. This is really such a great record, with songs like ‘Once is Enough’, ‘Love Comes on Silent Feet’ and Jamie’s song ‘Master of Destruction’ perfectly fitting alongside his fathers’ work. My only complaint is that they didn’t play the excellent ‘I Want Your Dreams’, but I can wait for the next time. They finish their set with one of their more uptempo songs, ‘War Plan Red’, followed by a cover of the Velvet Undergrounds’ ‘What Goes On’ and, much that I still wanted to hear more, the finale couldn’t have been better than that. Peter Perretts’ return to the world of music is as good as it gets. There are many occasions when an ‘absent-legend’ gains credibility just by releasing any old waffle after a time away, but Perretts’ two solo albums have both been full of great material and it would take a real charlatan to claim otherwise. At present we have an opportunity to see him live with a great band and hear new records that add to his legacy. Be sure that you don’t miss your chance.
SCREAMING DEAD / THE PHOBICS. The Birds Nest, 13/7/19. As the Somerstown event ends by 7.00, it leaves plenty of time for more activity in the evening. I get a lift from Tom & Charlie of The Phobics as we’re all heading down to Deptford, where they’re scheduled to play with veteran horror-punks Screaming Dead. We get there pretty early, so I wander off to get something to eat while the bands are setting-up. Back to the pub and a decent-sized crowd is there to see the bands. It’s going to be a little different tonight as Moyni can’t play (the old war-wound is playing-up…) so Jeff is playing bass. Despite the staff-shortage, it still goes well and they play a great mix of older songs and tracks from the upcoming album. You gotta love dem Phobics (as the graffiti used to say…) I haven’t seen Screaming Dead since the mid-Eighties, but they used to be a decent band and I’m intrigued to see what they’ll be like now. Well, they actually sound really good and certainly play with as much energy as they used to have. They run through their songs at a convincing pace, including older favourites like ‘Valley of the Dead’ and ‘Night Creatures’ along with more recent material, plus covers of The Damneds’ ‘New Rose’ and ‘Love Song’ (they always reminded me of The Damned anyway) and towards the end of the set, ‘Paint It Black’ (which they’d released as a single back in 1984.) Only singer Sam Bignall delves into the more theatrical looks these days, with face-paint giving him a sinister appearance which perfectly matches the themes of the songs. The set goes down really well and I certainly wouldn’t mind seeing this band again. Anyone with a taste for The Ramones, Misfits and Damned should definitely check them out.
JOHNNY MOPED / BITE. Brighton Pipeline, 19/7/19. This was an event that I wasn’t going to miss, even before I knew who was playing ! My old friend John Roundear was about to reach his 70th birthday and his son, Chayre, was setting up a surprise party / gig for him. It took a few months to set-up, but Chayre had done a great job and had managed to keep everything secret. Initially, several Brighton bands were due to play but then Slimy Toad also volunteered the services of the Mopeds and the whole event became even more special. Anyway, everything worked out surprisingly smoothly for me as it’s possible to catch one of the late trains back to London and then the N89 night bus stops right next to Blackfriars station, which will take me all the way home to Erith. It’s a pretty long journey but as I had things to do over the rest of the weekend, it was pretty convenient. So, I catch a train down to Brighton and arrive at the venue just as John has turned-up and found out what was happening. He looks genuinely chuffed and everyone is buying him drinks, so I don’t think he could imagine it getting any better ! The Pipeline is a nice but fairly small venue (run by the same people who used to run The Pipeline in East London.) The place is very busy and there’s lots of people to talk with, so I have to admit that I miss a couple of bands, although I do see one called Bite, who apparently feature John’s grandson on drums (that’s three generations of Roundears who have played drums, don’t-cha-know ?) They’re all pretty young, but they play rather well and have some interesting songs, so not bad at all. But when it’s time for the Mopeds to play I make a point of getting a good vantage place as I know it’s going to be great seeing them in such a small place.
The big surprise is that some of the Mopeds haven’t turned-up and, for once, it isn’t Johnny ! Jacko and Martin have been unable to get to Brighton this evening, so Chayre has been drafted-in to play drums while former drummer Dave Berk is going to play bass ! You would think that this might be a recipe for disaster, but they actually play rather well, running through a set of mostly older songs with their usual panache. There were a few mistakes along the way but nothing horrendous and, well, it was a party-atmosphere so no-one was being critical. For some reason, Toad has brought an old crash-helmet and tries to get Johnny to wear it onstage… the reason for this was unclear and it didn’t last very long (it was a sweaty, crowded room, so a crash helmet would hardly be comfortable stage-wear !) Ahh, what can I say, it was really good fun and it also ends early enough so that there’s time for one more drink (and some cake) before we have to leave. This is when it gets a bit weird… despite it being a nice, warm evening upto about an hour ago, whilst we’ve been watching the Mopeds, a torrential downpour has developed. It’s only a short walk back to the station, but even with an umbrella I get soaked. Anyway, Johnny and Rob are also catching the train (in their case, back to Croydon) so I buy some beers at an off-license in case any of us felt thirsty on the way home… It just seemed like the right thing to do. So, I don’t get home until about 3.00 and I’ve been drenched, but what a great way to spend an evening !
POISON IDEA / DOMESTICS. Colchester Arts Centre, 30/7/19. Poison Idea have announced that this will be their final European Tour and, while I’m not so sure that will be the case (there have been a few ‘farewell’ shows in the past, but they always came back…) I’m not going to take any risks. As well as their date in London, they’re also going to play in Colchester which is just about do-able by train. It’s a great venue (a former church, no less) and they try to have gigs finished there by soon after 10.30 so that anyone who needs to catch the last train at 11.00 has a good chance of doing so. With odds like that, I definitely fancy my chances of seeing the gig and getting home ! So, straight after work, I catch the train from Stratford and an hour or so later, I’m sneaking backstage to catch up with Jerry A. Always good to see him and I’ve got to say, he’s looking really well these days. They’ve all been enjoying this tour so, again, whether it does turn out to be their last time remains debatable… why stop doing something if things are going well and all of the band are enjoying it ? The main support tonight are The Domestics who I don’t think I’ve seen before although I’ve heard / reviewed their records in the past. Live, they’re a pretty impressive unit, playing tight, fast hardcore with a confrontational edge. Very powerful and probably one of the best bands playing this style of hardcore in the UK right now. But it’s Poison Idea that everyone is here to see and fortunately, we don’t have to wait long. As soon as everything is set-up, they assemble onstage and launch into ‘Hangover Heartattack’, instantly grabbing the attention of everyone in the audience. From there on, it’s just one great song after another – ‘Just to Get Away’, ‘Punish Me’, ‘Taken By Surprise’, ‘Plastic Bomb’, the relatively recent ‘Calling All Ghosts’ and a truly blistering version of ‘Getting The Fear’. The thing is, they’ve all been suffering from colds during the past week or so and are still recovering (the drummer was asleep in the van prior to the gig) so this set isn’t even firing on all cylinders ! Regardless, they sound incredible. Perhaps they’re not as wild and unpredictable onstage as they once were, but now the music really speaks for itself and that’s what we really want. As it turns out, they play a shorter set than usual, with no encore, as the drummer still isn’t feeling great and has pretty much exhausted himself with this set. But I don’t think anyone felt short-changed and I’ll be seeing them again the following evening. I’ve got a few busy days ahead of me, gig-wise, but if this is an indication of how it’s going to go, it’ll be no problem at all.
POISON IDEA / BUTCHER BABY / INCISIONS. New Cross Inn, 31/7/19. I head down to New Cross pretty early as I know there’s going to be a lot of friends down for this gig, but I’m still surprised to see such a big crowd hanging around outside the venue. It’s a nice warm evening (and the off-license just across the road is a lot cheaper than the bar inside) so everyone is content to socialise outside and wander in to check out the support bands as they play. It’s a really great atmosphere and you just know that this is going to be a great gig even before it’s started. I bump into Jerry again and give him a bunch of singles from the ‘Fear & Loathing’ archives (he’s still a pretentious record collecting asshole after all these years, and I respect him for it !) I also point out the plaque on the side of the building that commemorates the Anti-Nazi’s who marched against the NF during the so-called ‘Battle of Lewisham’ back in 1977… ‘Hmm’, he says. ‘Perhaps we should play ‘Discontent’ tonight ?’ Of course they should ! Anyway, in the meantime, I have a few beers with a bunch of friends and check out the support bands. Incisions are a hardcore band who’ve come down from Manchester to play this gig and I’m glad they made the effort. Very powerful with a super- tight rhythm section holding everything together, they reflect influences from the early days of hardcore (Black Flag, Circle Jerks) through to some of the better moments of Epitaph’s glory days and even a few hints of the better Oi bands. Yup, this is definitely a band worth checking out further. Main support comes from Butcher Baby, a London band formed by members of The Restarts and Blue Carpet Band amongst others. Not unsurprisingly, they play a style that veers towards early Eighties UK punk and they do it pretty well but it all depends on if you’re still into that style of things now. They’re not really offering anything new, so you’re going to love ‘em or loathe ‘em. And, finally, it’s time for Poison Idea. The gig is totally sold out and I don’t think I’ve ever seen New Cross Inn so packed. As Poison Idea blast into their first song, the PA sounds great and the audience are really into it. I’m standing at the side of the stage with my camera, but even here I’m being jostled by slam dancers… no worries, you’ve got to expect that at a Poison Idea gig, especially one as good as this. They play a lot of the same songs as the night before, but the set-list is pretty different… halfway through, they deliver a stunning version of ‘Discontent’, as promised, and for me, it doesn’t get better than that, although ‘Taken By Surprise’, ‘Plastic Bomb’ and ‘Alan’s On Fire’ are high-up on the list. This really was one of the best times I’ve seen them and I’ve never seen them play a lack-lustre show. When the set comes to an end, they stay on stage rather than having to force their way through the crowd and I start yelling for ‘Getting The Fear’ for the encore, but sadly it’s not to be. No worries, they finish with one final song and then the place gradually empties. As I’ve said before, was this really their last gig in London ? If so, they really went out on a high, but while they’re still this great, it would be a shame if they never come back again… And 2020 is going to be their 40th Anniversary… it would be a real shame if they weren’t around to celebrate that !
DESCENDENTS / CJ RAMONE. Shepherds Bush Empire, 2/8/19. The Descendents are back at the Empire, scene of the infamous gig in 2011 when Milo’s voice collapsed after just a few songs… He’s managed to get things sorted-out since then and no such mishaps have occurred since that unfortunate evening, but unsurprisingly, Milo was a little nervous about being in that same place again. Although not as nervous as I was when I got to the venue only to find that my name wasn’t on the guestlist ! The swines ! Fortunately, I bump into old friend and former ALL roadie Mitch, who explains that the band are all asleep (suffering from jetlag) and he’ll try to get things sorted out but, in the meantime, I have to take him to the evil empire itself (Westfields) for some emergency shopping. Once this is done, he disappears backstage and luckily, Bill is now awake and my pass is quickly sorted. Aww, I love those guys ! Anyway, I’m finally inside and the main support, CJ Ramones’ band, are already onstage. They sound really good and play a mixed set of old Ramones classics and his own recent material with all the energy and attitude it deserves. It is a bit odd to see a former Ramone with a large beard and shaven head, but he’s just being true to himself and why shouldn’t he ? This is one of the few remaining links to that legendary band and he certainly put in the hard work to earn his name. He’s still playing with a good band and has a great selection of songs, old and new, to draw on. I really enjoy his set and I will certainly be checking out his recent records, as well as trying to catch him live next time he’s on tour. Once he’s done, I go back to find Mitch and we wander down to get a good vantage point by the side of the stage. I wasn’t intending to stay here all through the gig, but as it turns out, the view is really good and the sound is loud and clear, so that’s where we stick for the duration. As usual, the band members appear onstage right on time, with Milo immediately rambling about ‘that last time’, before the music kicks-off with ‘Suburban Home’. The crowd go mental, jumping, dancing and singing along. The Descendents are one of the few bands who may have been around for the best part of forty years, but their audience seems to get younger (or at least stay the same age it was previously) everytime they tour ! But it’s not surprising in many ways – they always wrote great songs that any generation can relate-to and the tunes are some of the catchiest you’ll hear from any band. With all the energy and power of punk and hardcore, but combined with the Pop sensibilities of the Beach Boys, Beatles, Ramones or Buzzcocks, this is a band who have written songs to soundtrack growing-up and kids are always going to latch on to them. Damn, all the waffling and they haven’t even reached the second song… ‘Everything Sux’ ! Hard to believe this is over twenty years old now… I still think of it as a recent album… But again, that’s part of their timelessness. Another oldie, ‘Hope’, before ‘On Paper’, one of the great tracks from their latest LP, ‘Hypercaffium Spazzinate’, which effortlessly show that the quality of the bands’ songwriting remains as high as it always has been. From here on, the setlist continues at a breakneck pace, covering all points of their career… ‘Silly Girl’, ‘Rotting Out’, ‘Clean Sheets’, ‘I Don’t Want to Grow Up’, ‘When I get Old’ and a great version of their most recent single, ‘Who We Are’. The set ends with a magnificent run of ‘Coolidge’, ‘Thank You’ and ‘Descendents’… how could it be any better than that ? Well, the applause and cheering is loud enough to bring the band back onstage pretty quickly, so we soon find out. ‘’Merican’, ‘I’m the One’, ‘Bikeage’ and the highly appropriate ‘Smile’ (“Toil away and at the end of the day, You can look back on a game well played”) Again, the cheering threatens to be louder than the gig we’ve just watched, so there’s one more encore featuring the classic ‘Pep Talk’ and the recent’ Fighting Myself’. It’s a long time since I first heard this band but they’ve never disappointed. Really nice guys and what a great band ! Long may it continue to be so.
THE AVENGERS. The Borderline, 3/8/19. Bit of a odd one tonight, as I’ve been going to this venue since the late Eighties and it’s recently been announced it will be closing-down at the end of this month. Another victim of the indiscriminate rents and business rates that plague Central London. Just consider how many venues there used to be in this small area which have all been closed down due to one unscrupulous scam or another… The Astoria, LA2, The 12 Bar, the Marquee, The Metro… and now The Borderline. Despite what they might claim, the politicians clearly don’t care about live music in this City, not when Big Money is involved. I wasn’t even a particular fan of The Borderline, but I’d much prefer it was still there as a live venue rather than not being there at all. Anyway… The Avengers are back in the UK to play at Rebellion and have booked several of their own dates around the country as well. Of course, with it being the same weekend as the aforementioned festival, it does mean that a lot of people who would normally attend their show in London are currently in Blackpool, but regardless, there’s still a good turn-out for this show. It’s an early start – 9.00 – and there’s no support band which seems a bit odd (perhaps the venue staff are feeling apathetic going into the last few weeks of their job ?) but at least that means everything runs pretty smoothly. The band arrive onstage and after a few technical adjustments, start with a brief instrumental intro before Penelope joins them and they launch into ‘We Are The One’. Unlike their previous London gig at The Garage, where the PA sound really let them down, everything is sounding great tonight, really clear and loud, even despite the hiccups that Joel is having with his bass amp. A few songs in and Penelope asks if there are any teenagers in the audience, only to be met with nervous sniggering… ‘Oh, well’, she continues, ‘I guess this one will have to be for the teenagers-at-heart’ and the band blast through ‘Teenage Rebel’. ‘Corpus Christi’ makes an unusually early appearance in the set but that’s not a problem as it sounds great wherever it is, while ‘Uh-Oh’ features Penelope and Joel’s rather suggestive duet and ‘Second to None’ still sounds even better than The Professionals eventual version (‘One-Two-Three’ – the song was originally written by Steve Jones but was first recorded by the Avengers when he produced a studio-session for them in 1979.) The set comes to an end with a run of their best known songs, ‘Open Your Eyes’, ‘Car Crash’, their cover of ‘Paint It Black’ and ‘The American in Me’… of course, the applause quickly brings the band back to the stage, although Joel has to explain that ‘our singer is so famous that you need to cheer louder to bring her back !’ Penelope appears moments later oblivious to the wind-up that Joel had just delivered. The encore features another cover, ‘Money’, promptly followed by their own classic, ‘I Believe In Me’ and the evening ends with the whole crowd sporting big smiles across their faces. As soon as their equipment is made safe, all the band members come out to the bar area and chat with their fans and friends. For many years I never expected to see this band play live, but I’m glad to say that I’ve had the chance on several occasions and they’ve more than lived up to expectations, both as musicians and as people. Trust me, this is a band you need to see !
WALTER LURE / THE DERELLAS. 100 Club, 10/8/19. As the last remaining Heartbreaker and the one who actually regained his health, Walter Lure remains a vital link to the glorious legacy of his former band. Fortunately for us, he also still enjoys travelling and performing, so we’ve been lucky enough to see him play in London several times over the last decade. But this occasion, a (slightly late) celebration of the 40th Anniversary of the classic ‘LAMF’ album is something a bit different. Instead of the (very good) band that he usually plays with, this time he has special guests in the shape of Mick Rossi (Slaughter & The Dogs), Mark Laff (ex-Generation X) and Nigel Mead of The Duellists. This line-up isn’t likely to be repeated so it’s something that can’t be missed, but I’m still surprised when I get to the 100 Club and find it as packed as it was. Seriously, I haven’t seen it this crowded for ages and, while the band certainly deserve the attention, the problem is that there are a few idiots in the audience who seem to have no consideration for those around them. Intent on barging through the crowd or refusing to let others pass by, these are just the sort of selfish twats we can do without. Yeah, I know it can be frustrating when a venue is as busy as it was this evening, but acting like a moron isn’t going to make it any better. Regardless, I enjoy The DeRellas as much as usual. Energised by the enthusiastic atmosphere, they play with plenty of gusto and sound better than ever. I haven’t seen them for a while, but when I see them deliver a set like this, you can’t help but want to see them again, soon. And then, it’s time for Walter Lure’s band… the place is really buzzing as they take to the stage and, when they kick-off with ‘One Track Mind’, it seems as if the whole place is up on its’ feet and dancing. Classics like ‘All By Myself’ and ‘I Wanna Be Loved’ follow in quick succession, before the first surprise of the evening, a cover of Slaughter & The Dogs’ ‘Situations’ which, while it isn’t one of their more well-known tracks, fits-in perfectly with the Heartbreakers-vibe of the evening. Not to be outdone, Walter then introduces ‘Crazy Kids’ from his post-Heartbreakers band, The Waldos, and very good it is too. Another cover, ‘Busted’ (made famous by both Ray Charles and Johnny Cash) takes a slower more Bluesy tempo but keeps the attitude levels high, before one more SATD cover, ‘Stranded’, from their most recent LP, ‘Vicious’. But back to the main event, and now it’s time for ‘Pirate Love’, Get Off The Phone’ (which should have been dedicated to all the cell-phone zombies) ‘Born to Lose’ and ‘Chinese Rocks’. The audience are all looking breathless and it’s hard to tell if it’s the sweaty, claustrophobic conditions in the club or the sheer quality of the music. ‘Too Much Junkie Business’ ends the main set before the cheers quickly bring the band back onstage for two more. Appropriately, they play a great cover of ‘I’m Waiting For My Man’, before ‘Do You Love Me’, another cover but one pretty much owned by The Heartbreakers. Overall, it hadn’t been a particularly long set, but it had packed-in everything that we wanted. A short time after the lights go up, the band all come out to chat with the fans and it’s a cool end to the evening. People who saw the original Heartbreakers back in the day always tell me that they were an incredible live band. Walter Lure on his own may only be one part of that band, but he really does his best to live up to that reputation and certainly never lets us down.
THE SHADRACKS / DAEMONIC FONCE / YOUNG KNIVES @ Clerkenwell Festival, 25/8/19. Last years’ festival had to be cancelled at short-notice when unexpected torrents of rain hit London (I blame it on Boris) so it was typical that this year we were treated to a veritable heatwave. Which meant that shady-space under the trees was at a premium and the local pubs / off-licenses made a killing ! Not that there’s anything wrong with any of that… Spa Fields is a lovely little public area, perfect for a (relatively) small event like this and I hope that it continues for many years to come. It has a real community-atmosphere, even though many of the attendees aren’t necessarily local. But everyone’s there for the same reasons, to have a good time. Whilst it stays like this, it’ll be one of the best free days-out you’ll find in London. The main attraction may be the bands, but there’s also plenty more to enjoy…The Dog Show (forget Crufts, this is the real deal… where else do you find prizes for ‘Dog Who Looks Most Like Its’ Owner’ ?) and the wonderful Rock’n’Roll Jumble Sale stalls. It’s also a great social event and you’re guaranteed to meets lots of friends as well as at least a few new faces. It’s this overall atmosphere that makes things special because I do have to admit that most of the musical selections this year weren’t that great. There’s a couple of singer-songwriter types that are instantly-forgettable and headliners Young Knives are nothing special at all, although The Shadracks do their best to inject some energy into the proceedings. This Medway-based three-piece are still pretty young, but they’ve got a good knowledge of their musical roots (Sixties Garage and Seventies Punk Rock) which they inject into their own songs in a way that avoids being too obvious or predictable. There may be a few Childish-comparisons along the way, but they’ve steadily got better and better every time I’ve seen them and are definitely starting to create their own character. A great, snotty version of the Buzzcocks’ ‘Boredom’ was a fine highlight of their set, although their own songs were no less enjoyable. After them, another band, DaemonicFonce (the spelling seems to vary depending on where you read it.) These chaps are at the very least interesting and I also watch their set all the way through. I’m not entirely convinced, but their mix of psychedelia and punk-post-punk ethics certainly has them going in the right direction. I won’t claim to know much about them, but certainly worth further investigation and ones to keep an eye and / or ear open for… But after that, musically, the afternoon whimpered-out. Which is possibly down to my taste rather than anything else, as the event does try to cover a broad ground. Whatever, I thoroughly enjoyed myself, I got home early and I’m already looking-forward to next year !
HOLLYWOOD BRATS / THE VULZ @ Nells, Kensington, 31/8/19. There was a lot of anticipation for this event, the return of the Hollywood Brats after 45 years ! Well, since the publication of Andrew Mathesons’ excellent biography of the band, ‘Sick On You’, and the subsequent release of their original recordings as a double CD (also entitled ‘Sick On You’) there was certainly plenty of interest in the possibility that the band might play again. But that being said, the eventual announcement still came as a sudden surprise. Three original members – Andrew, Brady and Casino Steel – would still be involved, while the rhythm section would be handled by Kent Norberg and Martin H-son (both members of the current line-up of The Boys, appropriately enough.) Reforming after 45 years isn’t something that many bands would consider, but having seen Andrew make a few guest appearances with other bands, I knew that his voice still sounded great and the rest of the band were certainly capable, musically, so I had high hopes. Unsurprisingly, the gig sold out in advance and the place is already packed, hot and sweaty by the time we arrive. The Vulz take to the stage pretty soon and deliver a decent set of punky-glam-rock’n’roll which is a decent way to get proceedings moving-along, even ending their set with a good version of ‘First Time’ by The Boys. But the real focus of the audience is waiting for the Brats. There seems to be quite a long gap while everything is set-up for the band, but at last, they walk out onstage, with Andrew joining them last. He’s grown his hair longer than the last time I saw him, still looking as suave and debonair as always… We may have been waiting more than four decades for this gig, but now they’re onstage, they don’t mess around, launching into ‘Tumble With Me’ and ‘Chez Maximes’ with all the energy and attitude that the songs deserve.
Right from the outset, they sound amazing, even better than what most fans had even hoped for. By all usual standards, they really shouldn’t have been this good, but they lived up to the legend with real style and panache. The set continues with more of their old songs like ‘Courtesan’ and ‘Nightmare’, a cover of ‘Sweet Little Sixteen’ and even a brand new track, soon to be released as a single, called ‘Vampire Nazi’ (isn’t that a great title !) Another cover sees the appearance of long-time Brats fan, Flob Geldof, joining Andrew to sing ‘I Need You’. Fortunately, his mic isn’t turned up too loud in the PA, so he doesn’t ruin it… The set lasts just over an hour, climaxing with their infamous version of ‘Then He Kissed Me’ and, of course, ‘Sick On You’. The applause is loud and enthusiastic, but for some reason they don’t play an encore and, somehow, it seemed just right that they left us all wanting-more. I have no idea of what further plans they may have to follow-on from this gig, apart from the upcoming single, but I can’t imagine they’ll keep us waiting another 45 years for another show ! In the meantime, if you’re not already a fan, be sure to read ‘Sick On You’ and buy the CD… you’ll soon be kicking yourself and wishing you’d been at this gig.
CRISIS / HYGIENE. The Fiddler, Kilburn, 18/9/19. Coinciding with the release of the first single by the current version of Crisis, this was going to be the first time I’d seen the band for a while. I turned up quite early with Vince (Morgellons) and promptly found that we should have booked tickets in advance (as they were £3.50 more on the door !) but apart from that, this proved to be a pretty nice little venue, perfect for a gig like this (and it serves a very nice pint of Guinness !) The first band, Hygiene, have been around for a while, although I was told that this is a pretty new line-up. Whatever the case, they weren’t bad, playing a sort of ‘post-punk’ style reminiscent of the type of bands played by John Peel around 1980. Some of their songs were more successful than others, but the set certainly suggested that they’re working in the right direction. By the time Crisis take to the stage, there’s a healthy audience in attendance and they’re greeted with plenty of enthusiasm. I have to say, it’s well-deserved, as this is probably the best gig I’ve seen them play so far. The sound is really powerful and, with several new songs in the set, they seem even more focused. They also have a new drummer (Aurora ?) whose style is very well-suited for their overall sound, adding just the right element of strength and precision. The set starts right at their beginning, with ‘No Town Hall’ and ‘PC 1984’, followed by a great, atmospheric version of ‘White Youth’, before the first new song of this set, which I think was called ‘Escalator’. ‘Back in the USSR’ follows before the a-side of the new single, ‘The Hammer and the Anvil’. I know that, initially, Tony Wakeford had not intended to write or record fresh material as ‘Crisis’, but with new singer Lloyd being inspired to write lyrics that fitted well with the original Crisis ethos, Tony and the rest of the band have created new music that really takes things forward. Just listen to the new single – it stands alongside the original songs but also takes another step further along. You’d have to be a real cynic not to recognise this, and this evening, the audience are certainly not going to fall for that stance. The set continues through all stages of the bands’ past, from the rough’n’ready punk rock of ‘Militant’ and ‘Kill Kill Kill’ through to the more involved personality of songs like ‘Laughing’, ‘Alienation’ and ‘Holocaust’, as well as further new songs like ‘Dead on the Shelf’, ‘Deeds Not Words’ and ‘At the Door’. Apart from Tony, this is an entirely new line-up, but one that understands how the original band evolved. As such, they’re creating their own sound, but making sure that it remains in keeping with the original band. The results to date have been pretty impressive. An encore of ‘On TV’ ends the night and I doubt that anyone here was disappointed. Crisis may be missing most of their original members, but for once, this is a new version that seems to be creating a whole new and completely valid chapter in the story of the band.
THURSTON MOORE BAND. Rough Trade East, 20/9/19. I turned-up way too early for this gig. The RT website had said the gig started at 6.00, but on the evening it wasn’t until 7.00. Consequently, I had to hang around for a while until some friends arrived, before we sneaked-off for a quick beer. Back at the gig, the shop is pretty crowded by the time the band take to the stage. The event is being held to launch the release of the new 3CD set, ‘Spirit Counsel’ and, as such, the band play a more experimental, instrumental set this evening. In some ways it refers back towards the music that Thurston once made with Glenn Branca, based around four guitars and the different textures and harmonics that they can create. The sounds develop gradually, at times almost drone-like and at others more bombastic or even brutal, but always entirely intriguing. It’s difficult to explain this in words as this is the kind of performance that really has to be witnessed, but if you are interested in Thurstons’ more experimental projects, this is something that you should check-out.
KING KHAN. The Lexington, 20/9/19. Once Thurstons’ performance is over, several of us make our way up to The Lexington. Initially, I’m only going along to have a few drinks in the bar with friends but as it turns out, I get persuaded to check out the band as well. I’d previously seen King Khan with the BBQ Show and I hadn’t been impressed by the duo, but this time, with a full band, it’s a much more effective and exciting affair. It’s chaotic, it’s loud and it doesn’t care. King Khan is there to entertain whether you dig it or not. He’s going to do his thing because he’s into it and, basically, that’s what garage rock is all about. I thoroughly enjoy the gig, even when he barges his way into the crowd on the dance-floor, giving big sweaty hugs to his fans and then grabbing my beer and downing most of it in one go ! Usually, that kind of thing would be fightin’ talk (actually, in my case, probably just sulking-talk) but in this situation I’m happy to let it go as part of a great performance. (Next time he plays here, I’ll steal his rider while he’s onstage …) Nah, it was great fun and I don’t really need to say anymore than that.
THE FALLEN LEAVES. Hope & Anchor, 21/9/19. Due to delays, I get to the Hope & Anchor just as The Fallen Leaves go onstage. I’m glad that I don’t miss anything as it’s another fine performance. The venue is pretty full-up, ensuring a good atmosphere, and the band are on top form. They’ve recently released their excellent live album (‘Maximum Minimum’) plus two simultaneous 7” singles so it’s a busy time for them,but they take it in their stride and, if anything, this set seems to thrive on it. They play all of my favourite tracks, from ‘ Did You See Her’ through to ‘Prodigal Son’, with the likes of ‘Against The Grain’ and ‘Motorcycle Girl’ along the way. Going along to Fallen Leaves gigs on a regular basis is almost like being part of a secret community. We all love this band and really don’t understand why they’re not a lot more popular, but at the same time, it’s great that we get to see them at lovely little venues like this. You really ought to give it a go !
ASPHALT / ATAVISTIC DEATH POSE / LIFEWRECKER. The Birds Nest, 24/9/19. This was a bit of an odd one. All I knew about Asphalt was that the flyers said they were ‘Japanese Hardcore’. I couldn’t find anything about them online (although I’ve since found that you can track them down here ; www.facebook.com/pages/category/Musician-Band/ASPHALTHiroshima-337372399619968/ ) Anyway, there are some great hardcore bands from Japan and since Asphalt have come all this way to play in Deptford on a Tuesday night, the least I could do was to support their gig, so I get to there pretty early and wait to see how it goes. (Incidentally, I hadn’t tried to talk anyone else into coming along as I really had no idea what the gig would be like, and I always feel guilty if I persuade someone to go to a gig or buy a record, only for them to hate it…) Anyway, there’s a bunch of people in the Birds Nest already, it isn’t full-up but it’s not empty, so I think it’ll be okay. The first band, Lifewrecker, are a London-based grindcore band with a singer who operates a table-top of effects-pedals as the band performs. Musically, they’re really tight but it’s the innovation of the effects that really makes them stand-out. Next up are Atavistic Death Pose… there used to be a great band from Kent called Atavistic, but these guys aren’t related at all, even if musically it’s not so far apart. They have a brutal sound like Discharge at their best, also combining American Hardcore influences and some of the more aggressive sounding metal bands. Big riffs, raw vocals, plenty of power. I’d be intrigued to hear what they’d sound like on vinyl, but for now, in a live situation, it certainly comes across very well. Finally, it’s time for Asphalt themselves and the band members begin to set-up. Over the course of the evening, I’d seen three Japanese guys in punky attire and so assumed them to be the band. There was also a young Japanese woman with an infant child who, for most of the time, was wearing large protective ear-defenders (very wise !) I don’t want to appear sexist but I assumed that she must be the partner of one of the band members, as she really didn’t look like a member of a hardcore band. But I was completely wrong and I hang my head in shame ! As the other band members set-up, having passed her child into someone elses’ care, she gets behind the drumkit and starts adjusting it to her preferences. I feel really daft even if no-one else knows… The band don’t take long to get ready and suddenly, they burst into the first song. The singer is a great frontman, leaping in and out of the audience, while the guitarist and bass player create a big wall of sound. But again, it’s the drummer that seems to catch everyones’ attention. She plays at a furious tempo but not just simple D-beat rhythms, she includes great fills and rolls, making full use of the drum-kit. It sounds awesome and is even more impressive to watch. By the end of the second or third song, her glasses fall off, but as the band go straight from one song into the next, she just carries on playing. The whole band are really tight, despite a few PA problems, and at times they seem to be playing purely on instinct. Again, I’d have to say that the early Discharge records are probably a big part of their musical make-up, but you’d also have to include the likes of Poison Idea, Anti-Cimex and maybe even Septic Death. Their set is maybe only 30 minutes long, but that’s perfect. They pack so much into that period of time that if it went on any longer it would have spoilt the effect. I really can’t believe that this band aren’t better-known in the UK. After the gig, I’m feeling pretty stunned. I had hoped that this would be a good gig, but I enjoyed all three bands and Asphalt really blew me away. I can only hope that they come back to the UK again, preferably soon !
JUDGE / FIRM STANDING LAW / TIED DOWN. The Dome, 27/9/19. Judge were always one of the more controversial bands to emerge for the New York ‘Youth Crew’ hardcore scene. Their militant approach to the straight-edge message certainly irritated many of the naysayers, but in reality, their approach was really a reaction to the negative response encountered by earlier bands like Youth of Today when they had attempted to promote a basically positive ideal. Judge merely mirrored the accusations of the critics who had missed the point and, in essence, that wasn’t so bad, but such a stance can also appeal to the idiots who just want to start trouble. The band probably never meant for that to happen but unfortunately, there’s no accounting for morons. So… in their time, they released one great EP and one (if you exclude the ‘Chung King’ sessions) great album (less said about the ‘There Will Be Quiet’ EP, the better.) I missed them when they first played London a couple of years ago (gig-clash) but was keen to see them this time. I had heard some poor reports about their previous show, but I remained optimistic that if they were returning to Europe, they must have faith that any previous problems were an aberration and they could prove their point second time around. Anyway, it turns out that the original running order for the gig has changed around since I last checked, so I arrive in time to see Tied Down play a good set of UK hardcore mixed with old school US hardcore (Negative Approach, Slapshot etc.) Featuring former members of Voorhees and Break it Up, this is a band who know what they’re doing and certainly deserve to be seen and heard. Main support comes from Firm Standing Law who, I have to say, don’t really match up to Tied Down. They play a decent take on straight-edge hardcore but their onstage presence is lacking the same validity that Tied Down present. That being said, as far as I can make out, they’re still a fairly new band so there’s plenty of time for them to get things sorted. Not bad, but not (yet) something special. But now it’s time for Judge and I have to say, as soon as they hit the stage, they’re sounding great. The set pretty-much follows the running order of their ‘Bringin’ It Down’ LP and it sounds better than ever. ‘Take Me Away’, ‘Hold Me Back’, ‘Give It Up’… even ‘The Storm’ is sounding great. Mike is an impressive presence onstage, whilst Porcell provides all of the movement and dynamics. I’m very impressed by the band, even though certain elements of the audience are less welcomed (why be a wanker ? If you want to slam into someone, pick on Boris or Farage, not someone who’s just there to enjoy the same band that you like ?) As it continues, there’s a guest appearance from CIV (from the band of the same name) and the encore features ‘New York Crew’ from the first EP and their cover of the Blitz song ‘Warriors’ from the same record… Mike might not be able to replicate the harmonies from the original, but he and the band still capture the spirit of this classic. I hadn’t been entirely certain in advance that Judge would match up to expectations, but on this occasion, they more than met what I had hoped for. If they come back again, do yourself a favour and be sure that you check then out.
THE PHOBICS / SHOCKS OF MIGHTY / JUNKO FUSE. The Pelton Arms, 5/10/19. I’m starting to think of The Pelton as my ‘local’, even though it might take me 30 or 40 minutes to get there. But it’s a great little pub and has some fine musical events along the way, so I’ve adopted it. Anyway, this is another of Jon-Junko’s inspired ‘Punk at the Pelton’ nights… mostly (fairly) local bands and always a good mix. Although things don’t go too smoothly tonight for the first two bands as they have a bit of hassle concerning drummers so both sets are a bit irregular, but as the evening progresses it all works out, everyone enjoys the music and has a good time. The Phobics, of course, nail it in their own reliable fashion. When I first started going to see this band, the Birds Nest was their local and, although it was a very different set-up back at that point, it was always good fun down there. Nowadays, the Birds Nest has changed considerably (not that it isn’t still a good venue) and The Phobics home-turf seems to have moved along to The Pelton. That’s fine with me. Their new album is due imminently and they’re firing on all cylinders tonight. I’m already familiar with most of the ‘new’ material and can’t wait to hear what it’ll sound like once the recordings are completed. What more can I say ? The Phobics are a band who are my friends but I still wouldn’t give them so much credit unless I really enjoyed their music. They might not be on course to change the world, but that’s not the point. They’re a great rock’n’roll band and if we can’t enjoy that, what else is there ?
ALICE COOPER / THE STRANGLERS / MC50. Brighton Centre, 8/10/19. This was a line-up I couldn’t resist, but it meant I was going to have a very busy week. Ah, no problem, I’d rather be going to work feeling tired than missing out on something like this. I mean, how often do you go to a gig and you want to see all three bands ? So – I meet up with my friend Phil, who’s driving down to the Brighton gig, and we head out of London just in time to miss the rush hour. Getting to Brighton, we go for some food before heading to the seafront and along to the Brighton Centre. We know that MC50 are playing pretty early so we pick up our tickets (cheers, Brendan !) and get to our seats as soon as we can. We’re up in the balcony but right in the middle, so we’ve got a great view. (Interesting point ; drinks at the bar are less than a fiver – so it’s not all of the bigger venues that charge extortionate prices…) Anyway, the lights go down and the legendary intro from the ‘Kick Out The Jams’ album plays over the PA as the MC50 take to the stage. Obviously, this isn’t going to be as long a set as when they were headlining last year, but they still pack plenty of great songs into it. ‘Rambin’ Rose’, ‘Kick Out The Jams’ and ‘Come Together’ are blasted out in quick succession, grabbing the attention of the audience even as the place is still filling up. ‘Borderline’ and ‘Motor City is Burning’ follow and sound great – they certainly haven’t been given a poor PA sound, as many opening bands often get ! Wayne Kramer may be in his 70’s now, but his energy levels are certainly not showing any signs of slowing down as he gives 100% to each and every song, backed by a band who really know how to nail it down. The second half of their set veers away from their first album and includes ‘Call Me Animal’, ‘Sister Anne’ (which Alice Cooper recently recorded with Wayne guesting on guitar) and a fine version of the bands’ first single, ‘I Can Only Give You Everything’. As I said, this is a relatively short set, maybe only 40 minutes or so, but they end it in great fashion with an incendiary version of ‘Looking At You’. They get a great round of applause at the end, which is pretty cool for an opening band that many here probably hadn’t even heard before tonight. They certainly deserved it !
There’s a short break before the ‘Waltzinblack’ intro is played and the Stranglers appear. Again, a shorter set than they would usually play, but they don’t mess around and there’s not many gaps between songs. Opening with a powerful version of ‘Toiler on the Sea’, they run through ‘Grip’, ‘Nice’n’Sleazy’ and ‘5 Minutes’ before slowing things down with ‘Golden Brown’. Strangely, this seems to get the biggest round of applause, but then again, I’m not sure if many of the Alice Cooper fans will be particularly familiar with The Stranglers. Regardless, they press on with ‘Peaches’, ‘Freedom is Insane’ and ‘Walk On By’ and, to my ears, they sound superb. Indeed, Phil (who had never seen them before) comments that he’ll have to go to see them play a full set next time they’re in London. Coming to the end of their allotted time, they end with a snarlin’ version of ‘Hanging Around’ and a raucous ‘No More Heroes’. They receive a well-earned ovation, but now there’s a slightly longer break while the stage is set for The Coop.
I had really enjoyed the last time I saw Alice Cooper, a few years ago at Wembley. That was when the original Alice Cooper Band members also appeared onstage, making it something rather special. This set, however, seemed to be more focused on his later, 80’s / 90’s ‘metal’ material, which I have to say was a bit disappointing. There’s no doubting that his current band are great musicians, but songs like ‘Feed My Frankenstein’, ‘Bed of Nails’ or ‘Poison’ are never going to match up to real classics like ‘Halo of Flies’, ‘Ballad of Dwight Fry’ or ‘Desperado’. That being said, we did get to hear songs like ‘No More Mister Nice Guy’, ‘I’m Eighteen’ and ‘Billion Dollar Babies’, as well as a few less obvious oldies like ‘Muscle of Love’ and ‘My Stars’, which were played well with no unnecessary solo’s or anything… Although my biggest disappointment was when the drummer started the intro to ‘Black Juju’ only to go off into a pointless drum solo… that was a mean trick to play ! The theatrics were as much fun as always, with a mock-up ‘nightmare castle’ in which Frankensteins’ monster (of sorts) made an appearance, as well as Jason from the Friday the 13th’ films and a genuinely creepy giant baby during ‘Dead Babies’, culminating in the return of the guillotine for Alice’s eventual punishment (and redemption.) The encore provides one more surprise when, after a fine version of ‘Under My Wheels’, original band member Dennis Dunaway makes an unexpected appearance onstage to play bass on ‘School’s Out’. For me, that was the best moment of the set and the only problem for me was, why the Hell hadn’t he been onstage a lot longer ? But that was a great finale and, even if the choice of songs had left a little to be desired, I’d had a great evening. And, ending by 11.00, we managed top get back to London at a pretty decent time.
SOULSIDE / JADED EYES / DEALING WITH DAMAGE. The Lexington, 9/10/19. The last time that Soulside played in London was 1989 and, I have to say, I didn’t expect to see them again, especially as three of the original members had gone on to have more success in subsequent years as Girls Against Boys. However, after an attempt to play in the UK again a few years ago was foiled by the collapse of the All Tomorrows Parties organization, I started to hope that I might see them after all. Eventually a London gig was announced, added on as the final date of a European tour. Fortunately, considering how busy this week would turn out, the date didn’t clash with any other plans and so, on the night, I go straight down to The Lexington as soon as I’ve finished work. I meet up with various friends in the bar before heading upstairs to see Dealing With Damage. Fronted by former Stupids / Sink member Ed Wenn, this band have been steadily establishing themselves over the past couple of years with a sound that refers to various DC bands from the late 80’s without doing so too obviously. They play a great set tonight and it’s good to see that the place stays pretty full-up while they play. Next onstage are Jaded Eyes, a Leeds-based band (I think, could be wrong…) whose music recalls the harder edges of melodic punk… think of early Dag Nasty, later Government Issue (guess where the name came from ?), The Ruts and perhaps Moving Targets. I enjoy what they’re doing and over the few times I’ve seen them, they’ve been steadily improving. Definitely a band that I’ll hope to see some more. Finally, it’s time for Soulside and the place is packed. They sound great from the offset (the sound at the Lexington is rarely lacklustre) and by playing ‘Name in Mind’ (my fave !) second in their set, they really set their standards early on and almost effortlessly maintain them throughout the gig. Bobby Sullivan may look older than before (fair enough, there’s been a 30 year gap) but his voice is certainly still as strong as it ever was and the other band members are playing just as tight and effectively as I remember. Tracks from all three albums are aired, as well as several new songs (apparently, there will be a new single coming soon.) By the time they reach the encore, Scott McCloud sings one of the songs before Bobby takes the mic again for the last one. Ending with the promise, ‘We’ll be back !’, this was a great show, a band whom had returned after 30 years and not only met expectations, but actually exceeded them. You better be there the next time…
ALICE COOPER / THE STRANGLERS / MC50. The O2 Arena, 10/10/19. Another early start, so I get down to North Greenwich by 6.00 to meet Tom and pick up our tickets. Luckily, I meet several friends in the queue as it turns out to be quite a long wait. Considering the MC50 are due onstage at 6.45, the box office doesn’t even open until 6.20 and then seems to be manned by the slowest person possible. By the time we finally get our tickets, we have to go straight into the gig to ensure we don’t miss anything. Our seats turn out to be reasonably good, not too far away from the stage. Anyway, there’s a short wait for the MC50 and they’re soon onstage, blasting out pretty-much the same set as the previous gig. The sound is good (at least, as good as it gets in an enormo-dome like this) and we’ve got a good view. Fortunately, the downstairs area seems to have filled-up pretty quickly and a lot of the audience really get behind the MC50. The one change to the set was that they played ‘Tonight’ rather than ‘I Can Only Give You Everything’, which for me was a good substitution. Perhaps realizing that they’re up against the odds in a situation like this, the MC50 really go for it and their delivery is blistering. Wayne introduces the other members towards the end of the set – Kim Thayil, Marcus Durant, Bill Gould and Brendan Canty – and suddenly a lot more people realise just what a great band they’re dealing with. As the set comes to a close with an awesome version of ‘Looking At You’, Wayne dedicates it to Donald Trump in the hope that we’ll soon see him ‘out of the White House and into the Big House !’ By the end of the song, the audience know they’ve seen something special.
Unfortunately, the Stranglers seem to be faced with a communication breakdown with the audience tonight. Whilst in Brighton the crowd had slowly but surely warmed up to the band, here they seem strangely distant, even when Baz tries to engage them with some between-song banter. Anyone who has seen the Stranglers, particularly in recent years, knows that they really feed-off the atmosphere of a gig, but here, too many of the audience seem stand-offish. The Stranglers played a great set, it’s just a shame that the audience didn’t get behind them as they had done in Brighton, because songs like ‘5 Minutes’, ‘Nice’n;Sleazy’, ‘Peaches’ and ‘No More Heroes’ are songs that everyone should be enjoying. Personally, I certainly didn’t think it was the best place to see them, but they played a great set and if people weren’t paying attention, then it’s their loss.
Finally, it’s time for Alice Cooper again, and even though the set features exactly the same songs and theatrics, it’s still a lot of fun. I enjoyed the same songs as before, could have done without the metal crap and paid more attention to the theatrics (knowing when and where they’d be appearing this time !) I miss some of the set as I’ve arranged to see
Brendan upstairs (in case there’s no time afterwards) but
make a point of returning to see the encore which, again, features an appearance by Dennis Dunaway. An Alice Cooper show is always going to be great entertainment, whatever band he has playing with him, but for me it’s the original
Alice Cooper Band who wrote, recorded and performed the truly classic
material. It’s almost criminal that so many fans nowadays
have no idea that Alice Cooper was once a band and not just the lead singer. I enjoyed this gig, of course, but I’m still hoping that one day we’ll get to see the real deal with the original band members playing the whole set. That would be really special !
Brendan upstairs (in case there’s no time afterwards) but
make a point of returning to see the encore which, again, features an appearance by Dennis Dunaway. An Alice Cooper show is always going to be great entertainment, whatever band he has playing with him, but for me it’s the original
Alice Cooper Band who wrote, recorded and performed the truly classic
material. It’s almost criminal that so many fans nowadays
have no idea that Alice Cooper was once a band and not just the lead singer. I enjoyed this gig, of course, but I’m still hoping that one day we’ll get to see the real deal with the original band members playing the whole set. That would be really special !
HAGAR THE WOMB / MENSTRUAL CRAMPS. Hope & Anchor, 12/10/19. This was a ‘Loud Women’ event, a fine set-up that helps to promote women in noisy, punky bands. There are few causes that are as straight-forward and worthwhile as this and tonight was headlined by the punkiest and noisiest of the lot, Hagar The Womb, supported by, amongst others, a relatively new all-female band called The Menstrual Cramps. Much that the idea of them being an all-female tribute to the Cramps (not such a bad idea… it’s worked for Ye Nuns !) the Menstrual Cramps are more like garage punk dragged through Riot Grrl via bands like Snatch and The Raincoats. Having been rather preoccupied all day, I make my plans to arrive on time to see these two bands, only to find that the gig is running early as one of the scheduled bands had to pull out of the event at short notice. So I only get to see the last couple of songs by the Menstrual Cramps, damnit ! But they do sound good, reminding me a bit of Huggy Bear (towards the end when they got really good) and a bit of Swell Maps for some reason. I’m pissed off that I missed their full set, but it’s just one of those unfortunate things. At least I’m there for the full Hags experience. Several drinks are quickly downed in a desperate attempt to get into the right frame of mind (drunk, but nowhere near as drunk as the band) and soon enough the set begins. Plenty of their best old tunes, from ’One Bright Spark’ to ‘Dressed to Kill’, plus more recent songs like ‘Hated by the Daily Mail’, ‘Life of Lies’ and ‘Visible Woman’ (which Ruth appropriately dedicates to Gaye Advert.) The set goes surprisingly smoothly – Mitch only falls over once ! It isn’t as chaotic as it sometimes gets, but still teetering on the edge and that’s what makes it so awesome. I know some people just don’t get it, but for me, Hagar The Womb are genuine, eccentric and wonderful.
RAMLEH / KLEISTWAHR / JFK. The Moth Club, 18/10/19. I have to admit, I was most intrigued to see Kleistwahr at this gig, but as it turned out, my expectations were pretty much up-nded by the end of the evening. The evening is very much a Ramleh affair… JFK is Anthony Di Franco’s project while Kleistwahr is one of Gary Mundy’s solo efforts, so I wasn’t sure how many people would turn up for a gig like this in the heart of Hackney. But although the venue was sparsely populated when I arrived, it was comfortably full by the time that Ramleh played. JFK play first, just Anthony Di Franco and a set of electronic equipment at the front of a barren stage with various projections across the rear screen. Musically, it veers between power electronics and industrial rhythms, creating a great sound but managing to remain awkwardly-accessible. It’s very interesting although, at this point, the audience is still arriving and the lack of atmosphere deflates the effect to some extent. I’m sure it would work so much better in a more crowded or even claustrophobic environment, a place where you had to focus on the sounds and visuals. I wasn’t bowled-over by this set, but I was certainly intrigued.
Kleistwahr, I have to admit, caught me off-guard. Instead of the power-electronics that I was expecting, tonight Gary is playing a solo experimental set with sounds generated through his guitar and various effects. At first, this bewilders me to a certain extent but as it progresses I adjust to what he’s doing and start to really appreciate and enjoy it. Shards of sound combine with subtle rhythms to create an unsettling ambience. The only thing that doesn’t work for me is the visual side of things. Gary stands to the far left of the stage, with projections on the screen behind him. Musically, it sounds good, but the stage area seems empty and, as I said for JFK, something like this needs a more confined space to work to full effect. Regardless, I enjoyed this set and I will definitely be investigating more of the recent Kleistwahr releases.
Finally, it’s time for Ramleh and, as I said, the venue is pretty full by the time they appear onstage. I knew that they’ve fluctuated between electronic and experimental rock formats in recent years, but this set really took me by surprise. It’s a full band in a pretty regular ‘rock’ format, but they certainly didn’t play it as a regular rock band. One moment would be a hypnotic, Krautrock-inspired semi-drone piece, while the next reminded me of (ahem) some of Playground’s more successful tracks, and then another would flirt with catchy, pounding rhythms that were probably not so far away from both ‘glam’ and ‘industrial’ as some people would like to think. This wasn’t easy or predictable listening by a long shot and at some points it even reminded me of Butthole Surfers at their best, so it certainly isn’t mainstream music. However, what I liked about it was that it was taking a recognisable format (rock) and mutating it into something new and original. As I’ve said before, it’s easy to make ‘experimental’ music that’s only going to be enjoyed by a handful of people, but to make music that genuinely creates something new and interesting within a potentially accessible genre is always going to be really special. Ramleh are currently making music that could crossover to a wider audience and introduce it to new ideas. That’s an impressive thing to achieve. I very much enjoyed this evening, even though for the most part, it wasn’t what I was expecting. I definitely recommend that you investigate at the earliest chance you get.
THE AIM. Sounds of The Suburbs, Ruislip, 19/10/19. Sounds of the Suburbs is one of the best record shops within the London area, without a doubt. However, as it’s almost at a completely diametrical opposite to where I live, it’s not somewhere that I can get to very easily. However, I’d promised Tony (its’ esteemed owner) that I’d take some fanzines up to the shop, so when I found out that Mod band, The Aim, would be playing an instore acoustic set, it seemed like an ideal opportunity. Of course, I totally miscalculate train-times and turn-up much later than intended, but fortunately, The Aim are playing a pretty long set and I still get to see 30 or 40 minutes-worth. It’s good stuff, recalling original Sixties Mod sounds as well as pub rock and Mod revival bands from the Seventies. They even finish-up with a cover of the Squeeze classic ‘Up The Junction’… If this is what they’re like ‘acoustic’, I’m really going to have to catch them in full band mode. It’s a great free gig, in a great reasonably-priced record shop. Get up there as soon as you can !
AUTOMATIC / CURFEW. The Shacklewell Arms, 22/10/19. I took a chance on this gig and it turned out rather good. I’d only heard a couple of tracks by this all-girl Los Angeles trio, but they sounded interesting, with elements of Devo, B52’s and maybe even Wire along the way. Their combination of bass, keyboards and drums created a stripped-down sound, but they hadn’t discarded their melodies along the way and the songs maintained a great, insistent quality, so we have to check them out. Unfortunately, the first band, Curfew, are as unoriginal as their name (just do a Google search to see how many other bands are using this title already….) In this case, they play a style like the sort of bands that John Peel would have been played in the early Eighties. They don’t sound bad, but it’s pretty easy to guess where every song is going. So, we go back to the bar before returning in time for Automatic. As soon as they start playing, you can tell they’ve got something special. It’s pop music but they’re doing it in their own way. It’s experimental, but still as catchy as measles and as much fun as a hatchet through Boris Johnsons’ skull. The band actually seem a little uncertain, possibly even nervous onstage, but that’s part of the charm. They’re creating something of their own and obviously, it’s going to feel weird when they take it out in public. They play one cover – ‘Mind Your Own Business’ by the Delta 5, another John Peel favourite from 1979, but unlike Curfew, they twist the whole thing in their own direction, creating something fresh. But it’s their own songs like ‘Too Much Money’ and ‘Calling It’ that really set the pace. This is a band in their formative period, but the music they’re creating promises a lot. If you enjoy interesting pop music, this is a band that you need to check out soon !
JOHNNY THROTTLE / NEW YORK JUNK / THE PHOBICS. Hope & Anchor, 25/10/19. A few days earlier than it ought to be, but here we had the ‘Rockaway Beach’ Halloween Bash at the Hope & Anchor. And with a bill like this, even The Phobics didn’t mind playing first. Although to my mind, they still rocked the joint and made the place their own, the other bands were more than worthy partners in crime. But The Phobics ruled from the very start, with Tom in traditional vampiric costume and the rest of the band just playing their staked-hearts out as they always do. Their latest album, ‘Burnt Rubber’, has just emerged so all the songs that I would’ve previously referred to as new are now well and truly established, but that’s not a problem. They’re sounding better than ever and a real musical force to be reckoned with. Just go and see them yourself – if you’re not blown away you ain’t got a soul. New York Junk are made-up of folks that have been involved in New Yorks’ rock’n’roll scene in all the years that mattered. Previous close connections with the likes of Johnny Thunders, Dee Dee Ramone and Stiv Bators will give you an idea of what we’re dealing with. They have their own sound but it’s in that New York tradition that we all love so much. They sound great and I’m glad we’ve had a chance to see them in London ! Finally, we have Johnny Throttle and, no surprises, they’re as enthralling and explosive as they ever are. With Afonso on vocals, what else would you expect ? Plenty of great songs, plenty of energy and a real edge that other bands would offer up their mothers to own. This was a whole evening about real rock’n’roll. I’m not going to say it was the very best, but if you weren’t there you missed out on a treat. Buy me a beer next time I see you and I’ll tell you all about it.
LENE LOVICH BAND / LESLEY WOODS. The Lexington, 27/10/19. Several reliable friends have previously told me that Lene Lovich has always been a great performer so I was intrigued about this gig, but I have to admit that it was actually Lesley Woods, former singer of the Au Pairs, that I was most excited about seeing. I don’t think she plays very often these days and I certainly haven’t heard of any gigs in recent times, but the Au Pairs were an incredible band whose music still sounds completely vital even after nearly 40 years. I would really love to see them reform, but in the meantime I certainly wasn’t going to miss this solo performance. Anyway, the venue is already pretty full when it’s time for Lesley to play, and she is enthusiastically introduced by Jude from the Lene Lovich Band. She’s playing alone, just guitar and vocals accompanied by a rhythm machine, but it sounds great. The set begins with a song I don’t recognise, but then she plays ‘Diet’ which gets a great response. The guitar sound is perfect and Lesley’s distinctive vocals are still emotive and powerful. Next, she plays ‘Repetition’, the David Bowie song that the Au Pairs adopted on their first album. I’ve always thought this was one of the most under-rated Bowie songs (from the Lodger’ album) and the Au Pairs added a further depth to the song. That being said, I was still surprised to hear it played live tonight, but very pleased that it was. ‘Headache’ is played with a slightly different arrangement, ‘Dear John’ sounds magnificent, and a cover of ‘Sweet Jane’ maintains the momentum of the set. Many in the audience are clearly enthralled and I can’t imagine that anyone was disappointed in the slightest. Lesley introduces her final song as ‘The biggest hit that the world has ever known’ before playing a truly wonderful version of ‘It’s Obvious’. The short set ends with plenty of applause and I can only hope that the response is enough to tempt Lesley to continue performing. Whatever happens, I am just so glad that I got to see this gig.
There’s only a short break before Lene Lovich is due onstage (Lesley’s stage equipment is pretty minimal, after all) and within a short space of time, I can see why my friends had recommended her shows. Lene still has her unique dress style and her vocals are just as quirky and instantly recognisable as they always were. I can’t claim to be familiar with most of her records, but I was surprised by how many of her songs I did know. Her cover of ‘I Think We’re Alone Now’ comes surprisingly early in the set, although it’s her own songs like ‘Telepathy’ and ‘One in a 1,000,000’ that get the best reaction from the packed crowd. ‘Say When’ is the first of her hits to be played and gets a big response. I always thought this was her best song, so it’s a pleasure to hear it played live. Unexpectedly, ‘Lucky Number’ is played in the middle of the set, just a few songs later. Most artists would probably have kept their biggest hit until the end, but with an enthusiastic audience that’s already on her side, sneaky showmanship like that isn’t really necessary. Indeed, as 2019 is the 40th Anniversary of her ‘Stateless’ album, nearly all of the songs from that album are played and you can see from all the smiling faces that her fans are more than happy with this. I was surprised just how much I enjoyed this set and I stayed all the way through to the end. While I won’t say it’s something that would appeal to everyone, I would certainly suggest that you try to see her live because I wouldn’t be surprised if you ended up enjoying it as much as I did.
TOM HOLLISTON / SELENA MARTIN / SIMON WELLS. Erith Library, 3/11/19. There were several gigs happening tonight, but when I found out that Tom Holliston (former No Means No guitarist) was playing a gig in Erith, I knew it couldn’t be missed ! I’ve lived here for three years and this is the first real gig I’ve even heard about in this area, (pub-tribute acts don’t count) so I had to support it. The old Library building had been disused for some time, but over the last year or so, it’s been re-opened and gradually renovated as a community / Arts centre. At present, events are only happening in the café area on the ground floor, but the potential for this place is very promising. Anyway, this gig is happening rather early in the evening, so I arrive and, surprisingly, the first person I bump into is Simon Wells (ex-Snuff, Southport.) It turns out that he’s been helping Tom with this tour and had also been turning-up to play short acoustic sets of his own music at some of the gigs, which is what’s going to happen tonight. So I meet a few of the people he’s with, catch up with Tom and also meet Selena for the first time. There’s only a small crowd in attendance, but there’s a really nice atmosphere and I can tell it’s going to be a good evening. Simon plays first (there’s no stage in this room, but with everyone seated, that’s not really a problem.) He plays a set of old and more recent songs, including a few Snuff tunes which work really well in an acoustic format… after all, great songs are great songs however you hear them. He gets an audience request for ‘Martin’ which also gives him a chance to explain the background to the song before playing it. He only played maybe 6 or 7 songs, but it was very enjoyable and I hope he plays more gigs like this.
Next up is Selena Martin, a musician originally from Toronto but currently living in France (I think ?) I didn’t know any of her songs before this gig, but that being said, her style and performance is very easy to get into. Great tunes and fine lyrics with a confident, self-assured manner, this is a great way to hear an artist for the first time. I was impressed enough to buy a CD at the end of the evening and I’ll definitely be checking-out more of her music in the future. Finally, it’s time for Tom’s set and, as when I’ve seen his solo shows before, it’s great fun. Admittedly, some of his songs do cover pretty serious subjects, but it’s always tempered by his dry sense of humour and an impressive grasp of insistent melodies. He doesn’t play any No Means No songs (I’m not really sure how they’d work without the rhythm section ?) but his own songs are more than enough to keep everyone attentive. There are some similarities although perhaps at a sidestep rather than a direct link. Either way, if you enjoyed NMN, I’m sure you’ll appreciate Tom’s current music even if it is something different… the spirit is still there and sometimes, that’s what matters. Towards the end of the set, Tom is joined by Selena and they run through several songs together to end the evening. By this point, everyone in the audience has been won over and it’s been a really good evening. Everyone has enjoyed themselves and Tom, Selena and Simon are given an open-invitation to come back and play again , which I really hope they will. This is a nice little venue with a lot of potential and I hope this gig will prove to be the first of many.
CHELSEA / THE PHOBICS / SPIZZOLOGY. Underdog Gallery, 8/11/19. The Punk Rock’n’Roll Art Show has become a regular event over the past few years and is starting to get the recognition it deserves. Basically, it brings together artists from the many different layers of the Punk Rock community, to display their artistic endeavours in a friendly, appreciative environment. Some are more established than others and some can be quite surprising, but it’s all in the right spirit, that of, anyone can get up and express themselves. The opening nights always involve live music and, even though the PA in this place isn’t ideal, it’s a great way to generate interest and ensure a good show. This time, the headliners are Chelsea, the band who once featured Martin Stacey , one of the main organisers of the Art Show. Anyway, the evening kicks off with Spizzology, which is basically Spizz and Luca from Spizzenergi playing stripped-down versions of Spizz-songs. Whatever you think of Spizz himself, there’s no denying that the various guises of the band have plenty of great songs and even in this format, they still sound great. Next, there’s a change to schedule. For some reason, Chelsea have to get home early (maybe the cocoa is getting cold ?) so they claim the middle-slot (oo-err !) and play a short but actually very good set. I’m not the biggest fan of this band, but they do have some great songs and when, as in this case, they play a short set consisting of all their best tunes, they can sound very good. ‘Evacuate’, ‘War Across The Nation’ and ‘I’m On Fire’ are all classics and when they play a set made up of tracks like this, they sound impressive. Of course, ‘Right To Work’ is still a rather misplaced sentiment and not that great a song, but on this occasion, I’ll even give them a pass on that one. So, as it’s turned out, The Phobics will be playing the headlining spot. For some bands, this could have been daunting, but with their new album just about to be released, those Phobics are on top form and deliver a set that leaves people thinking, well, they should have been headlining anyway ! They play a set that’s packed with great songs and plenty of energy, including older tracks like ‘In My Street’ and ‘Midnight Milkshake’ and newer ones from the latest album like ‘Gentrification’ and ‘Path of Love’. I always thought that ‘Down and Out in Deptford’ was their definitive song, but I’ve got to say the title track form the new album, ‘Burnt Rubber’, is now vying as a real contender. As I said before, the PA isn’t great in this place, but The Phobics play with such a real sense of raw power that it still works in their favour and I’ve got to say, they really went down well. The place is crowded but everyone’s paying attention and enjoying their Punk Rock’n’Roll. I know they’re friends and all that, but when The Phobics play a gig like this, they don’t even have to buy me a beer to get a (deservedly) great review !
GUNS & WANKERS / PIZZA TRAMP, The
Garage, 9/11/19. It’s a little bit strange that, first time around, not that many people were interested in Guns & Wankers, even though they had so many great songs. But since they split-up, people heard the records and realised, this shit was genius ! After many years, they recently reformed and their first gig at The Lexington sold-out soon after it was announced. They were subsequently offered another headlining show at The Garage and again, it was packed. Where were all these punters first time around ? Well, we’ve all known of bands that don’t get the credit they deserve until years later and I guess Guns & Wankers were destined to be one of them. It’s just sad that original bassist Jools wasn’t able to be part of the reunion (due to health issues.) I’m happy to see Pizza Tramp at last. Several people have recommended them and they turned out to be a perfect support band. Plenty of fine, snappy, humorous hardcore songs (sorta reminiscent of SNFU or maybe early DI) plus lots of inane-but-inspired banter between songs and just the right attitude to pull it off (no sexual connotations intended.) I’m not sure if I’d want to listen to their records, but live, they were a lot of fun. And then there’s only a short gap before GNW’s take to the stage (it’s a Saturday, so live music has to end early to let the clubbers-in… god damn their gizzards…) What can I say ? Guns & Wankers second time around, sound just as wonderful as they did the first time. With Duncan on guitar rather than drums, they’re very distinct from Snuff but still have enough of their own character and style to establish themselves as their own thing. As I said, it’s sad that Jools can’t be involved, but Pat is still an incredible drummer and new boy Wes fills the bass-spot perfectly. They have so many great songs, which many in the audience have never had the chance to hear live, but just as importantly, they already have a bunch of new songs that show that’s it’s not just nostalgia, it’s about what they’re going to do next to keep this valid. ‘Not If I See You First’ is so damn catchy, it’s just typical that they include so much swearing that it’ll never be played on the radio, but I doubt if they care. And as for the older songs… ‘Raise Your Glass’ is an anthem that any punk rock band would kill to have written, and ‘Sunstroke’ is about as perfect as a song ever gets. I do have to say that it took the audience a little while to get into it tonight, but by the middle of the set there’s plenty of people dancing and even more singing along. Guns & Wankers are back and you really need to catch them this time !
Garage, 9/11/19. It’s a little bit strange that, first time around, not that many people were interested in Guns & Wankers, even though they had so many great songs. But since they split-up, people heard the records and realised, this shit was genius ! After many years, they recently reformed and their first gig at The Lexington sold-out soon after it was announced. They were subsequently offered another headlining show at The Garage and again, it was packed. Where were all these punters first time around ? Well, we’ve all known of bands that don’t get the credit they deserve until years later and I guess Guns & Wankers were destined to be one of them. It’s just sad that original bassist Jools wasn’t able to be part of the reunion (due to health issues.) I’m happy to see Pizza Tramp at last. Several people have recommended them and they turned out to be a perfect support band. Plenty of fine, snappy, humorous hardcore songs (sorta reminiscent of SNFU or maybe early DI) plus lots of inane-but-inspired banter between songs and just the right attitude to pull it off (no sexual connotations intended.) I’m not sure if I’d want to listen to their records, but live, they were a lot of fun. And then there’s only a short gap before GNW’s take to the stage (it’s a Saturday, so live music has to end early to let the clubbers-in… god damn their gizzards…) What can I say ? Guns & Wankers second time around, sound just as wonderful as they did the first time. With Duncan on guitar rather than drums, they’re very distinct from Snuff but still have enough of their own character and style to establish themselves as their own thing. As I said, it’s sad that Jools can’t be involved, but Pat is still an incredible drummer and new boy Wes fills the bass-spot perfectly. They have so many great songs, which many in the audience have never had the chance to hear live, but just as importantly, they already have a bunch of new songs that show that’s it’s not just nostalgia, it’s about what they’re going to do next to keep this valid. ‘Not If I See You First’ is so damn catchy, it’s just typical that they include so much swearing that it’ll never be played on the radio, but I doubt if they care. And as for the older songs… ‘Raise Your Glass’ is an anthem that any punk rock band would kill to have written, and ‘Sunstroke’ is about as perfect as a song ever gets. I do have to say that it took the audience a little while to get into it tonight, but by the middle of the set there’s plenty of people dancing and even more singing along. Guns & Wankers are back and you really need to catch them this time !
THE CHORDS UK / DEPARTMENT S, The 100 Club, 15/11/19. I’ve seen Department S quite a few times over the last few years ,as they seem to get quite a lot of support slots and, whilst I don’t dislike them, I can’t say that I’ve been particularly impressed either. They do have their moments and there have been times when they’ve sounded really good, but they don’t seem to be consistent, which is what you would expect of a band that play pretty regularly. That being said, they prove to be a decent opening band tonight and they go down pretty well. But the audience is really here for The Chords UK and the packed venue is testament to how good this band have become over the course of their two albums. While there are obviously going to be people turning up that just want to hear the old Chords songs, it’s also really great to see the majority of fans being just as enthusiastic about the new material. The ‘Nowhere Land’ album has proved itself able to stand-up alongside any of Chris Pope’s earlier material and songs like the title track, ‘Hipsters of London’ and ‘Gentrified the Elephant’ are fast becoming new audience favourites. Mixed in with older classics like ‘The British Way of Life’, ‘So Far Away’ and ‘Something’s Missing’, the band now have a truly great setlist at their disposal and the response they got at this gig was total proof that they’re a great band in their own right and not just a nostalgia trip. If you haven’t already seen them, make sure you do so as soon as you get the chance.
JON SPENCER & HIS HITMAKERS / YE NUNS. The Dome, 20/11/19. I saw the Blues Explosion quite a few times and tended to enjoy them as a live act, but I was never particularly fussed about their recorded output. I can’t say that I’ve kept up with his different bands and projects in more recent years, but as this gig was also going to include Ye Nuns, it was one that I quickly decided I should investigate. So, arriving early, I walk into the venue just as Ye Nuns begin their set. This is a special evening for them as they’re playing on the same stage where The Monks played their only-ever UK show, an event that resulted in the formation of Ye Nuns themselves. But whilst they are a ‘covers’ band, they’ve convincingly twisted things around to make themselves something special and relevant. The all-girl line-up is the obvious difference, but also the fact that they’re not covering an obvious or successful band and that even within that, they don’t just stick to the better known songs. Most recently, they’ve even begun to play songs written back at the time by Eddie Shaw (he sent them the details) which were never even recorded by The Monks, so that’s a real treat to hear. Ye Nuns play a great set tonight and warm-up the place perfectly. Jon Spencer takes to the stage with his current band, the Hitmakers, who include his former cohort from Pussy Galore, Bob Bert, on drums. With keyboards and metallic percussion also a part of the line-up, it’s a pretty different set-up to his previous bands, but it works really well. Based around his trashy garage-blues guitar sound, the songs are surprisingly catchy and effective while the set includes several songs from his previous bands (Blues Explosion, Pussy Galore) and towards the end, an unexpected but totally great version of the Syd Barrett classic ‘Vegetable Man’. Despite not really being familiar with most of the songs played tonight, I still enjoyed Jon Spencers’ set and I will certainly be making a point of checking out his recent records and catching them live as soon as they come back this way.
IGGY POP. The Barbican, 21/11/19. This was another one of those gigs that sold-out almost instantly, even despite the hefty ticket price. But for once, I actually managed to get my hands on a ticket and I’m damn-pleased that I did. Whilst his previous album, ‘Post Pop Depression’ received all the music-press plaudits (no doubt helped by the all-star line-up) for my money, Iggy’s latest album ‘Free’ is a much better record. Reviews have referred to it being a ‘jazz’ album but that’s a pretty shallow description. Iggy has basically collaborated with a set of musicians that have provided a new style and direction for him to work with. The results are different to anything he’s ever done before but also very true to himself. This gig had no support bands but still started at an unusually early time, so we get to our seats and get comfortable just in time for the start of the show. The first half of the set is mostly composed of the songs from the new album. With a full live band, they sound even more effective than on the record and Iggy, dressed in a smart suit, is able to concentrate on his vocal delivery rather than the stage antics that so many have come to expect (a cheer goes up at one point when his takes off his jacket… the sad thing about The Barbican is that it does seem to attract wankers who are only there to see something they’ve read about in reviews and wouldn’t even consider going to see someone like Iggy at a regular venue…) But, for anyone who’s genuinely interested, the performance is superb and songs like ‘James Bond’ and ‘Dirty Sanchez’ are particularly effective. It’s a good thirty minutes into the set before any older material is played, but even then it’s not the obvious ‘hits’ but rather songs that compliment the new material. There’s a fine, moody version of ‘Sister Midnight’, followed by ‘The Endless Sea’ and ‘Death Trip’ (the only Stooges song played tonight and by far the most raucous moment.) The second half of the set proves to follow the scheme set by the first, starting with ‘I Want To Go To The Beach’ from the very underrated ‘Preliminaires’ album, before an evocative version of Lou Reeds’ lyrics, ‘We Are The People’. ‘Mass Production’ and ‘Five Foot One’ sound stunning this evening, before the final track to be played from the new album, ‘The Dawn’. The set ends with an atmospheric version of ‘Nightclubbing’ and an unexpected but wonderful version of ‘Run Like a Villain’. As one final surprise, the encore turns out to be a cover of the Sleaford Mods’ song ‘Chop Chop Chop’. Iggy's a big fan of the band and this track, based around the simple riff of the Modern Lovers’ classic, ‘Roadrunner’, is a perfect choice as he adapts the lyrics to tell his own stories of survival and redemption. It’s an extraordinary end to one of the best gigs I’ve seen this year and, while he’s still creating music as great as this, I can only hope that we have plenty more still to come.
THE FALLEN LEAVES / FRIENDS OF LUCA BRASI. Hope & Anchor, 23/11/19. Named after a character that features in ‘The Godfather’, Friends of Luca Brasi have been around for a few years although this is the first time I’ve seen them. Musically, there are a few reference points but none of them are particularly obvious. Maybe think of The Clash circa ‘London Calling’, classic Mod bands and the better moments of Pub Rock (Dr Feelgood, Hot Rods etc.) They play upbeat rock’n’roll with a punky attitude and plenty of energy. After this, I’ll definitely be checking them out again. As usual, there’s a good turn-out for The Fallen Leaves and a great atmosphere in the venue. Playing a great set of both old and new material, they really are one of the best bands playing around London at the moment, with a visual style all of their own and so many catchy songs that you can’t help but enjoy yourself. Rob Symmons has a great guitar style (and he makes it look so easy !) while Rob Green is a genuinely unique frontman with a talent for witty original lyrics. Add to this the solid rhythm section of Matthew Karas and Buddy Ascott and you end up with a truly special band. I know I’ve said this before, but if you haven’t already done so, you really need to get to see this band. You’ll be doing yourself a favour.
JAZ COLEMAN – Album Launch, The Troubador, 27/11/19. Not really a gig although this event was supposed to involve a Q&A session, but even that wasn’t going to go smoothly. The Troubadour is a small club with a long musical history, with the likes of Bob Dylan, Ronnie Wood and even Jimi Hendrix having played there. I’ve never been there before, but it’s located in the basement of a pub in West Brompton and proves to be quite easy to find. It seems to be already packed by the time I get there, but once inside there turns out to be plenty of spaces around the place. Jaz is being interviewed onstage, but although it initially starts pretty well, with questions about the new classical album ‘Magna Invocatio’ and Jaz sticking to the subject, things gradually start to go off-course. Jaz’s conversational style tends to go off at tangents at the best of times and tonight is not going to be any different. He has lots to talk about and while his new album is certainly a part of that, it’s not going to be the only subject. After the first 45 minutes or so, the Q&A comes to a complete end and Jaz starts presenting framed awards to various friends and colleagues who have helped him over the years and in particular with the new album. It’s not exactly what anyone was expecting, but it’s still a lot of fun and, at the end of the day, if he had been predictable, it wouldn’t have been Jaz Coleman !
ALTERNATIVE TV / CONTRASTATE / MAP 71 / GAD WHIP. The Dublin Castle, 30/11/19. This is the second event organized in London by the Fourth Dimension record label, following on from their successful night at Café Oto last year. This time, the event is split over two evenings, with Alternative TV headlining both but playing different sets. I arrive pretty early to see my old friend Richard and catch up with various other people, while the bands are still busy soundchecking. When everything is ready, Gad Whip are the first band onstage. Live, they seem quite different to the recent records that I enjoyed but are still rather intriguing and pretty effective. I perhaps wasn’t expecting to see a full band onstage but they produce some interesting rhythm-heavy music over which the vocalist delivers his rants. It’s a shame that they played so early as I think they would’ve gone down a lot better when the place filled up. Next are the Brighton two-piece Map 71, combining drum-rhythms with Lisa Jayne’s often deadpan vocal delivery. The more you listen to Map 71, the more it draws you in and you start to discover the different textures, observations and even humour in what they do. The musical format isn’t the easiest style to appreciate but if you make the effort, there’s a lot going on that makes it both interesting and enjoyable. The third band are Contrastate and I have to admit, they’re not something that I’m really in to. I’m not really familiar with their records but their electronic sounds just don’t grab me in the way that some other bands do. Perhaps I need to hear more of their studio output to appreciate what they’re doing, as I know several people who really rate them, but for me, this just didn’t work. Finally, it’s time for Alternative TV. Tonight, they’re performing a set based around their recent recordings (the ‘Opposing Forces’ album, the ‘Dark Places’ EP and several singles) plus a selection of their more experimental material from the Vibing Up the Senile Man / Good Missionaries era. Fortunately, most of the audience are here to hear this material and aren’t yelling out for ‘How Much Longer’ or ;Action Time Vision’, as has happened in the past, but that being said, most of ATV’s recent material has a much darker musical style that really isn’t so far away from their early punk rock style (much that ATV were never a typical punk rock band in the first place.) When the more experimental music is interspersed with this, it really works well and you can appreciate what they were trying to do back in 1979. Perhaps if they had integrated the music from their first two albums in their live performances back then, rather than jumping straight from one thing to the next, it would’ve been better received ? Certainly, the way it’s performed now makes much more sense and creates a genuinely atmospheric situation. The response from the audience is positive and the band feed-off this to play a really great set. It certainly set-up the audience-expectations for the following night.
ALTERNATIVE TV / SPLINTERED / JFK / KLEISTWAHR / THEME. Hope & Anchor, 1/12/19, So, back for the second night and this time, the place is packed from pretty early on in the evening. The first music comes from Theme, which is a collaboration between Richard (Fourth Dimension supremo) and Stuart Carter. Tonight’s set is different to the records that I’ve previously heard, but certainly not in a disappointing way. Their electronic sounds are more atmospheric and sinister rather than aggressive, whilst the vocals are repetitive and add to the almost unsettling qualities. It was a good way to get things started. Next onstage is Kleistwahr which, as with their recent gig in Hackney, is just Gary Mundy creating a challenging wall of noise via guitar effects. For me, this works a lot better tonight than at the previous gig, as the smaller stage and packed audience creates a more conducive atmosphere for this kind of performance. I enjoyed tonights’ set a lot. Following on from this is JFK, the solo project of Mundy’s colleague in Ramleh, Anthony di Franco. Musically, this veers more towards power-electronics although at times it’s more rhythmic than much of that genre. It’s also entirely instrumental and, in some ways, this makes it feel more menacing , as if you don’t really know what’s going to happen next. Again, playing in a more confined space with a large crowd certainly seemed to be more appropriate for this performance – claustrophobia has never felt so good. Main support tonight comes from Splintered, which sees Richard back onstage along with several other old friends. They don’t play live all that often these days, but when they do they’re capable of creating some pretty impressive sounds. The rhythm section set-up a heavy, repetitive foundation, almost groove-like at times (I hope they don’t hate me for saying this) while the guitar and electronics produce large sheets of sound and Richards’ vocals fight to hold things together. Somewhere inbetween early Hard Rock (Sabbath, Blue Cheer etc) and Kraitrock, perhaps with some early Butthole Surfers influences added to the mix. When Splintered play like this, they really are quite impressive.
Finally, it’s time for Alternative TV again and the crowd seems to be even more packed than it’s been for the rest of the evening. Tonight, ATV are playing ‘The Image Has Cracked’ in its’ entirety and as they start, it’s instantly obvious that this is going to be something special. The PA sound is perfect, the atmosphere is buzzing and the band are on their best form. I’ve always maintained that ‘The Image Has Cracked’ is one of the truly great albums to have come out of the Punk era and hearing it played live just reinforces my opinion. I mean, what other bands had the guts to record a debut album that included experimental tracks (Alternatives), catchy Punk Rock tunes (Action Time Vision), brooding rock riffs (Still Life) and even Frank Zappa covers (Why Don’t You Do Me Right) ? Most importantly, they put it all together in one album that epitomised the original ideals and attitude of the Punk Movement (eg, before the music press and record business got their claws into it.) Over forty years later, it still sounds fresh and valid because it didn’t sound like anyone else when it was released and it still doesn’t. It’s a real pleasure to hear this set, with songs like ‘Still Life’ and ‘Splitting in Two’ being the stand-outs for me. My only gripe was that they could have played more of the early material for the encore, but maybe that’s just being greedy. In the event, I think everyone went home feeling very pleased that they’d been in attendance.
JONA LEWIE / KIRK BRANDON / KING SALAMI etc – Vive Le Rock Xmas Party, Nambucca, 4/12/19. It’s the Vive Le Rock Xmas Party and, despite it not being one of my favourite venues, these things do tend to be a lot of fun. Basically, they have their ‘house-band’, the Vive Le Rockers, providing most of the music and the various guests get up to perform some songs with them. Which might sound a bit naff in a way, but for a party, it’s no problem at all. We’re all just there to enjoy ourselves so no-one has to take it too seriously ! It’s also a good place to bump into people you haven’t seen for a while as well as meeting a few that I haven’t really met before… on this occasion, I ended-up chattiing with Norman Watt-Roy (of the Blockheads, Wilko Johnson Band etc) and what a nice bloke he turned out to be (we both agreed that the recent Ian Dury bio-pic had been a big disappointment, even though Andy Serkis had been very good as Ian Dury…) Anyway… Music came from a whole host of guests, the most memorable being Kirk Brandon performing ‘Janie Jones’ with real style, an uncharacteristic, under-stated performance by King Salami, VLR’s very own Eugene Butcher strutting his stuff and a finale featuring Jona Lewie… Well, it was nearly xmas, so ‘Stop the Cavalry’ had to be played ! (Funnily enough, the song was not originally intended for the Christmas pop market, but was written as an anti-war protest song, which is probably why, unlike most Christmas ‘Hits’, it still retains its’ credibility.) Anyway, there was beer, there were friends, there was music, it was fun !
CRISIS / THE PHOBICS / TARA REZ. The Dublin Castle, 6/12/19. This was a gig in aid of ‘Punk 4 Mental Health’ which, when you consider how many ‘punks’ come from dysfunctional backgrounds, seems like an entirely appropriate campaign, especially when they provide line-ups like this. That being said, I’m afraid I missed the first few bands as I was catching up with friends in the bar, but I eventually get into the venue to see a set from Tara Rez (The Duel etc) and this evening, she and her band play a really good set, full of trashy, punky, rock’n’roll somewhere between the Pistols, Joan Jett and the New York Dolls. It’s possibly the best sets that I’ve seen Tara play and I really hope she sticks with this line-up as they were great fun. Next up, it’s time for those lovable Phobics… At the moment, with the recent release of their latest album, ‘Burnt Rubber’, they seem to be on a high. The new songs sound great and easily match-up to the best of their older songs, while their live performances sound tighter and more powerful than ever. If you doubt me, just go and see them and find out for yourself. As I’ve said before, their winning formula is that they take a classic New York punk rock’n’roll style (Ramones, Heartbreakers) but then present it with a South London attitude. They’re not trying to be Americans, they’re playing music that they love and singing lyrics that relate to their own lives (‘Gentrification’, ‘Down & Out in Deptford’.) It’s the real deal and they’re old enough not to worry about career options and all that shit, they just want to play as good as they can. If you have any problem with that… please stop reading my ‘zine ! Finally, it’s time for Crisis and, although a very different musical prospect, they provide a great end to the evening. Their line-up has changed a little since they first started playing as Crisis again (as opposed to ‘1984’) but the addition of their current drummer, Aurora Lee, has made a big difference. The whole band now seem so much more solid and she holds down the drums perfectly, allowing Tony more space for his bass-lines. But the really exciting thing is the new material they’ve started to include in their sets. They actually open this gig with ‘Blind Cities’, whilst later one we get to hear the songs from, the recent single, ’The Hammer and The Anvil’ and ‘Dead On The Shelf’, as well as ‘Escalator’. Not only are these fine songs in their own right, they compliment the older material perfectly. Just give that new single a listen to hear what I’m talking about… combine these new songs with older ones like ‘White Youth’, ‘PC 1984’ and ‘Holocaust’ and you’re hearing something really good. They end their gig with an encore featuring ‘Militant’ and ‘Laughing’, sounding better than ever. I know I say this about other bands but you’ve really got to see Crisis. It may not be the full, original band but at the moment, I can’t imagine any line-up sounding any better.
JOHNNY MOPED / THE WIDOWS / JORDAN & TONY D, The Water Rats, 7/12/19. In my opinion, a Moped gig should never be missed, but some have even more reasons to attend than others. In this case, the evening is going to begin with an onstage discussion featuring the wonderful Jordan Mooney and the renowned Tony Drayton (of ‘Ripped & Torn’ and ‘Kill Your Pet Puppy’ fanzines.) Both have recently had books published which include an overlap of interests (Sex Pistols, Adam & The Ants etc) so this makes for an interesting discussion and, despite not really knowing each other before now, they really work well together and the conversation flows well in an interesting and often humorous style. And while Jordan certainly crossed paths with icons like Darby Crash, Peter Cook and Andy Warhol, Tony also has tales to tell about the likes of Elizabeth Hurley, Boy George and Madonna. This is just the kind of chatshow that ought to be on TV !
The first music of the evening comes from a London band called The Widows. Unfortunately, I don’t get to watch much of their set as too many old friends are now turning up (late), but they sound alright, a bit like raw Pub Rock mixed with the Folk Devils perhaps ? I wish I’d had a chance to give them a proper listen, but sometimes you just have to go and be sociable instead… That being said, nothing should get in the way of the Mopeds and I certainly didn’t allow that to happen tonight. What can I say about this gig ? The band were on top form, the place was packed and everyone was having a great time. I know that some (sadly-deluded) people choose to write-off the band as a comedy-act, but when you see them playing a gig like this (which seems to be the norm these days) you get a very tight, powerful band with loads of great, memorable songs and a singer who can handle the vocals with plenty of character and ability. Yeah, they do have their eccentricities but, unlike many bands who pretend to be ‘weird’ or ‘wacky’, the Mopeds are the real thing. This is the way they really are … and they don’t care ! Tonight, we get a healthy selection of songs from their latest album, ‘Lurrigate Your Mind’ as well as plenty of the older favourites, plus an onstage appearance by former Nip, Shanne Bradley ! I’m pretty sure that everyone went home with a smile on their face and, if they didn’t, more fool them. Johnny Moped Rule… Or Else !
THE BRIEFS / THE SCANERS. The Lexington, 8/12/19. One year on from their last one-off UK appearance at the Lexington… We have another one-off UK appearance at The Lexington from The Briefs… which just goes to prove that familiarity, in certain cases, doesn’t breed contempt ! It’s also my fourth gig in five days, so I am feeling a little weary, but I’m even more wary about missing gigs as good as this. The support tonight comes from French band The Scaners, who I’ve heard but not seen before. As soon as they start playing, I’m starting to wonder why not ? They’re a frenetic ball of energy, bouncing around the stage in a convincing state of near-chaos whilst delivering songs that mix early Devo, The Screamers, The Spits and probably a chunk of The Briefs. The performance is faultless, although I do have to say that some of the songs became a bit repetitive towards the end of their set. But on this occasion, that’s no problem. As a support band, they warmed-up the atmosphere perfectly. You should try to see them as soon as you can… And then it’s time for The Briefs. Kicking off with faves like ‘Stuck On You’, ‘I Think My Baby is a Communist’ and ‘Ain’t It The Truth’, they grabbed everyone’s undivided attention right from the very first power-chord. Then comes ‘Rotten Love’, the first song I ever heard by The Briefs and one that set me on course to follow them ever since. The set continues at a frantic pace… I still find it astounding that, although he only sings a few songs, Chris Brief tends to have the fastest ones … how does he manage to sing and drum and breathe ! But he does it with style, which is an impressive feat. ‘We Americans’ seems even more poignant these days, with the Orange Asshole in the Whitehouse, and it’s great to hear ‘Gary Glitters Eyes’ again (it was missing from the set last years) but I am a bit disappointed that there aren’t that many songs from the recent ‘Platinum Rats’ album… ‘Kids Laugh At You’ and She’s The Rat’ sound like instant faves, so why aren’t there more of the new songs ? No big worries though, because this gig is still blastin’ in all the right ways. They were great last year, but this year they’re even better. The encore ends the evening with ‘New Shoes’ and, of course, ‘Poor & Weird’, one of the truly great Punk Rock anthems. The Briefs are a band who know what they’re doing and do it properly. Long may they grace our venues !
THE CHORDS UK, The Pelton Arms, 13/12/19. This was a special xmas event for the Northern Soul club-nights that occur at The Pelton on a fairly regular basis. For this occasion, they’d invited The Chords UK to play a short set alongside their usual DJ’s. Unfortunately, there also seemed to be a load of other events this evening so a bunch of people who would normally have been here for this gig couldn’t be, but the place is still very busy and both the music and the atmosphere are great as we wait for the band to play. Finally, they’re ready to go onstage and, initially only intending to play a short set, they decide to pack it with their best known songs – ‘The British Way of Life’, ‘Now It’s Gone’, ‘In My Street’… Chris had been a bit wary beforehand that the audience were going to be more into Northern Soul than the bands’ more rowdy material, but as soon as they start playing everyone is paying attention and enjoying every moment of the gig. The band themselves are clearly enjoying it as well and there’s an ongoing switch-around of red Santa-hats between different band members as the songs progress. The sound is great and there’s a crowd in front of the stage singing and dancing along… Several of their more recent songs like ‘Nowhere Land’ and ‘Hipsters of London’ get played and go down just as well as the older faves and by the time the set was supposed to end, no-one’s going to let them get off the stage that easily, cheering them on for another few songs to complete the evening. Afterwards, I chat with Chris again and he says how much he enjoyed the gig, despite his earlier reservations, and that he hopes the band will be able to play at The Pelton again in the New Year. Well, I’ll certainly be there if it happens !
COCKNEY REJECTS. Islington Academy, 14/12/19. I doubt if many thought that the Cockney Rejects would last long enough to celebrate their 40th Anniversary and, indeed, there have been points when it seemed that they weren’t going to make it. But having reformed in the late Nineties, the band have re-established themselves as a formidable live band and the release of the documentary ‘East End Babylon’ in 2013 really helped to win them a new following. Even the sad and untimely death of their long-time friend and bass player Tony Van Frater, in 2016, failed to derail their recent successes and, in fact, led to the return of original bass player Vince Riordan which proved to be a real winner with the fans. And so, here we are at a packed Islington Academy to celebrate a truly original and influential band. No messing about, they’re playing the first two albums in their entirety, although on the night ‘Greatest Hits, Vol 2’ actually gets played first… well, you got to have a countdown towards the Number One !I doubt if anyone in the audience was complaining, as the set starts with ‘War on the Terraces’ and promptly runs through classics like ‘Hate of the City’, ‘The Rocker’ and ‘Greatest Cockney Rip-off’. As Jeff tells the audience, some of these songs weren’t even played live back in the day ! The first half of the set ends with their cover of the Sweet classic ‘Blockbuster’, a wonderful, chaotic, punked-up version that only a Nun could fail to love ! There’s a brief break (band and punters need a chance to have some beers) before they’re back for ‘Vol 1’ and what a treat this is. ‘I’m Not a Fool’, ‘Bad Man’, ‘East End’, ‘Police Car’, ‘Where The Hell is Babylon’… there really isn’t a bad song on this album and live, they sound even better. Mick Geggus is a highly under-rated guitarist and when you see him on form like this it’s hard to understand why he doesn’t receive more acclaim, while Jeff Turner is a lively and charismatic frontman. Behind them, Vince and Joe Sansome provide a perfect powerhouse rhythm section. These days, there’s none of the morons or trouble that they’re gigs once attracted and there’s no-one here but fans who love the music and provide a great, inclusive atmosphere. This is the Rejects that I always wanted to see ! With ‘Vol 1’ completed, they’re back onstage for an encore, inevitably invoking their beloved West Ham with versions of ‘We Are The Firm’ and ‘I’m Forever Blowing Bubbles’… Personally, I was a bit disappointed that they didn’t play ‘Flares and Slippers’, but after a gig like this, it wasn’t a big complaint. Great songs, great performance, great audience and great atmosphere… that all sounds like a great gig to me !
THE BUSINESS / INFA RIOT / GRADE 2 / RATS NEST. 100 Club, 21/12/19. At the time of Micky Fitz’s death in late 2016, there were rumours that a tribute concert was going to take place. Unfortunately, this took a lot longer than expected, but this year, three original members of the ‘classic’ line-up (Steve Whale, Steve Kent and Micky Fairburn) came together to play a few events with guest musicians, to commemorate their original frontman. The first was in Berlin, the second at Rebellion Festival, another in Madrid and this, their final show, was appropriately announced at the 100 Club. Unsurprisingly, it sold-out in advance and on the night of the gig, the place was packed from the first band onwards. Rats Nest area young three-piece band from Kent playing a rowdy brand of Streetpunk. At first, I have to admit, at first they sounded a bit derivative, but the more I paid attention, the more I realised that there was actually a lot more going on in their music. Their songs are generally fast but always retain a sense of melody and they refer back to both Seventies and Eighties UK punk as well as more recent American bands. Their first album has recently been released…I think it may well be worth checking-out. Grade 2 are also a relatively young band, although they’ve been together since 2013, in which time they’ve released three albums. Formed on the Isle of Wight (that’s the first time I’ve ever said that about a band) their music has obvious streetpunk roots, probably veering more towards the likes of early Sham 69 and the Upstarts rather than later Oi bands, but also mix-in the sounds of bands like The Jam and The Chords, giving their performance a lot more scope and accessibility. They generate a lot of energy onstage and it’s certainly infectious, getting the audience on their side whether they were already familiar with the band or not. If this set was what we can expect from the band on a regular basis, I’ll definitely be seeing them again. Main support comes from North London’s Infa Riot. I never saw them back in the Eighties, put-off by the fact that their records tended to sound pretty weak. Not the songs themselves, but the production really didn’t do them any justice so I was never able to get enthusiastic about the band. But I’ve seen them a few times since they reformed and, onstage, they sound great ! Lee Wilson is an engaging frontman, delivering the vocals with plenty of energy and never afraid to show his humorous side, while the rest of the band, including original guitarist Barry Damery, play a very powerful set. I enjoy them once again and I still can’t figure out why those original records had such a bad sound. But if you get a chance to see them live, be sure to take it. Finally, it’s time for The Business and by this point the place is so crowded that the audience are virtually spilling over onto the stage. Starting-off with ‘The Truth, The Whole Truth and Nothing But The Truth’, they sound great even though the stage is often crowded and the guest singers switch around on a regular basis. It’s rowdy and chaotic but everyone’s here for the right reasons and things go very well. The setlist is a great mix of material from right across their career, from their earliest releases (‘Out in the Cold’, ‘Harry May’) through to ‘Suburban Rebels’, ‘Saturdays Heroes’ and ‘Keep The Faith’, plus tracks from their later albums like ‘One Thing Left to Say’, ‘Hardcore Hooligan’and ‘Guinness Boys’. Steve Whale serves well as master of ceremonies, whilst guest singers like Roi Pearce, Lee Wison and Sebi do a great job to cover Micky Fitz’s irreplaceable vocals. If I’m honest, it was a bit chaotic at times and, musically, probably not the greatest set the band have ever played but none of that mattered. This was a celebration and the job was done. A final version of ‘Drinking and Driving’ ended the set and gradually everyone left to go home. All I can say is, Cheers to Micky Fitz and thanks to The Business !
PETER & THE TEST-TUBE BABIES / VIKKI VORTEX / TERMINAL HEADS. New Cross Inn, 29/12/19. With little going on inbetween Xmas and New Year, this gig became rather tempting. It was a good excuse to meet up with a few friends for an evening plus Peter & the Test-Tube Babies can be relied upon to play an enjoyable, lively set that delivers a great party atmosphere. I saw their original line-up several times in the early Eighties (remember them ? If you do, you were there…sorry !) and they were a great live band. Unfortunately, their ‘drunk-punk’ reputation didn’t do them any favours and generally, the music press wrote them off as cartoon punx even though they always had great tunes and genuinely enjoyable songs. Later on, they did become a bit of a self-parody and I saw a couple of gigs that were really not very good at all, but more recently they’ve returned to being not-quite their best, but certainly a very entertaining band once again. If you want a gig that you can just enjoy without having to think too much about it (we all get there sometimes) PATTTB’s are not a bad prospect. On top of this, this evenings’ opening band, Terminal Heads, include my friend John on guitar and I still haven’t seen them live, so this becomes something that I have no excuse to miss. Originally, Acid Attack were also supposed to be playing but were pulled at the last moment (well, sometime over the last 48 hours) so Terminal Heads are first onstage and prove to be a great opening band. Lots of energy and catchy tunes, fast but never losing track of the melodies. It’s always a bit weird when you see someone that you know playing in a band for the first time, but I’m pretty impressed and John obviously knows his riffs !. The only reason I’ve missed them over the past year is that they have an incredible habit of playing on the same night that I’m already committed to being elsewhere, but after finally seeing them, I’ll be making more of an effort to catch them again. Next band onstage are Vikki Vortex and The Cumshots. The name really sums it up, a genre that my friend Richo used to refer to as ‘Gumbi-punk’… think of Vice Squad and then lose whatever brain-cells remain. I admit, some people may love it, but I can’t justify this kind of drivel at all. Fortunately, New Cross Inn has another bar in the basement where you can effectively avoid bands like this and, on this occasion, we even get a timely alarm-call when it’s time for the headliners when Peter claims three pints of lager from the bar and heads towards the stage !
The game is afoot, so we head upstairs to which is comfortably busy by this point (possibly due to the attendance of numerous Pukes in the Pit…) The set starts with ‘Moped Lads’, a song about a scourge that still irritates to this day (‘They always show off and try to act flash, but the best thing about 'em is when they crash’) getting everyone into the spirit of the evening, before blastin’ in to ‘Run Like Hell’, a sentiment we can all relate to even if our circumstances may have been rather different… Later songs like ‘The Jinx’ and ‘Blown Out Again’ display how they progressed musically (even if the lyrics remained more humour-orientated) while anthems like ‘Up Yer Bum’ and ‘The Spirit of Keith Moon’ summon the legacy of Derek & Clive just as much as the Pistols or The Damned. There are a bunch of more recent songs that I’m not familiar with, but they sound good and certainly maintain the atmosphere, while older faves like ‘Keep Britain Untidy’, ‘Elvis is Dead’ and the glorious ‘Banned From The Pubs’ make this a set that brings a smile to even the grouchiest face. I’m not going to claim that Peter and the Test0Tube Babies will change your life, but when you see a gig like this, perhaps it’ll make things feel a little bit better.