Dog Day Afternoon, Crystal Palace Park, London 01.07.23

Dog Day Afternoon, Crystal Palace Park, London 01.07.23

What a weekend to be in the big smoke. Pulp in finsbury Park, Def Leps and Mutley spew in Wembley Stadium, Pride and Iggy in The Palace (Crystal Palace that is), Oh and The Dirty Strangers in Kilburn. I arrived just in time to join the snaking queue halfway round sarf of the river but to be fair it moved quickly and bag check was smooth amist all the horror stories of recent events at this venue. Now I could rant all day about the vendors charging an arm and a leg for refreshments and the coast of a 99 or screwball would have my nan turning in her grave but I wont. I chose to be here and whilst I don’t like big outdoor shows where you know youre heading for a good fleecing I don’t really now what the answer is – I could stay away but then I’d be cutting my nose off to spite my face and I wanted to see some bands I probably wont ever get the chance to see again so it is what it is. Oh and I wont mention the cost of merch these days or a poster for £30 so lets get on with the show.

First up today in the baking heat of the SE19 summer sun are Brighton punks Lambrini Girls, a trio the mainstream press has already called Iggy Pop’s favourite new band, and you can immediately see why Mr Osterberg would like them as guitarist/singer ploughs straight into the crowd as the band unleash their very own brand of ‘Big Dick Energy’. The only problem with doing this on such a big stage/large scale event being that apart from the front six rows (who will probably all be there to see you already) no one else in the audience really knows what the hell is going on even with onstage cameras present. So, whilst some get to experience the danger up close and personal, me, I’m left waiting for the inevitable TikTok videos to emerge. Next!

Buzzcocks, My first-time post-Pete, and whilst I grew up loving these songs I was too young for the early days of Buzzcocks I did catch the reunion shows and beyond which is still 30-plus years. I thought they hit a particular high on the pre covid renaissance they were enjoying especially at Rebellion where they properly understood how to do festivals and cram your best into an hour or so. On this day I thought Diggle did particularly well with Pete’s vocals, and whilst there is an inevitable Pete-sized hole it was great to hear those classic Buzzcocks songs perforating the Sarf London air once again. With a dozen songs crammed in from the opener ‘What Do I Get?’ through the groovy ‘Why Can’t I Touch It’ it was my favourite Buzzcocks songs that touched my heart once again, ‘Promises’ and the set closer of ‘Harmony In My Head’ via ‘Ever Fallen In Love’ – Whilst I was happy for Steve to get such warm and rapturous applause I did let my mind wander and that Shelley void was so apparent but I’m sure he’d have looked down and been pleased for his old mates to still be carrying the torch loudly and with such passion and conviction. Easily some of the genre’s finest songs right there in the warm Capitol sunshineeee.

Right thick and fast it is as Rusty Egan spins a few discs before SLF join the party and to be fair they brought their A-game and threw out a set of bangers from start to finish. Burns announced early doors that he wasn’t going to rabbit on and instead was going to play as many songs as possible and true to his words it was something of a best of from ‘Tin Soldiers’ into ‘Nobody’s Hero’ and ‘Roots Radical’ there couldn’t have been anyone inside the park who could be disappointed with that hattrick of tunes.

With a cover of the Specials ‘Doesn’t Make It Alright’ placed in the middle of the set it was heads down and off we go as they peeled back the years for ‘At The Edge’ before signing off with a triumphant trio in ‘Gotta Getaway’, ‘Suspect Device’ and finally the anthemic ‘Alternative Ulster’ and their work was done. A crowd that could only have been happy with that set as they were rightly applauded off the stage.

Next up was the set from Generation Sex that a lot of people had high hopes for and when the four gentlemen ambled onto the stage and kicked off with ‘Pretty Vacant’ I thought Cook was his rock solid best and hasn’t aged for about 30 years. Stoking the fire in the engine room throughout the dozen songs. It was a delight to see a slimmed down Jonesy cranking out those riffs on his trusty Les Paul I have to say after ‘Ready Steady Go’ and ‘Wild Youth’ by the end of the set I thought it was the Gen X tunes that ruled the day. Idol singing from a teleprompter seemed a little unnesasery and it was distracting him from what he does best. It might have been nerves or wanting to give it his best, but, I wanted Idol to own the stage and prowl around snarling, sneering and fist punching his way through the tunes but he seemed a little held back which was a shame, thats just my feelings. Anyway, The band weren’t the tightest but who cares? It was a joy to hear those songs, be it ‘Black Leather’ or ‘Kiss Me Deadly’.

After a weird ‘Silly Thing’ maybe Jonesy should have taken the vocals it would have made sense. The highlight of the set for me was a stonking ‘King Rocker’ which to be fair obviously Idol was more comfortable singing his own songs and signing off with ‘Your Generation’ it was then Jonesy finally, got to crank out his signiture Chugg on ‘My Way’ through what has to be said was a crystal clear PA. All in all I was well happy with the set and great to see Jonesy looking and sounding so good. it was what it was punk rock royalty having a blast and kicking out some tunes they wrote many many moons ago. Under rehersed? so what. Sloppy? Fuckin’ right ! Quality? Absolutely.

Next up, Blondie. With a catalogue of hits, every man woman, and child knows the words to bar none. To be fair they’ve been clocking the air miles pretty hard this summer with festival appearances a plenty as well as headline shows all over the place. so, it was expected they would turn in the most polished set of the day on what was icon Debbie Harry’s Seventy Eigth Birthday! Take that in for a minute, and appreciate her brilliance. singing songs that go back almost half a fuckin’ century and still delivering them live without a safety net. She could easily phone in the vocals but that’s not how she’s ever rolled. Her body of work is unrivaled by most other bands who’ve been in the game for years and no doubt soundtracked many in attendance youth and beyond. I’ve seen the debates about phoning in performances from the likes of Guns N Roses to Blondie to anyone over the age of Fifty but I think those people are way off piste after watching how hard the band hit it and knock out a fourteen-track greatest Hits set for the umpteenth time this summer all over Europe and beyond. She’s 78 so why would I expect her to sound like she was in her twenties how many people do? anyway that’s a debate that will rage on and I very much doubt she or anyone else on this bill gives two flying ducks about and rightly so. ‘One Way Or Another’ a punchy ‘Call Me’ through ‘Will Anything Happen’ via the awesome rap in ‘Rapture’ the minutes were flying by as Blondie we’re on fine form and when you see them live you realise how many fantastic songs they have at their disposal with four times as many that its not possible to perform.

With it being Debbies Birthday it seems crazy to think I’ve had many of these songs in my ears since I was in junior school. Call it nostalgia or Blondie Lite without Chris Stein and the other original players but mainly Chris it’s still a thoroughly entertaining set of absolute smashers played by a top-tier band from the youth youth youth flanking the incredible ms Harry via the iconic keyboard licks and that’s not forgetting new signing Glen Matlock and the machine that is Clem Burke who, as it goes still has the best feather cut barnet in Rock n Roll and an unrivaled stamina. Fan-Bloody-tastic set.

Right, the sun is setting in the distance and we shuffle closer towards the stage for what will most likely be the last time many of us get to see Iggy on a stage in the UK. Something I’ve probably been overthinking for weeks, days, and hours. I’ve seen many Iggy shows in many venues and have never ever been disappointed. My first was the Instinct tour which I’ve reminisced over way too many times right up to the last Stooges reunion which was another moment in time to savor such was its spectacular soundtrack. This seventy-six-year-old man I’m waiting on still has the exuberance of a child and the energy of a herd of wildebeests outsmarting a street-walking cheetah looking for a meal. As the PA sparks into life and the band emerges from the shadows the show begins before Iggy rushes on stage and instantly he’s lost his shirt as ‘Five Foot One’ bursts into life and collides with ‘TV Eye’. This is already sounding epic with the addition of the brass section that was taking these songs to places I’d never imagined.

‘Modern Day Rip Off’ was the first new song to get aired as the audience seemed to generate a liquid-like state as it moved and swayed to the rhythm as the brutal ‘Raw Power’ was only slowed in its tracks by ‘Gimme Danger’. Once again Iggy has assembled an incredible band and a special mention has to go to the rhythm section who absolutely nailed it sending shivers down my spine as the dry ice wafted into the darkening south London sky.

I suppose there have to be the expected songs played such as the ‘Passenger’ and ‘Lust For Life’ get aired before the first curve ball of ‘Endless Sea’ lets Iggy take five and perch himself on the wedge whilst he reenergizes for ‘Death Trip’. The set was motoring on and I was trying to savor every second whilst trying to shut out the age debate I had nagging in my head just as Iggy fell to the floor and began barking at the excited crowd which could only mean ‘I Wanna Be Your Dog’ was up next again with the inclusion of the horns it was a stroke of genius before ‘Search And Destroy’ sent some insane.

Encore already? Damn, I don’t want this to end as Iggy hit the cruise button, and ‘Mass Production’ followed by the epic ‘Nightclubbing’ was dispatched. Hell, the clock was ticking to curfew so it was ‘Down On The Street’ followed by the sleazy giant that is ‘Loose’ and I think I had a spec of dust in my eye as I headed towards the exit to catch the finale of ‘Every Losers’ opening shot of Fuck You that this man has done for over fifty years. There seems little sign of him “taking it easy” and to think he’d phone in a performance is blasphemy ‘Frenzy’ was the best way to sign off a fantastic day of music from some of the genre’s finest bands, with a songbook that won’t be bettered anywhere in London over this manic weekend or any other to be fair Dog Day Afternoon was a spectacle I was proud to say I was there and if I never have the pleasure of seeing most of these performers again it was an absolute pleasure and never ever a chore.

Author: Johnny Hayward & Dominic Daley

Buzzcocks – ‘Sonics In The Soul’ (Cherry Red Records)

Buzzcocks – ‘Sonics In The Soul’ (Cherry Red Records)

Sure there is an elephant in the room but to get through this album you’re going to have to park that particular beast and just listen to the record a few times purely on its own merit. Sure Pete was/is a huge part of what made Buzzcocks what they were and that element is no longer there. However, Steve is also a massive part of the equation and he is very much still here and on that basis, he has every right to continue under the name Buzzcocks. So, on that note welcome ladies and gentlemen to my five penneth worth on the brand spanking new Buzzcocks record ‘Sonics In The Soul’.

The record was proceeded by a very nice 10″ EP that contained the opening salvo of ‘Senses Out Of Control’. Now, Buzzcocks had two singers and for me two very different styles there was on the one hand Pete’s pop melodies in contrast to Steves’s more aggressive style more confrontational style so if I were to describe ‘Senses Out Of Control’ as a Steve song for the purposes of this review then you should have a decent idea of where I’m coming from. It’s a banger of an opening track with that Buzzsaw riff thrashing away all downstrokes towards the melodic chorus. It’s a call to arms and with some neat walking bass lines going on under the riff it’s getting multiple plays here after I “got it” and it’s a fine blast of fuck you from the legend that is Steve Diggle.

Are we sitting comfortably? ‘Manchester Rain’ is another uptempo blast but this time with a tip of the hat to Shelley with a nice hook on that lead guitar. It was one of those instant tunes that grabbed me from the first play. Loving the guitar work throughout from the shimmering effect to that one string lick that we all associate with Buzzcocks.

What do I get? Well, I get an album that has a whole bunch of excellent tunes and as I went into this with an open mind I feel I’ve been rewarded tenfold. What a great record from Steve, Chris and Danny – it’s always been all about the music and this record is a worthy contender. Buzzcocks – I love ’em.

Buy Here

Author: Dom Daley

Buzzcocks – ‘Late For The Train’ (Cherry Red Records)

Buzzcocks – ‘Late For The Train’ (Cherry Red Records)

Buzzcocks are a band that needs no introduction but in case you’ve been living under a rock let me enlighten you a bit.  Buzzcocks have been around for over 40 years and have written tunes that have inspired many a generation to pick up guitars as well as advertising execs looking to sell their products.

They were there in the original explosion of the 70s punk scene and the famous Manchester Free Trade Hall Pistols show. Their music has proved to be timeless as well as being too diverse to just put them in one category or genre they were more than just another punk band.

There have been a few lineup changes over the years but the core of the band has always been the two singer-songwriter mavericks that are Pete Shelley and Steve Diggle.

When Cherry Red announced that they were releasing the Buzzcocks “Late for the train” box set which consists of 6 live CDs it had this reviewer salivating as being under 40 I wasn’t even born when this great band started out and sadly as the great Pete Shelley tragically passed away in 2018 and still to my great shame had not got around to seeing them live.

So this 6 cd live set that takes in the reformation years of 1989 – 2016 was something I desperately wanted to hear and I was not disappointed with the sets and quality offered in the set.

CD 1 is taken from a live show in Birmingham 1989 and is a great set with such classics as ‘I Don’t Mind’, ‘Promises’ and ‘What Do I Get?’ and is just a fantastic show full of the energy the band oozes live.

CD2 is a live show from Worcester in ’93 and the gig starts off with Pete saying we have a new album out and the band launch into  ‘TTT’ which is taken from the ‘Trade Test Transmissions’ album and this is a belter of a track. Elsewhere we are treated to high octane versions of other tracks off the new album and it shows that for a band that hadn’t released anything in over 20 years these songs are instant classics and sound great next to old favourites like ‘I Don’t Mind’ (again) and ‘Fast Cars’.

Moving on to CD3 and we see the band head over the channel to perform live in Paris with tapes from 1995 and captures the band in rip-roaring form and has some nice deep cuts such as ‘Libertine Angel’ and ‘Strange Thing’ that sit comfortably with the usual fan favourites such as ‘Orgasm Addict’ and ‘Ever Fallen In Love (with someone you shouldn’t)’.

CD4 is the historic show from Finsbury park in 1996 where history repeated itself as the Buzzers supported the Sex Pistols and also a live BBC session from the same time period.

Oh, how I wish I had a time machine to see what must have been a phenomenal event. The Sex Pistols and Buzzcocks on one bill it’s just a gig that dreams are made of and judging by the live performance on this cd the Buzzcocks are on top energetic form as soon as ‘You Say You Don’t Love Me’ comes blasting out it just sounds so raw and you can really imagine being there.

The BBC session is a nice added bonus and as it’s from 2003 we get great versions of ‘Jerk’ and ‘Driving You Insane’ from the self titled album that was released that year rather than just duplicating the old classics.

CD5 is an outing from London in 2006 and for this reviewer, this my favourite disc from the boxset as with a whopping 28 tracks it really is a stunning gig from start to finish and the tracklist is a fan dream with everything covered from hits to deep cuts with high energy versions of ‘Autonomy’,  ‘Promises’, ‘Operator’s Manual’ and we even have ‘Soul On A Rock’ off ‘Modern’ making an appearance this is an essential live document of a band firing on all cylinders and covering all corners of the bands repertoire.

Finally CD6 is live sessions recorded for the BBC during the period of 1993 – 2016 and has great versions of ‘Do It’ and ‘Libertine Angel’ and as this covers recordings up to 2016 we are treated to live versions of ‘The Way’ and ‘People Are Strange Machines’ taken off what sadly would be the last Buzzcocks release to feature the late great Pete Shelley ‘The Way’.

I can’t really put into words how great this box set is not just the quality of the live recordings but the booklet has great sleeve notes from Steve Diggle and even has a section dedicated to fans recollections of their Buzzcocks concert memories.

Cherry Red have done it again with a stunning box set that is an essential purchase to any Buzzcocks fans collection. All for less than a round of drinks as well.

Buy ‘Late For The Train’ Here

Author: Gareth ‘Hotshot’ Hooper

Buzzcocks – ‘Sell You Everything (1991-2004)’ (Cherry Red Records)

Buzzcocks – ‘Sell You Everything (1991-2004)’ (Cherry Red Records)

Buzzcocks should require no introduction. Forever embedded in pop culture of the late ’70s and to the punk and post-punk DIY movements, the group, led by frontman Pete Shelley and co-frontman Steve Diggle, brought an essential pop sensibility and sartorial style to the late last epic youth movement but are also tied to the last big youth explosion that was Grunge and Nirvana in particular.

Having disbanded in 1981, the band re-grouped in 1989 and continue to write, record and perform to this day, despite the saddening and untimely loss of Pete Shelley in 2018. This box set captures the eight albums and numerous singles the band produced with Shelley during a thirty-three year period, alongside previously unheard rarities, demos, outtakes & veritable treasures that lie under the lid.  Dismiss at your peril ‘Sell You Everything’ is an essential purchase as you should make all year.

We’ll start at the beginning of these eight discs and number one sees the band present their 1991 demos of the album some of which made it onto ‘Trade Test Transmission a couple of years later.  Thirteen demos of exceptional quality expanded to make a twenty-one song disc.  Sure there is a small amount of repetition with songs like ‘Alive Tonight’ and ‘Succesful Street’ cropping up a couple of times but very different versions to be fair and different enough to deserve duplicating. Of course, this demo album isn’t up there with the first four albums lets not pretend anything other than what it is but to fans (of which I would consider myself one) it’s fantastic to have all these songs in this format together on the one disc.  right, One down seven to go! Oh before we move on the demo version of ‘Succesful Street’ is far superior to the one on the EP!

Disc two is ‘Trade Test Transmission’ plus a few of Diggle’s home demos songs like ‘Energy’ which gives you a good idea of how the song came together even if this is much more like home recording territory god bless those Tascam4 tracks eh?

Disc Three is ‘All Set’ which was more in keeping with Buzzcocks from the sprightly opener ‘Totally From The Heart’ and I always loved ‘Without You’ it was the return of classic Shelley. As always when Diggle got behind the mic he always dished up a classic or two and his contribution here is the wonderful ‘What Am I Supposed To Do’. I always had a soft spot when Diggle got out the old acoustic as well and his contribution here was the albums closing number ‘Back With You’ but again its the demos at the end that hold the intrigue and a whole bunch of energy especially ‘Your Love’.  Laying fresh ears on this album has been a joy and a bit of guilt for not picking it up sooner over the last decade or so I feel shame for the neglect and won’t let it be another decade before it gets played.

 

Disc Four sees the band hit the tail end of the ’90s and having been back at it for almost a decade by this point and ‘Modern’ hit the shelves.  I loved how about this point the band were being referred to indie rockers and not punk pioneers or post-punk power-pop legends but they still had plenty of fizz on songs like ‘Rendezvous’.  They did test my patience as well I won’t lie.  ‘Don’t Let The Car Crash’ was a weird one as was ‘Doesn’t mean Anything’ and ‘Phone’ as well whilst we’re at it.  I always thought it was better suited to the solo material with all the samples but now looking back maybe I appreciate the band experimenting more. I always loved the more straight aproach of ‘turn Of The Screw’ and ‘Sneaky’.  Probably the lowest point of the band catalogue to be fair although adding the Townsend strum of ‘Autumn Stone’ Steves Buzz is very interesting as Diggle manages to sound hauntingly like Steve Marriott here.

 

The self-titled album of 2003 was a right return to form with fast songs that cut the crap from opener ‘Jerk’ and the thunderous ‘Keep On’ someone or something really lit a fire under the band who also were turning in some fantastic live shows around this time as well.  ‘Sick City Sometimes’ is a blinding track courtesy of Mr. Diggle.  ‘Buzzcocks’ was a stripped back bullshit-free bolt of thunder and lightning from the slashing hack of those guitars to the super-tight rhythm section a real beast of an album.  With only three bonus tracks here one being the demo of ‘Never Believe It’ and the final two cuts being a live rendition of ‘Paradise’ and a haunting bootleg out of the desk take of ‘Oh Shit’ that’ll strip paint if you play it loud enough.

‘Flat Pack Philosophy’ I remember having mixed press around the time and having pledged on a copy I remember it ticking a lot of boxes around the time of its release and listening back here it still stands up with songs like the title track and ‘wish I Never Loved You’ being a pair of belters to open any album never mind the bazillionth album of an illustrious career.  ‘Sell You Everything’ is another slice of Diggle gold but once again fans will be intrigued with the bonus cuts on offer sees ‘See Through You’ and ‘Darker By The Hour’ and its pop beauty before a filthy, raucous ‘Love Battery’ and ‘Sixteen’ – Job done another epic Buxxcocks album made even better by an abundance of additional material.

Now disc seven.  Probably the disc I’ve played over and over again since getting my mitts on this treasure trove of Buzzcocks goodies twenty-Four reworks of classic songs from right across the existence of one of the most exciting innovative and downright brilliant bands ever. I absolutely love it some songs have matured and improved with age and some of the later ones like ‘Turn Of The Screw’ fit in like peas in a pod – bloody brilliant. HAving Shelley bark out the words and melodies on ‘Boredom’ is exciting and don’t get me started on the bass line of ‘Fast Cars’ or the mesmeric qualities of ‘Why Can’t I Touch It’.  Anyone who witnessed the band performing over the last decade would have pretty much witnessed these songs played by this line up in this way and I can’t imagine one single person not bowing down to the majesty power, beauty and downright quality of what was on offer and hearing them rerecorded here gives nothing away as to the age of the songs in large nor is any quarter given by the band.

‘You Say You Don’t Love Me’ nestled next to ‘Turn Of The Screw’ or the bluster of ‘Breakdown’ preceding ‘Promises’ brings a tear to my eye. ‘Love You More’?  I don’t think I could right now and the sadness that washed over me hearing an enthusiastic ‘What do I Get’ knowing I’ll never get that live again but I do have this blistering set to fall back on.  ‘I Believe’ and then finally ‘Love Is Lies’ wraps up the disc that makes all this worth it.  If you had any doubt about picking this up then take a butchers at this running order and tell me its not worth it?  Absolutely bittersweet but sheer brilliance. and there’s still one more to go.

The box set of the year is wrapped up nicely with ‘The Way’ plus seven bonus cuts and the best box set to get released is done.  A real joy to behold from the audio to the packaging its a winner and a must-have not just for the die-hard fans but for anyone whos has ever sung along to a Buzzcocks track at a disco, pub, wedding whatever this is a must-have lovingly compiled and expanded and everything you want from a box set that sells you everything and not just goes through the motions. 160 tracks – 29 previously unreleased, what’s not to want?  Essential, simple as

Buy ‘Sell You Everything’ Here

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Author: Dom Daley

Ditches – Ditches (Drunken Sailor Records)

Ditches – Ditches (Drunken Sailor Records)

Ditches, from outta Stockholm Sweden which is already a good start seeing as the country has always thrown up great garage punk rock n roll bands from the Nomads to Hellacopters to the Hives and many many more well, Ditches picked up the baton and seem to be running away with it.  If you were to cut em through the middle they’d have a core of Buzzcocks melodies with some bubblegum holding it together via some pretty nifty power-pop whilst heading through the backstreets after dark wearing skinny jeans and sneakers they only stop to smoke a cigarette and pogo before they get back to it.

The melodies come thick and fast with an emphasis on the fast. Opener ‘Out Of This’ sets the pace and the tone and that Shelley melody blueprint is evident on ‘Get Away’. For a debut LP, they are right on the money with leather jackets with the collar turned up these snotty oiks have to know that they can pen some top brain candy that gets in and settles for a while making you feel great inside with that power pop punk rock glow of satisfaction.

The production is bright without glossing over the rough edges, ‘Stitch Me Up’ being a great example.  Cool chorus and a real sugar rush of a tune. With eleven songs sticking to the formula its a great debut and with all the promise of another top turn hailing from Sweden in 2020 is exactly what we need another generation of punks coming through re-energising a scene and really appreciating what it takes to write great music. Its like hearing stuff like the Undertones again but from a different time totally – I bet these songs are great live n loud in some sweaty dive bar where you can really lock into the rapid beat and chiming guitars.  they seem to know exactly what they’re good at and stick to it well. not a bad track amongst the eleven on offer.  Let’s hear it for Ditches more peaks than troughs.

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Author: Dom Daley

Buzzcocks – ‘Sell You Everything’ May release date for 8CD collection

Buzzcocks – ‘Sell You Everything’ May release date for 8CD collection


Pre order Here 

Buzzcocks require no introduction. Pivotal to the punk and post-punk DIY movements, the group, led by frontman Pete Shelley and co-conspirator Steve Diggle, brought an essential pop sensibility and sartorial style to the late 1970s and early 1980s.

Having disbanded in 1981, the band re-grouped in 1989 and continue to write, record and perform to this day, despite the saddening and untimely loss of Pete Shelley in 2018. This handsome box set captures the eight albums and numerous singles the band produced with Shelley during a twenty three year period, alongside previously unheard rarities, demos and outtakes.

Packed with remarkable music, including excellent re-visits of much of their best loved material on ‘A Different Compilation’, ‘Sell You Everything’ showcases a longevity and a hunger rarely seen in a band now into their forty-second year.

***LIMITED EDITION POSTCARD SIGNED BY STEVE DIGGLE WHILE STOCKS LAST***PLEASE NOTE POSTCARD DESIGN IS THE SAME FOR ‘1991 DEMO ALBUM’ AND ‘SELL YOU EVERYTHING, 8CD BOXSET’.

• DELUXE BOX SET COMPILING THE POST-REFORMATION YEARS, SPANNING THREE DECADES.

• 160 TRACKS, INCLUDING MANY NEVER BEFORE ON CD AND 29 PREVIOUSLY UNRELEASED RECORDINGS!

• INCLUDES THE ENTIRE 1991 DEMO ALBUM, HOME RECORDINGS FROM STEVE DIGGLE’S ARCHIVE, DEMOS AND RARE B-SIDES AND PROMOTIONAL ONLY TRACKS.

• ALSO INCLUDES ‘A DIFFERENT COMPILATION’, FEATURING RE-WORKED INTERPRETATIONS OF THE CLASSICS ‘EVER FALLEN IN LOVE’, ‘WHAT DO I GET’, ‘ORGASM ADDICT’ AND MORE.

• PRODUCED IN ASSOCIATION WITH STEVE DIGGLE AND BUZZCOCKS.

• BOOKLET INCLUDES SLEEVENOTES BY PAT GILBERT (MOJO MAGAZINE) BASED ON NEW INTERVIEWS WITH STEVE DIGGLE.

TRACKLISTING

DISC ONE

THE 1991 DEMO ALBUM *

1. DREAMIN’
2. ALIVE TONIGHT
3. NEVER GONNA GIVE IT UP
4. WALLPAPER WORLD
5. SUCCESSFUL STREET
6. WHO’LL HELP ME TO FORGET
7. SERIOUS CRIME
8. WHY COMPROMISE
9. LAST TO KNOW
10. RUN AWAY FROM HOME
11. SEARCHING FOR YOUR LOVE
12. TRANQUILLIZER
13. WHEN LOVE TURNS AROUND YOU
BONUS TRACKS
14. ALL OVER YOU (DEMO)*
15. ISOLATION (DEMO)*
16. TRASH AWAY (DEMO)*
17. INSIDE (DEMO)*
18. ALIVE TONIGHT (EP VERSION)
19. SERIOUS CRIME (EP VERSION)
20. LAST TO KNOW (EP VERSION)
21. SUCCESSFUL STREET (EP VERSION)

* PREVIOUSLY UNRELEASED

DISC TWO
TRADE TEST TRANSMISSIONS

1. DO IT
2. INNOCENT
3. TTT
4. ISOLATION
5. SMILE
6. LAST TO KNOW
7. WHEN LOVE TURNS AROUND
8. NEVER GONNA GIVE IT UP
9. ENERGY
10. PALM OF YOUR HAND
11. ALIVE TONIGHT
12. WHO’LL HELP ME FORGET
13. UNTHINKABLE
14. CRYSTAL NIGHT
15. 369
BONUS TRACKS
16. INSIDE
17. LIBERTINE ANGEL
18. ROLL IT OVER
19. EXCERPT FROM ‘PRISON RIOT HOSTAGE’
SOMEWHERE IN THE WORLD*
20. ENERGY (HOME DEMO)*
21. IT’S ALRIGHT (HOME DEMO)*
22. TAKE YOUR LIFE (HOME DEMO)*
23. SOMEWHERE IN THE WORLD
(HOME DEMO)*

* PREVIOUSLY UNRELEASED

DISC THREE
ALL SET

1. TOTALLY FROM THE HEART
2. WITHOUT YOU
3. GIVE IT TO ME
4. YOUR LOVE
5. POINT OF NO RETURN
6. HOLD ME CLOSE
7. KISS ‘N’ TELL
8. WHAT AM I SUPPOSED TO DO
9. SOME KINDA WONDERFUL
10. WHAT YOU MEAN TO ME
11. PLAYING FOR TIME
12. PARIAH
13. BACK WITH YOU
BONUS TRACKS
14. WITHOUT YOU (DEMO)*
15. YOUR LOVE (DEMO)*
16. GIVE IT TO ME (DEMO)*
17. KISS ‘N TELL (DEMO)*

* PREVIOUSLY UNRELEASED

DISC FOUR

MODERN

1. SOUL ON A ROCK
2. RENDEZVOUS
3. SPEED OF LIFE
4. THUNDER OF HEARTS
5. WHY COMPROMISE?
6. DON’T LET THE CAR CRASH
7. RUNAROUND
8. DOESN’T MEAN ANYTHING
9. PHONE
10. UNDER THE SUN
11. TURN OF THE SCREW
12. SNEAKY
13. STRANGER IN YOUR TOWN
14. CHOICES
BONUS TRACKS
15. HERE COME THE NICE
16. AUTUMN STONE – Stevie’s Buzz

DISC FIVE
BUZZCOCKS

1. JERK
2. KEEP ON
3. WAKE UP CALL
4. FRIENDS
5. DRIVING YOU INSANE
6. MORNING AFTER
7. SICK CITY SOMETIMES
8. STARS
9. CERTAIN MOVE
10. LESTER SANDS
11. UP FOR THE CRACK
12. USELESS
BONUS TRACKS
13. DON’T COME BACK
14. NEVER BELIEVE IT (DEMO)
15. PARADISE (LIVE)
16. OH SHIT! (LIVE)

DISC SIX
FLAT-PACK PHILOSOPHY

1. FLAT-PACK PHILOSOPHY
2. WISH I NEVER LOVED YOU
3. SELL YOU EVERYTHING
4. RECONCILIATION
5. I DON’T EXIST
6. SOUL SURVIVOR
7. GOD, WHAT HAVE I DONE
8. CREDIT
9. BIG BROTHER WHEELS
10. DREAMIN’
11. SOUND OF A GUN
12. LOOK AT YOU NOW
13. I’VE HAD ENOUGH
14. BETWEEN HEAVEN AND HELL
BONUS TRACKS
15. SEE THROUGH YOU
16. HOLDING ME DOWN
17. EVERY DAY AND EVERY NIGHT (DEMO)
18. DON’T MATTER WHAT YOU SAY
19. ORION
20. DARKER BY THE HOUR
21. LOVE BATTERY (LIVE)
22. SIXTEEN (LIVE)

DISC SEVEN
A DIFFERENT COMPILATION

1. BOREDOM
2. FAST CARS
3. I DON’T MIND
4. AUTONOMY
5. GET ON OUR OWN
6. WHAT EVER HAPPENED TO?
7. WHEN LOVE TURNS AROUND YOU
8. WHY SHE’S A GIRL FROM THE CHAINSTORE
9. WHY CAN’T I TOUCH IT?
10. ALIVE TONIGHT
11. I DON’T KNOW WHAT TO DO WITH MY LIFE
12. YOU SAY YOU DON’T LOVE ME
13. TURN OF THE SCREW
14. NOISE ANNOYS
15. BREAKDOWN
16. PROMISES
17. LOVE YOU MORE
18. WHAT DO I GET
19. HARMONY IN MY HEAD
20. OH SHIT!
21. EVER FALLEN IN LOVE (WITH SOMEONE YOU SHOULDN’T’VE)?
22. ORGASM ADDICT
23. I BELIEVE
24. LOVE IS LIES

DISC EIGHT
THE WAY

1. KEEP ON BELIEVING
2. PEOPLE ARE STRANGE MACHINES
3. THE WAY
4. IN THE BACK
5. VIRTUALLY REAL
6. THIRD DIMENSION
7. OUT OF THE BLUE
8. CHASING RAINBOWS/MODERN TIMES
9. IT’S NOT YOU
10. SAVING YOURSELF
BONUS TRACKS
11. GENERATION SUICIDE
12. DREAM ON BABY
13. HAPPY
14. DISAPPOINTMENT
15. IN THE BACK (HOME DEMO)*
16. DANCING AT DAWN (HOME DEMO)*
17. CAN YOU DIG ME? (HOME DEMO)*

* PREVIOUSLY UNRELEASED

Vive Le Rock Magazine celebrate 10 years in print with awesome line up and Award Night

Vive Le Rock Magazine celebrate 10 years in print with awesome line up and Award Night

THE 2020 VIVE LE ROCK AWARDS GOES LARGE ON THE MAGAZINE’S TENTH ANNIVERSARY!

 

THE LEGENDARY ROCK ‘N’ ROLL EVENT CONFIRMED TO TAKE PLACE AT THE 02 SHEPHERDS BUSH EMPIRE APRIL 1ST

 

ICONIC 80S ROCKERS LORDS OF THE NEW CHURCH TO PLAY ONE-OFF REUNION WITH FINNISH HANOI ROCKS LEGEND MICHAL MONROE FRONTING AND MUCH MORE!

 

Staking its reputation as an essential rock ‘n’ roll date in the annual calendar, with two now fabled awards nights at the 02 Islington Academy in 2018 and 2019 which saw a vast array of iconic artists performing and rubbing shoulders, the 2020 Vive Le Rock Awards is confirmed to take place this coming April 1st.

 

This time, however, the event has gone bigger and bolder, moving to the 2000 capacity 02 Shepherds Bush Empire for the party of the year that also celebrates Vive Le Rock’s tenth anniversary in print, having published its first issue in 2010, it is now the world’s biggest rock ‘n’ roll and punk magazine, independently published by Big Cheese Publishing Ltd in London.

 

The two previous years have featured live appearances from The Damned, The Stranglers, Shakin’ Stevens, Suzi Quatro, members of AC/DC, Sex Pistols, The Specials, Buzzcocks and even England football legend Stuart Pearce, and 2020 continues to up the ante.

 

This year sees Original Rudeboy – The Specials Neville Staple joining the party along with a very special one-off reformation of 80’s goth rockers The Lords of The New Church, fronted by Finnish Hanoi Rocks legend Michael Monroe on vocals. The Vive Le Rockers all-star band will once again back specially invited singers and compere for the night will see the return of Ed Tudor-Pole of Tenpole Tudor fame (and also 80s T.V show, The Crystal Maze!).  Chrissie Hynde and the Pretenders are set to pick up an Icon Award and punk legend, The Damned’s Brian James will accept the Pioneer award. Two extra special guest performers are due to be announced soon along with a wealth of awards.

 

There will be a special section for rockers we have lost in 2019 including Gang Of Four’s Andy Gill, Eddie and The Hot Rods Barrie Masters (who played the 2019 VLR awards) and surf guitar legend Dick Dale.

 

The audience will comprise of invited members of the media, television, fashion and the music world as well as an allocation of tickets for the general public. The VLR Awards are a truly unique, international event celebrating the legends of our music scene. “This isn’t some chicken in a basket awards show, this is a party with the coolest people in rock n’ roll” said Vive Le Rock editor Eugene Butcher.

 

Tickets available HERE:

 

You can watch the action from the last two VLR Awards Here

 

2020 VIVE LE ROCK AWARDS!

2020 VIVE LE ROCK AWARDS! It's gonna be a wild night. Lords of the New Church- FEATURING Michael Monroe, Ed Tudor Pole, The Specials (Official) Legend From The Specials – Neville Staple, BRIAN JAMES- The Damned , 2 extra special acts and our Headline band! Plus All star guests and Presenters! Here's a sneak peak at the last 2 years.Tickets and VIP Packages at https://www.ticketmaster.co.uk/the-2020-vive-le-rock-awards-tickets/artist/5330131

Posted by Vive Le Rock on Monday, 27 January 2020

Gone But Not Forgotten – Pete Shelley 1955-2018

Gone But Not Forgotten – Pete Shelley 1955-2018

Photo by Andre Csillag

Today RPM would like to remember Peter Campbell McNeish born on 17 April 1955 but sadly passed away on this day twelve months ago of a suspected heart attack.  Can’t place the name? worry not because you will remember him as Pete Shelly one of the singer-songwriters from Buzzcocks and writer of classic punk tunes such as ‘Ever Fallen In Love (with Someone You Shouldn’t ‘ve?).

Shelley formed Buzzcocks with Howard Devoto after they met at the Bolton Institute of Technology in 1975 and after the pair travelled to High Wycombe, to see the Sex Pistols. The band included bassist Steve Diggle and drummer John Maher; They went on to make their debut supporting the Sex Pistols in their home town of Manchester.  After the band went onto an indefinate hiatus it was touring or being asked to open for Nirvana around North America that sparked a renewed interest in the band and they never looked back.

McNeish changed his name to Shelley after his favourite romantic poet which shouldn’t come as a surprise with the style of songs and the lyrics Pete wrote throughout his career.  From the debut classic ‘Spiral Scratch’ right through his solo years and up until his untimely passing as a member of the reformed Buzzcocks sadly he missed his bands playing at The Royal Albert Hall  Pete Shelley is sadly missed and has left a giant hole in the hearts of many fans around the globe.

The first three albums are regarded as the classic years where Shelly was thrust into the frontman role ably assisted by Diggle but it was Shelly’s melodies on hits like ‘Ever Fallen In Love’ and ‘What Do I Get?’ the band hit something of a wall in 81 after the release of ‘Singles Going Steady’ and a dispute with their then label.  He went on to have a decent solo career until he and Diggle reformed the band in 89 with the release of ‘Trade Test Transmission’.  there were several new albums from Buzzcocks including ‘The Way’ and ‘Flat Pack Philosophy’. His death was broken to the public through his brother Gary via Facebook.

Shelley had moved to Tallinn in Estonia, in 2012 with his second wife, Greta, an Estonian, he sited the less hectic pace there to that he had spent the last thirty years in London. He died in Estonia of a suspected heart attack on the morning of 6 December 2018. His passing rightly made the national news as he had so much left to give and Buzzcocks were still very capable of delivering devastating live performances with so many hits they tried to pack into their live show they never disappointed.  The band were heralded by the likes of John Peel who was synonymous with playing their singles before they were released and helping turn the public onto Shelley penned classics.

 

Shelley left behind a quite remarkable catalogue of records spanning several decades five solo albums, fourteen singles as for Buzzcocks; there were nine studio albums, five live albums, no less than thirteen compilation albums, ten EP’s and twenty-four singles.  It’s hard to believe looking back that the band never achieved a top ten single in the UK when you consider some of their most memorable releases.

 

Stiff Little Fingers are delighted to announce a full UK tour in March 2020

Stiff Little Fingers are delighted to announce a full UK tour in March 2020

Legendary Northern Irish punk rock act Stiff Little Fingers are delighted to announce a full UK tour in March 2020 – The 2020 Tour.

The tour will see the band play their29th consecutive Glasgow Barrowland Ballroom St. Patrick’s Day show as part of their traditional March tour. The band also headline London’s Roundhouse to end the 13-date run.

All the dates will feature support from The Professionals and TV Smith. The Roundhouse show only will also feature a very special guest slot from the Neville Staple Band. With an iconic career of over 40 years, Stiff Little Fingers remain as vital as ever.

The full tour dates are as follows:
Thursday 12thMarch 2020                               Bristol, O2 Academy
Friday 13thMarch 2020                                     Cardiff, Great Hall
Saturday 14thMarch 2020                               Birmingham, O2 Academy
Monday 16thMarch 2020                                Norwich, UEA
Tuesday 17thMarch 2020                                 Glasgow, Barrowland Ballroom
Thursday 19thMarch 2020                               Troon, Concert Hall
Friday 20thMarch 2020                                     Newcastle, O2 Academy
Saturday 21stMarch 2020                                Leeds, O2 Academy
Monday 23rdMarch 2020                                Northampton, Roadmenders
Tuesday 24thMarch 2020                                 Nottingham, Rock City
Thursday 26thMarch 2020                               Portsmouth, Pyramids   
Friday 27thMarch 2020                                     Manchester, Academy
Saturday 28thMarch 2020                               London, Roundhouse

Tickets are available from www.slf.rocks

In addition to the dates announcement Stiff Little Fingershave just put out two special ‘Virtual Reality’ videos filmed with a 360 degree camera attached to the drum kit, from this years “Putting the Fast In Belfast 3” show in August. This gives the user, via their mobile viewing device or computer, the option to view whatever part of the stage and or band member they so wish via movement of the viewing device or via a mouse or pointing tool. The two tracks are their iconic punk anthems “Alternative Ulster” and “Tin Soldiers” available via the links below and on the bands own YouTube Page.

 

Stiff Little Fingers have been incredibly active in recent years, playing some prestigious live shows, including: three years of headline sold-out hometown performance in Belfast’s Custom House Square; London’s Hyde Park British Summer Time concert with Green Day; the 28th traditional St. Patrick’s Day sold-out show at Glasgow iconic venue Barrowland Ballroom.

In addition to the live performances, the past five years saw Stiff Little Fingers release two records: their tenth studio album “No Going Back” in 2014, which showcases a band at the height of their powers, still able to capture the heart of the listeners with relevant topics and honest sound, reaching #1 in the UK charts; and a live album “Best Served Loud – Live At The Barrowlands” in 2017, which immortalises Stiff Little Fingers’ epic performance at their annual St. Patrick’s Day show.

Formed in 1977 in Belfast Stiff Little Fingers were among the pioneers of punk rock. Joining ranks with the likes of The Clash, Sex Pistols, The Damned, Buzzcocks, and Undertones they brought in a new era of music and they’re still keeping that spirit alive 42 years on!

www.slf.rocks  / www.facebook.com/StiffLittleFingers  / www.twitter.com/RigidDigits

Band picture credit to :  Bernie Mcallister

PROFESSOR AND THE MADMAN’S – ‘ONE NIGHT ONLY’ available to buy after pledge

PROFESSOR AND THE MADMAN’S – ‘ONE NIGHT ONLY’ available to buy after pledge

FOLLOWING THE DEMISE OF PLEDGEMUSIC, PROFESSOR AND THE MADMAN FULFILL ALL EXISTING PRE-ORDERS FOR THE GROUP’S LIVE AT THE 100 CLUB ALBUM

 

PROFESSOR AND THE MADMAN’S LINEUP FOR THIS ‘ONE NIGHT ONLY’ CONCERT FEATURED ALFIE AGNEW (Adolescents, D.I.), SEAN ELLIOTT (D.I., Mind Over Four), RAT SCABIES (The Damned), AND PAUL GRAY (The Damned, Eddie & the Hot Rods, UFO)

Live at the 100 Club is available now on red vinyl, CD, and download

Professor and the Madman announce that they have personally fulfilled all orders for their Live at the 100 Club album. Recorded in August 2018, Live at the 100 Club was initially offered for pre-order exclusively through the crowdfunding website PledgeMusic. However, after months of delays, the campaign was temporarily derailed when PledgeMusic operations shuttered in May.

“Pledge was such a great conduit between the artists and the fans and it should have been bulletproof,” says the band’s Sean Elliott. “I’m sad to see it gone.”

Picking up where PledgeMusic left off, Live at the 100 Club is now available exclusively on red vinyl LP and CD Here. It is also available digitally at all retail platforms.

The album features a dozen tracks which span PATM’s trio of studio albums alongside two new entries to the band’s discography. “Nuclear Boy” is a cover of the 1981 power pop entry by Hollywood-based 20/20, while “Quit This Town” was first released in 1977 by UK rock act Eddie and the Hot Rods. The live version of the latter track features a guest appearance by former Hot Rods songwriter/guitarist Graeme Douglas.

Live at the 100 Club was recorded at the famed London hotspot on August 10, 2018. In existence since 1942, the venue located at 100 Oxford Street began as a jazz and swing music nightclub but is now best known for its role in the evolution of Britain’s punk rock movement. In September 1976, the 100 Club hosted an international punk festival which included performances by the Sex Pistols, The Damned, The Clash, Buzzcocks, The Jam, The Stranglers, and Siouxsie and the Banshees, among others.

With its rich punk history, the 100 Club was the ideal venue for Professor and the Madman’s UK debut. The group’s lineup is comprised of members with deep roots in the scene: singer/guitarist Alfie Agnew (Adolescents, D.I.), singer/guitarist Sean Elliott (D.I., Mind Over Four), Rat Scabies (The Damned), and Paul Gray (The Damned, Eddie & the Hot Rods, UFO).

Billed as a ‘One Night Only’ event, the 100 Club show provided a rare chance to see this version of the band. Due to the distance between Agnew and Elliott in Southern California, and Scabies and Gray in the UK, logistics make it difficult for the quartet to convene for live performances. For the majority of PATM’s live dates in America, Agnew and Elliott are joined by fellow musicians from Orange County, CA.

Professor and the Madman released their third studio album, ‘Disintegrate Me’, in February 2018. Choosing the group as one of its “Bands to Watch in 2018,” Classic Rock Magazine declared “Disintegrate Me is an infectious cocktail of power-pop/rock, ‘60s British Invasion and melodic psychedelia. It’s rich, quality stuff.”

Agnew, Elliott, Scabies, and Gray are currently at work on a new album for release next year.

 

CONNECT WITH PROFESSOR AND THE MADMAN: