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

I really can’t think of a better way to kick-start my 2023 than with ‘Every Loser’, Iggy Pop’s 19th solo album, released via a partnership between Atlantic Records and Gold Tooth Records.

Four years after his last solo record, 2019’s largely spoken word and sombre affair ‘Free’. ‘Every Loser’ sees Mr Osterberg Jr teaming up with hotshot producer and multi-instrumentalist Andrew Watt. A man I last saw having an onstage meltdown with a soundman for not doing his job properly before slamming his guitar headstock first into the monitors, so whilst his production client list might range from Lana Del Ray via Justin Beiber to Ozzy Osbourne, I’ve witnessed the guy’s inner Iggy…and let’s not forget by also played guitar on Glenn Hughes’ best album in decades, the excellent ‘California Breed’, and that’s how I got witness his outburst.

Cranking the Wharfdales up (Jesus I really am starting to sound like Tommy Saxondale) in anticipation of a return to Iggy’s more rockier moments, opener and lead single ‘Frenzy’ certainly doesn’t disappoint. Built around the rock-solid rhythmic backbone of Duff McKagan and Chad Smith. Iggy is back to his potty-mouth best spitting out the profanities at will whilst Watt places the guitar somewhere between Asheton and Jones. Incendiary stuff!

It’s the second teaser from ‘Every Loser’ that got me excited most first of hearing it though, the goth pop of ‘Strung Out Johnny’ sounding like the best 69 Eyes (stop laughing at the back) song they never wrote. Seriously this is Iggy at his infectious best and save for a few f-bombs this could have been a huge radio hit back in the day.

The Igg-ster is no heritage act though and ‘New Atlantis’ is the near perfect amalgamation of his latter-day love of the spoken word and the desert rock leanings he took onboard during ‘Post Pop Depression’, and just like the tracks that precede it the hook is a true killer Iggy. Albeit these days, granted it’s in a slightly lower register.

‘Modern Day Rip-Off’ is the first time I get a sense of the Stooges raising their middle finger to proceedings as that rigid digit is used to play the one note piano riff that underpins yet another set of vitriolic Iggy lyrics, Smith, McKagan and Watt meanwhile sound like they are having the time of their lives.  I bet Duff wishes his day job band still sounds this alive….and their singer is nowhere near 75 years of age, and speaking of which, even Iggy needs a little breather from time to time and here it comes in the shape of side 1 closer ‘Morning Show’. 

Dropping the needle on side two and it’s the kooky ‘The News For Andy’ that gets things off to a great start. Iggy once again talking his way through an almost Bowie–esque curveball that is over all too quickly.

‘Neo Punk’ is the track a lot of journalists have been picking out as the possible standout on ‘Every Loser’, and yes it does indeed rock in seismic proportions, but for all its bluster it’s the track that follows it, ‘All The Way Down’ that really impresses me most.  Again, it’s got that Stooges one finger piano in parts but just like ‘Strung Out Johnny’ on side one this beauty has me reaching for the volume control to turn things up even louder, and that’s got to be the first time in around three decades I’ve said that about a song featuring Stone Gossard on guitar (look, before I get shot for this, it’s an in-joke okay).

Fellow grunge superstar Eric Avery plucks out the bass intro to ‘Comments’ and that mid 80s post punk influence his old band used to play about with to maximum effect is here in abundance. The keyboard touches from multi-instrumentalist and Gossard band mate Josh Klinghoffer are an absolute delight and working his magic on the hi-hats there’s the sadly departed Taylor Hawkins. He must have been so proud to have played on this album, and in hindsight, what a way to bow out.

‘My Animous Interlude’ and ‘The Regency’ close out ‘Every Loser’, and it’s a song pairing where it’s impossible to separate them. The former providing a glimpse of Banshees like spoken word charm before the latter has Iggy spitting out “Fuck The Regency (Up)” over a hook that somehow manages to give Siouxsie and Co a late 80s Guns N’ Roses makeover before spiralling off into 4AD territory for the album’s final grooves.

Having pretty much everything Iggy Pop has ever produced within my music collection and enjoying most, if not all of it, (yup even the French stuff) this album really is right up there with the very best of Iggy’s illustrious back catalogue, and I just can’t wait to hear these songs live. So, roll on Dog Day Afternoon, every loser has to be there.

Buy Here

Author: Johnny Hayward



Not one to retire quietly Iggy releases a video for a new song ‘Frenzy’ where he draws in some big hitters to accompany him on the recording. Duff McKagan who he hasn’t worked with since ‘Home’ is thumping the four string whilst Chad Smith pours petrol to fuel the fire in the engine room. I’d love to think this points to a new album in 2023 of raging garage rock n roll from Mr Pop that would be something to look forward to that’s for sure – until then this will more than do.

Website / Facebook

Punk Isn’t Dead, It’s Minted.

Desperate Measures launch album with exclusive NFT drop by LuchaCoinNFT.

Prepared By LuchaCoinNFT

DESPERATE MEASURES, the New Zealand-born, London-based, punk and rock four piece released their brand-new mini album ‘Rinsed’ on Easy Action records last October to critical acclaim. Containing six tracks of hard-hitting punk with a big helping of rock n’ roll, the album is available on 10” vinyl, CD and download. These recordings feature the new line-up of founder Eugene Butcher, former Glitterati and current Rich Ragany and The Digressions guitarist Gaff, Ricky McGuire  of U.K SUBS and The Men They Couldn’t Hang, along with former K-Line/Done Lying Down drummer James Sherry.

Following the release of ‘The Rich-Tual’, the stomping first single from the ‘Rinsed’ sessions released earlier this year came ‘Flowers At Your Door’. Channeling the dark energy of Iggy Pop, Lords Of The New Church and The Doors, ‘Flowers At Your Door’ is a brooding rocker that finds Desperate Measures shifting in new directions with their new line-up with excellent results. Never ones to stick to how things should be done, Desperate Measures decided to give their album a second press and create artwork that would set them apart from the status quo. So, it was only natural that lead vocalist, Eugene Butcher teamed up with Steve Kitchen, of Combination 13 design in Canada, for the series of striking cover designs now released as exclusive NFT designs through LuchaCoinNFT.

Says Butcher “We had a blast designing these NFT’s. They form a great set of brilliant designs and will really help the band go forward this year as we reach out to different spaces. Each album cover has been so much fun to work on and we’re really excited about what we’ve created.  We really hope the fans will enjoy this ground-breaking, super-cool new innovation from Desperate Measures. View the Collection on Rarible.

Says Stevan Cvjetkovich of LuchaCoin “LuchaCoin is punk at its core, we’ve never been ones to stick to how things should be done. When we teamed up with Desperate Measures, we knew that we were on to something special. We can’t wait for fans to get their hands on them and for the success they’ll bring to the band.”

At a time when record sales are being squeezed, and after a pandemic where artists were hit hard with shows being postponed or canceled, these exciting new NFT designs will help fund this independent band and will go towards them touring in 2022.

The Desperate Measures mini album NFT project was supported in collaboration with Music: Desperate Measures, Graphic Artist: Combination 13, Ai Motion effects: Jeffery Lando & LuchaCoin NFT.





Catch Desperate Measures live at the following dates:

March 18-Cornwall Punk Fest

April 1, Nuneaton (with Ultrabomb)

April 2 London 229 (with Ultrabomb)

April 30 Angel Weekend Coalville

May 14 Westworld Fest KK’s Steelmill Birmingham

3 June,Pipeline Brighton

4 June Strummercamp Manchester

5 August Rebellion Festival Blackpool







The Lovely Eggs do not give up. Ever. The proudly independent Northern psychedelic punk rock duo have now, since the beginning of the pandemic, rescheduled the tour originally intended to promote the release in April 2020 of their ‘I Am Moron’ album, a staggering seven times. And again, with the cancellation of ‘Freedom Day’ this week, The Lovely Eggs have once again had to reschedule the gigs they had set to start in early July and have successfully pushed the dates back by a couple of weeks to meet the new restrictions.


“It’s part of the DIY culture,” explains singer/guitarist Holly Ross. “You just don’t give up. So as soon as we found out that re-opening had been pushed back, we set about heaving all our tour dates back into late July/August. We didn’t want to wait till next year. And within 24 hours we’d re-booked our UK tour for the seventh time! We are all just ready for the party now. Everyone has been looking forward to these shows for over a year and we can’t wait to bring it to em!”


These shows will be a long-awaited celebration of the critical and chart-topping success of ‘I Am Moron’ and also follow on from the band’s forthcoming collaboration with Iggy Pop for the July 9th release of new single ‘I, Moron’ via their own label, Egg Records.


“Being in The Lovely Eggs we’re kind of used to surreal experiences but collaborating with Iggy Pop takes the biscuit,” exclaims Holly. “It’s actually unbelievable. For him just to say nothing but “moron” over and over again fitted in with the sentiment of the song perfectly. He just GOT it. We are all morons. In a world of moronic things. In a world of moronic ideas. You are moron. I am Moron. We are Moron.”


In a further homage to Iggy, the B-side features The Lovely Eggs own take on ‘Dum Dum Boys’ from Iggy’s defining 1977 album ‘The Idiot’.


“For the B side it made real sense to us to cover one of Iggy’s songs off “The Idiot”, says drummer David Blackwell. “There seemed to be a real synchronicity to it. I had this album on cassette, and it was one of the first albums that I got really into. Dum Dum Boys struck a chord with us, kind of missing the old days and the old gang we used to hang out with.”


Once again, the single will feature artwork (featuring a three headed Iggy/Eggy beast) by the brilliant Casey Raymond on one thousand yellow coloured vinyl 7” singles, recorded by The Lovely Eggs in Lancaster and mixed by Dave Fridmann at Tarbox Road Studios, NYC



Catch The Lovely Eggs live at the following dates in 2021/2022


July 2021

Fri 23 Gorilla, Manchester SOLD OUT

Sat 24, The Brudenell, Leeds NEW SHOW!!

Thur 29 02 Academy, Sheffield

Fri 30 The Garage, London SOLD OUT
Sat 31 SWX, Bristol [Venue upgrade. Original tickets still valid]


August 2021

Sun 1, The Bullingdon, Oxford
Mon 2, The Joiners Southampton [Venue change. Original tickets still valid] SOLD OUT

Tues 3, Concorde 2, Brighton [Venue upgrade. Original tickets still valid]
Wed 4, Metronome, Nottingham

Thur 5, District, Liverpool [Venue change. Original tickets still valid]


April 2022

Thurs 7 Castle and Falcon, Birmingham SOLD OUT

Fri 8, Heaven, London

Mon 11 Junction 2, Cambridge

Sat 16, The Brudenell, Leeds SOLD OUT


May 2022

Thur 26 The Cluny, Newcastle

Fri 27 Stereo, Glasgow

Sat 28 The Mash House, Edinburgh SOLD OUT

Sun 29 The Crescent, York

Mon 30 Sub Rooms, Stroud

Tues 31 Clwb Ivor Bach, Cardiff


June 2022

Wed 1 Face Bar, Reading

Fri 3 02 Ritz, Manchester


Find The Lovely Eggs online at:







An 8-disc box set – 7 x CDs + DVD – all of the Skydog label’s Iggy and the Stooges releases.  Includes the infamous ‘Metallic KO’ ‘Stooges last live show’ issued in ‘76, plus the two full source shows.  Rare studio and live collections ‘We Are Not Talking About Commercial Sh!t’ and ‘Wake Up, Suckers!’.  A DVD of unique Iggy ‘Acoustics KO’ performances together with a studio ‘Acoustics KO’ CD.  The 2003 Stooges reunion live album ‘Telluric Chaos’ recorded in Japan.  Plus, additional EP tracks, together with a 48-page booklet and detailed notes by Iggy Pop biographer, Paul Trynka

When the riotous, confrontational ‘last ever’ Iggy & the Stooges gig Metallic KO was issued in 1976 on the French indie Skydog label, it heralded the punk movement and cemented Iggy’s position in it.  Iggy’s career then took off, and a lengthy liaison between Skydog and Iggy Pop continued, with releases through and beyond the Stooges reunion 29 years later.

Here are all of the Skydog label’s Iggy releases, remastered, in a clam-shell box set containing seven CDs and a DVD – a fitting tribute to the label’s punk pioneer boss Marc Zermati, who passed away in June.  Marc started Skydog in 1973, Europe’s first independent rock label, and in the same year that Metallic KO was released he organised the ‘First Punk Festival’ in Mont de Marsan.  He worked closely with The Clash, Johnny Thunders, Wilko Johnson and Chrissie Hynde amongst many others.

Alongside Metallic KO the box includes the two Metallic KO source tape gigs, pitch-corrected after a tape speed fault was discovered; two collections of live and studio rare songs; unusual Iggy acoustic shows on DVD; a studio acoustic CD and the Stooges long-awaited 2003 live reunion in Tokyo.  The 48-page booklet has notes by Paul Trynka, the Iggy Pop ‘Open Up and Bleed’ biographer and former Mojo editor, and rare and unseen photos.

Disc 1. Metallic KO (original album);  2. Metallic KO (1973 Michigan tape);  3. Metallic KO (1974 Michigan tape);  4. We Are Not Talking About Commercial Sh*t;  5. Wake Up Suckers;  6. Acoustics KO live NTSC DVD;  7. Acoustics KO studio CD;  8. Telluric Chaos – reformed Stooges live in Tokyo in 2003.

EP tracks are added as bonus tracks.

August the 8th 1970.  The last time the original powerhouse machine that is The Stooges took to a stage. August 2020 sees it hit the shelves on record and a nice slab of heavyweight vinyl it is too without all the finer niceties of modern recordings this is straight from the desk loud as fuck! With Iggy being the last man standing I bet that wasn’t something many people would have uttered 50 years ago.

With a $15 to $20 price tag on tickets for this festival that would have had Savoy Brown, Jethro Tull, Joe Cocker, Chicago and Alice Cooper on the bill way above The mighty Stooges.  it must have been a bummer to have had to go on after this aural assault had long left the stage.  Whilst it might not be the finest soundboard mix ever you get the emotion of the band playing as both Brothers Asheton are kicking up a shitstorm of rage and intense musicianship especially on songs like ‘TV Eye’ and an inspirational performance on ‘Dirt’ but you keep being sidetracked by Alexanders bass as it takes a wobble especially through the amazing solo it might be hindsight knowing what happened but his falling apart does happen, It must have been a jaw-dropping spectacle yet little did the punters know this would be the last time this five would take the stage with Dave Alexander being fired.

In a day when bands play albums in their entirety and sell out venues, the Stooges were doing it in 1970.  By the time you get to the title track that huge throbbing hypnotic bassline but the reality is its a mess, and you can see why Iggy might have been pissed, seeing as there were a reported 200K in attendance and it must have been mindblowing hearing this as Mackay’s saxophone is causing hypertension on what I would say is one of the finest song ever penned, by anyone, anywhere at any time it’s a royale maelstrom of noise here, a beautiful noise by the way and with Mr. Pop barking out the words over the top the PA sounds like it’s about to ignite at any minute. as the sax and guitar duke it out even if the tape goes a bit wobbly which is such a shame it sounded magnificent.


Its believed that this performance was almost the cause of a full-on riot and hundreds charged the stage and began dismantling it after the Stooges left the stage it’s not hard to see how that could be on this performance and having the plug pulled on your set only enhances The Stooges legend anyway.  Thanks to Jack White and his label for making this release possible as it’s believed that MR Pop isn’t enamored but hey its been worth the wait and even MR Pop would have to agree that for a document in musical history this needed to be preserved and something he could and should be immensely proud to be a part of.

If the Funhouse complete is way out of your price range and you love that record and the band then this is a no brainer and well worth the price of admission in anyone’s book. Awesome.

Buy ‘Live At Goose Lake’ Here

Author: Dom Daley


Alvin Gibbs managed to pen one of my favourite books ever when he wrote about his adventures on the road with Iggy Pop.  Apart from it being a time in my life when I tried to absorb as much music and everything around it that was humanly possible it was also a record that I adored and a line up of Iggys that was incredible so all the stars aligned and Alvin managed to encapsulate the same feelings when his pen hit the paper so, when Tome & Metre said they were releasing his autobiography I ready Neighbourhood Threat, again and waited in excitement for the book to land on my doormat.  I’ve read it twice now and felt intimidated about writing my review for several reasons.  How can I pay Alvin the respect he deserves as a musician (one that I greatly admire and whose work I’ve followed from the Mid ’80s) and as an accomplished and excellent writer. I came to the conclusion that I couldn’t meet my expectations but if my words help one person read his book then job done so here goes.
Alvin doesn’t labour over the detail as I suspect most don’t want to know about the finer details of his childhood but an overview is provided and certain memories relaid to paint a picture. Its the birth into what would become the punk scene is where we begin our captive participation and Alvin gives his background and shines a light on his days with Brian James as the tales from behind the curtain begin to unfold and I find myself digging up the records that relate to the chapters as something of a background especially when Alvin talks about the recordings of ‘Diminished Responsibilities’ and ‘Endangered Species’ and it sort of opens up another dimension to what you’re hearing as the pages get turned.
Alvin is a fantastic writer and his education obviously helps with his descriptions and use of the English Language which I’m sure he’ll come to in vol two! but his relationships with his bandmates and the respect he has for band members and fellow musicians he’s shared a hotel, bus, plane and beer with also shines through as does his respect for the fine art he finds himself dedicating his life to.  Alvin doesn’t shy away from his flaws either and there is no airbrushing of incidents and behaviours that he might not look back on with 20/20 hindsight and offer scant hollow apologies and neither does he try and explain them away or blame others.  
What you get is the feeling that his life is a life worth living and one that has seen the vast changes in an industry and he’s seen the highs and the not so great highs but has taken them all as part of his education and life journey there are passages that made me laugh out loud as well as wonder what the other parties felt.
Obviously I can’t recommend this book highly enough but not just for fans of The UK Subs, Iggy Pop, Cheap & Nasty but for anyone who appreciates a well-written book by someone who writes with passion, honesty and fantastic use of the language – you get a snapshot of what it was like being part of a club that enjoyed some of the trappings of being a good-sized band in the ’80s and beyond about how the shark pool that is the music business works and how cutthroat it is and an ability to dust yourself down and fly by the seat of your pants (quite literally at times it would seem) and live your life with a mindset or joie de vivre that most 9-5 people would ever understand and people like Alvin do it for the rest of us, they’re modern-day pioneers, crusaders, adventurers, pirates even.
We need people like Alvin to document their time on this earth and show us what it was really like inside the beast of Rock and Roll. As soon as I got to the last words I began to wonder how long before we get Volume two? I get the feeling that Volume one might just have been the starter and the main course is to follow so strap yourselves in kids this is set to get way more exciting.  Absorbing, passionate and another mightily impressive book from the talented Mr Gibbs. Alvin’s life as a UK Sub is set to continue but his story is one we all need to read as he’s managed to eclipse ‘Neighbourhood Threat’ we’ve gotten to meet the man and understand his politics and what makes him tick and from my point of view have even more respect for one of the finest craftsmen in his chosen field. Musician, Songwriter, Author and a thoroughly good bloke, Alvin Gibbs I salute you and urge anyone whos made it thus far into my ramblings to click the link and order a copy of this book you won’t regret it for a second.


Buy ‘Diminished Responsibility’ Here


Author: Dom Daley

Armed with a venomous swagger The Heat Inc. release their debut single ‘Raptors’, a caustic slice of vitriolic rock’n’roll through Melted Dino Records.
On this scorching debut, The Heat Inc. have delivered a visceral thrill, with Alain Johannes (Queens of the Stone Age) hailing ‘Raptors’ as “a perfect rock song.”.
Describing themselves as a “Rock and Roll band”, The Heat Inc. recorded ‘Raptors’ in the RYP Recordings Studio in North West London, with Michael Smith (Elvis Costello) producing.


So when I say I know rock ’n’ roll when I hear it, you best believe I know rock ’n’ roll when I hear it—and The Heat Inc. are good old-fashioned rock ’n’ roll, just like mother used to hate. You might have a good idea of how great The Heat Inc. sound—but don’t bother because The Heat Inc. are so cool they defy definition. There’s all kinds of heat. There’s the summer hot heat that’ll drive you crazy. There’s the in-ring heel heat that’ll get a wrestler over. And there’s the relentless hard heat that’ll track you down until you’re trapped. But ain’t none of them can compare to The Heat Inc you’re about to hear—and that’s not hyperbole, that’s a fact. Who you gonna believe, me or your own ears?”  exclaims Jeffrey Morgan – Creem journalist and biographer of Alice Cooper and Iggy & The Stooges.
The Heat Inc. is the suavest new band around and enough to make most God-fearing rockin’ rollers believe in miracles.
To purchase Raptors go to Bandcamp or Stream ‘Raptors’  Here
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It’s that time again, RPM-people, where I dip a retro-futuristic toe into the Pop Culture Schlock archive hoping to find something that will get your nostalgia nubs tingling and have you rushing to the secondary market seller of your choice, PayPal log-in details set to stun.

It’s the cavernous physical media section of the archive that I am plundering on this fine day, fingering a forgotten Eighties flick (that’s if you even knew of it in the first place!) that is more than deserving of the Cult Classic status that appeared desperately out of its reach as the film fell between the cinematic cracks, despite housing exclusive output from hit parade hot properties like Debbie Harry, Iggy Pop, Lou Reed, Cheap Trick, and, erm, Earth, Wind & Fire… but let’s not get ahead of ourselves…


1983’s Rock & Rule was the first fully animated feature film produced entirely in Canada. Nelvana, the studio behind it, was founded in 1971 and had reached for the pop culture skies several years later when it contributed to 1978’s much-maligned (long-forgotten if Lucasfilm could have its way) Star Wars Holiday Special; the studio creating the ten-minute animated segment that famously featured the first appearance of Boba Fett, the galaxy’s most-feared bounty hunter (well, until we found out that he was cloned from that bloke off of Shortland Street, at least).


Nelvana’s animators were ballpoints-deep in developing an animated feature entitled Drats! when they were approached by producer Ivan Reitman (Ghostbusters, Stripes, Twins) to work on a feature-length movie based on the classic magazine, Heavy Metal. Nelvana nixed the idea in favour of producing its own title. Heavy Metal, the movie, eventually released in 1981, utilised the services of several different animation houses, took around twenty million dollars at the box office, and became a cult classic. Them’s the breaks.

Drats! toiled through a development hell of sorts; originally intended as a more child-friendly Grimm’s fairy tale-like opus, the project was subject to countless changes, from tone to title. Now called Rock & Rule, the project dashed into production without a completed screenplay. Re-writes abounded, characters were changed long after their original footage was completed, the studio had to move location part-way through production, investment dried up, and the production sailed past every deadline. At least Nelvana had the might of MGM/UA behind them. Well, not quite. Boardroom musical chairs at MGM/UA resulted in the suits who had fallen for the animated project being hung out to dry and new suitors, if you could call them that, were less than enamoured with the work as a whole. Cuts were demanded, voice actors replaced, the title changed to Ring Of Power, resulting in the movie being dead on arrival – buried by a studio before it even had a chance to find its audience upon eventual release in 1983. But why? Was it really that bad?


Watching Rock & Rule now it’s easy to find fault – the post-apocalyptic tone is diluted too often by comic relief characters more suited to Saturday morning cartoons, and the cuts demanded (two different versions actually exist; American and Canadian) make for a patchy viewing experience – but, as far from perfect as it is, there is plenty on offer for this forgotten film to warrant rediscovery. It is, however, the rock and roll of Rock & Rule that will be of the greatest interest to RPM readers.

The story in a nutshell: on a post-apocalyptic Earth where the population has mutated from rodents to human form, a legendary super rocker, named Mok, resides in Nuke York and is obsessed with an evil experiment that will bring forth a demon from another dimension. To do this he needs to find an angelic voice to sing a certain combination of notes. Meanwhile, in a seedy club, a fledgling rock band has a keyboard player just finding her voice. Her name? Angel…


Mok was originally to be named ‘Mok Swagger’ until the talent representation of Mick Jagger objected. How did they know at such an early stage of development? Well, the Rolling Stones frontman was considered for the role of Mok (no doubt why the animated character has lips-a-plenty), as were David Bowie, Sting, Michael Jackson, and Tim Curry. Don Francks – who had provided the voice for Boba Fett in the aforementioned Holiday Special animated sequence – was eventually cast as Mok, although the character’s musical sequences were performed by none other than Lou Reed.


Who could provide that angelic voice, though? Well, voice-over veteran Susan Roman was cast as Angel, but the character’s potentially demon-inducing singing voice was provided by Debbie Harry. Add to these that fact that Angel’s bandmate, Omar, had a singing voice provided by Cheap Trick’s Robin Zander, and the one-and-only Iggy Pop voiced the thing from another dimension, and you have a proper rock ‘n’ roll curio almost certain to be missing from many a collection.

‘Angel’s Song’ is, in fact, an early version of the song, ‘Maybe For Sure’, that would appear on Harry’s 1989 solo album, ‘Def, Dumb & Blonde’. This was just one of three songs written by Harry and fellow Blondie founder, Chris Stein, for the movie; the others being ‘Invocation Song’ and ‘Send Love Through’, the version of the latter featured at the climax containing lead vocals by both Debbie Harry and Robin Zander. Zander’s Cheap Trick bandmate, Rick Nielsen, penned three tunes for the movie (‘Born To Raise Hell’, ‘I’m The Man’, and ‘Ohm Sweet Ohm’), Lou Reed two (‘Triumph’ and ‘My Name Is Mok’), and Iggy Pop just the one (‘Pain & Suffering’). It’s the Earth, Wind & Fire tune that you want to know about though, right? Well, ‘Dance, Dance, Dance’ plays out in a neo-disco scene set at Club 666. Now you’re interested!


Arthouse cinemas and film festivals provided the only opportunities to view Rock & Rule after its initial flop at release, aside from a rare mid-eighties airing on Canadian television, where it was promoted as a music special rather than an animated feature. Eventual home video releases on video cassette and laserdisc finally allowed the movie to find something of an audience until, in more recent times, a long-awaited double DVD release presented an anamorphic widescreen version to curious viewers and collectors alike. This digital versatile disc set is now out of print so good luck in finding a copy. I did, and it now resides in the Pop Culture Schlock archive where another curious item lies waiting to be fingered for my next RPM column…


Until then, keep watching the skies!


Author: Gaz Tidey