Welcome to the ramblings of a man who really should have grown out of listening to "that sort of music" a long, long time ago...A place to share thoughts and photographs on music and related paraphernalia.
French superstars Indochine were back in London for an intimate semi-acoustic performance and signing session to promote their new album "Babel Babel" at Rough Trade East record store last week. The event sold out in advance quickly and the band treated the lucky fans who were there to a thirty minute semi-acoustic performance, which included tracks from the new album and some crowd favourites, including "Nos Célébrations", "Kao Bang" and "Un été Français". Here are some photos and videos from a very special evening...
All photos copyright Retro Man Blog 2024. For more videos from the show please check out our Retromanblog65 YouTube channel here and subscribe for free.
Photos: top left Bob Gruen, t/r Celeste Urreaga, bottom l/r Retro Man Blog
Retrosonic Podcast is back with very special guest Barry Myers otherwise known as DJ Scratchy Sounds discussing his excellent limited edition photobook "Road-Eyes 20-20 Double Vision: Photo Tales with The Clash and The Mescaleros". In this thoroughly entertaining episode, Scratchy discusses his early days as a tour DJ and his residency at Dingwalls Dancehall as Punk exploded in London. He explains how he got to tour with The Clash and some of the great support acts he saw along the way such as Bo Diddley and The Cramps. There's his part in some legendary gigs such as the 1978 Rock Against Racism Carnival in Victoria Park and the Ramones 1977 New Year's Eve show at the Rainbow which was to result in the blistering "It's Alive" live album. We discover his affinity with Japan and the fact that he has two volumes of his memoirs written and ready for a publisher to snap up. Then later on reconnecting again with Joe Strummer and his band The Mescaleros joining them at gigs including the Fireman's benefit show at Acton Town Hall during what would sadly turn out to be Joe's last tour.
The episode is soundtracked by songs from The Clash, Joe Strummer & The Mescaleros, The Man, Johnny Thunders & The Heartbreakers, The Cramps, Dr. Feelgood and Ramones. You can see a video preview of the book and find out the details on how to order it at the Scratchy Sounds web-site here. You'll also find news on upcoming Scratchy Sounds live events and lots of excellent archived radio shows and podcasts. You can subscribe to Retrosonic Podcast for free at Spotify, iTunes, Apple Podcasts, Amazon Music, MixCloud or direct from our SoundCloud site below.
Unfortunately, I was unable to attend the special launch and listening party for the new album "Staying Cool Staying Free" by The Everlasting Yeah on Saturday, so instead I dispatched Retro Man Blog's roving reporter for the day, Buddy Ascott to do the honours. Buddy was the perfect choice, as the former drummer in The Chords, he supported The Undertones at quite a few gigs in various cities around the country back in the day and became a big fan of That Petrol Emotion and The Everlasting Yeah. So let's hand over to Buddy to see how the launch party went...
Damian & Brendan at the launch party - photo by Buddy Ascott
I had no great expectations, having never before been to an album listening party, either online or in the flesh. But as a huge fan of The Undertones, That Petrol Emotion and yeah, The Everlasting Yeah, it was a tempting prospect. But what really piqued my interest was the video released that very morning, featuring the lead track on the new album, "Staying Cool, Staying Free". Titled "Girl from Miki City", it sounded remarkably similar to a song, "Making Certain" that I'd recorded back in 1997 with a group of ex-pats living in Japan, called Red Away Tops. In fact it was the very same song! OK, full disclosure - we're busted! Damian O'Neill had sent Billy Hassett (ex-Chords singer) a cassette of new songs back in those carefree days. Mightily impressed, Billy asked Damian if he could "borrow" a couple of the songs for our "Satellite TV" album. Being the gracious chap he is, Damian agreed, but forgot to tell us that the songs were in fact bandmate Raymond Gorman's. And so our little recording project in Japan contained two songs that should have been credited to Raymond. Glad I could get that off my chest, and apologies Raymond!
The launch party crowd photographed by Raymond
The London Irish Centre is set in a quiet, leafy square in London's Camden - not your typical rock'n'roll venue, but then The Everlasting Yeah are not your typical group, and they have a loyal band of followers to prove it. Arriving too early, I was ushered back out into the bar area, and was soon joined by my good friend Tim, who'd travelled all the way from Yorkshire - with a busted leg - just to attend the listening party. With around eighty devotees in attendance, we sat near the front in an impressively wide and beautiful wood-paneled room. The four Yeahsters (as nobody calls them) took to the stage, but instead of strapping on guitars and sitting behind drums, sat down in comfy-looking armchairs, the serene scene completed by a solitary standard lamp. It felt a little surreal, but also exciting. At first the group looked a little self-conscious, up there without instruments, but relaxed as the afternoon progressed. Please note - this review is of the first listen only, and I reserve the right to change my mind upon hearing the album at home! Playback of Side 1 began with the aforementioned "Miki City" track - it made our version sound like a demo! With chunky guitars and soaring vocals, it's a fine album opener and a potential single. The sound system onstage was remarkable: exceptionally clear yet powerful.
The Everlasting Yeah at The Lexington London in 2016 - photo by Paul Slattery
Next up was a song - "Myself When I Am Real" - that showcased Brendan Kelly's sublime bass skills, rolling along like an approaching freight train. On first listen I was convinced it was an instrumental, but the lyrics finally arrived, fully four minutes into the song. This felt very much in the vein of "Taking That Damn Train Again" from their first album - astonishingly, "Anima Rising" is now 10 years old! The song continued with Raymond chanting "It's just myself!" - and in a thrillingly upbeat coda - "Everything is gonna be alright! ALRIGHT!" All four of the band sat tapping their feet in sync, seemingly lost in thought, grinning away at favourite moments. Drummer - and often lead vocalist - Ciaran McLaughlin was particularly animated, as you'd expect from such a fine percussionist. The drums sounded much more natural - untreated - than on their debut album. The side continued with the acoustically led "You Can't Hold Water In A Closed Fist", reminiscent of one of TPE's quieter songs. Side 1 closed with "Hurricane Nation", growling bass and rimshots giving way to a taut and melodic pop song - the harmonies are a really positive feature on this album. There followed a short interval (a kindness to us men of a certain age), before playback recommenced.
The Everlasting Yeah at our Retro Man Blog Night, May 2016 - photo by Paul Slattery
First track on Side 2 was "Rise Up", perhaps an over familiar title, but it's an impassioned plea to "rise up in love" and continues the album's general good vibes - Raymond would later tell us that it was recorded in the face of adversity, and they seemed genuinely happy just to be making music again. "Dylan '65" was up next, as cool as its title - Buzzcocks meets Graham Coxon, guitars to the fore. It's also probably the most Petrols-based track on the album. I would have liked the drum fills a little louder in the mix, but I would say that, wouldn't I? The closing song, "Heartbeat Still", is another epic, clocking in at over 8 minutes. A frantic start gives way to a shaker and a Pink Floyd feel (No wait! Come back!! I mean that in a good way!) that again showcases Brendan's prowess as a bass player. The rhythm changes, the intensity is ramped up and the guitars take over again...only for an electric piano and that Floyd groove to bring this amazing song to a peaceful conclusion. Probably the best vocal performance on the album too, courtesy of Ciaran. There was unanimous, spontaneous applause in the room, much to the apparent relief of the band members.
Buddy Ascott with Brendan
Jon Hunter from The June Brides then joined them onstage to quiz them about the making of the album, and what inspired the songs. There was some good natured joshing between the band, as Raymond and Brendan did the lion's share of the talking. The travails that have delayed the album - mainly health issues - were mentioned only briefly, and the vibe remained positive and optimistic, at least until they were asked how they were going to promote this album. They all shrugged, justifiably feeling their work is now done, and it's up to "the industry" to do with it what they will. They make music primarily for themselves, and they are patently artists, not businessmen. One other revelation was how close they came to being named The Hoodlum Angels at the outset, but happily that only remained as a song title on the debut album. The merch table did brisk business and fans and followers slowly drifted away into the sunshine. A thoroughly enjoyable afternoon, with a cracking album that builds on the promise of "Anima Rising", and then some. Live shows soon, please.
- Buddy Ascott, August 2024
The Everlasting Yeah with Jon Hunter - photo by Buddy Ascott
With thanks to Buddy for the great report, for more information on how to order the new album, please check out The Everlasting Yeah facebook page here. Don't forget our Retrosonic Podcast with Damian, Raymond and Ciaran discussing the history of That Petrol Emotion and The Everlasting Yeah is still available, along with other interview specials with Damian, Raymond and Buddy, by subscribing for free at Spotify, Amazon Music, Apple Podcasts/iTunes or our SoundCloud main page.
The Woggles made a very rare trip to the U.K. for two shows, first of all in Bristol on the Thursday and then Friday night at the legendary 100 Club in London, where I finally got to witness what many people claim are one of the best live acts around. I've been a fan for a long time now and watching videos of them over the years and seeing comments from those lucky enough to have seen them play I was wondering if they could live up to my expectations. Well, I wasn't to be disappointed, in fact they exceeded all of those expectations and then some. Another big fan of The Woggles is Graham Day, frontman of one of our favourite bands, The Prisoners. In fact, he is such a fan that he invited The Woggles to play at his wedding and he also borrowed their rhythm section of drummer Dan Eletxro & bassist Buzz Hagstrom for his Graham Day & The Gaolers line-up on their excellent debut album "Soundtrack To The Daily Grind". I've spoken to Graham about The Woggles on a few occasions in previous interviews and chats and he has now been in the band for over five years, the opportunity arising after the sad and untimely passing of guitarist Jeff "Flesh Hammer" Walls in 2019. Graham has expressed how difficult he sometimes finds the pressures of being a frontman and his struggles with singing and lyric writing - although if you take the Gaolers for example, this seems somewhat hard to believe. He told me once in our Retrosonic Podcast interview that he always fancied being the guitarist in a band seen playing at a dance or 'happening' in one of those American sixties teen movies. Either that or in an instrumental band, an ambition he was to make happen when he formed The Senior Service, his side project that was heavily influenced by those classic Spy, Sci-Fi and Spaghetti Western movie and TV theme tunes by composers such as Barry Gray, John Barry and Ennio Morricone.
So tonight, the London crowd gets their first chance to see Graham playing guitar with The Woggles and he seems to be having as much fun as we are. Busting out all the moves and shapes with his cool looking Nineteen67 Jones guitar and despite the proliferation of Prisoners T-shirts in the crowd, he is relishing the spotlight being on the livewire frontman The Professor Mighty Manfred Jones. Manfred has to be one of the best rabble-rousing all action vocalists I have ever seen - he does not stop moving for a minute, he demands your attention with his cheerful cheerleading antics. One minute he's lifting the mic stand high above his head, then he's on his knees blasting out on his harmonica, before leaping up and pirouetting around with some nifty dance steps. He also likes to get down among the crowd, encouraging us to participate. I'm exhausted just watching him and I wonder how he gets his energy as he never lets up. His energy levels are matched by Go Go dancer Moana Santana who also doesn't stop for the duration of the show and she adds even more glamour to the visual extravaganza. We saw Moana dancing at the 100 Club for the fantastic Lenny Kaye plays Nuggets gig (which you can read about here) and she really adds to the whole swinging sixties vibe.
Bassist Buzz Hagstrom and guitarist/saxophonist Shane Pringle also seem to be in their element, they have to compete with some strong personalities to their right and yet they acquit themselves perfectly, they are superb on the night. Only super-cool drummer Dan Eletxro in his trademark cap, remains seated throughout and that's because he has to keep the relentless groove going, I'm sure he was dancing inside. The perfectly plotted set unsurprisingly draws heavily on the excellent new album "Time Has Come", which is out now on green vinyl via Little Steven van Zandt's Wicked Cool Records, and is surely going to feature very high in our best albums of 2024 come the end of the year. I would go so far as to say it's up there as one of the best, if not the best Woggles albums and it positively bursts out of the speakers, coming very close to capturing the live energy we witnessed tonight. It's going to be lauded as a future classic in the Garage Soul genre, I'm sure of it. Graham contributes a couple of songs to the record along with guitar and backing vocals and what with The Prisoners stunning reunion album, "Morning Star", he's on a great creative streak at the moment. My personal highlights included "Telling Me Lies", "Paisley In Paradise", "Mr Last Chance", "Her Majesty's Pleasure" and the blistering "Flesh Hammer" which was written by Pat Beers by another of our favourite bands, The Schizophonics. "Karate Monkey" is also superb, with everyone joining in on the "ooh aah" karate kata moves. I sincerely hope that The Woggles don't leave it so long before returning to our shores - in these sometimes dark and depressing times we all need a regular shot of their peerless good-time Garage Rock 'n' Soul.
The night was made even more special with the added bonus of The Galileo 7 and The Len Price 3, two more of our long-time favourites. In fact what with Graham Day on stage with The Woggles and so many familiar friendly faces in the crowd, it took me back to the good old days of our Retro Man Blog nights at the Half Moon Putney. The LP3 powered through a raucous set including a couple of promising sounding new songs which seemed inspired by their Medway and North Kent roots. You realise just what a great back catalogue the band have built up and they treated us to a pick from most of their albums, culminating in the classic "London Institute". The Galileo 7, who are of course fronted by Graham's colleague in The Prisoners, Allan Crockford, opened up proceedings quite early but thankfully there was a healthy crowd already in the venue to witness another great performance from the band. Their dynamic and memorable Psych Pop songs, with all four members having a go on vocals, went down really well with the crowd. They also debuted two new songs which are due out early next year and they sounded excellent, I'm really looking forward to hearing them recorded. So, all in all it was a perfect night out, proving the importance of the communal spirit and positive vibes of a room full of fans enjoying no-nonsense, uplifting live music.
The Galileo 7
The Len Price 3
For more information on The Woggles and details on how to order the new album, please check out their official web-site here. Please click on the highlighted links throughout the feature for more information. I'll put more photos of the night at the Retro Man Blog Facebook page so please head on over here, like and subscribe for access. All photos and videos copyright Retro Man Blog.
The Everlasting Yeah, formed from the ashes of That Petrol Emotion, released one of the best debut albums of all time "Anima Rising" in 2014 and now they are finally going to release one of the most long-awaited, hightly anticipated follow ups of all time too. Yes, the great news is that the band have overcome various trials and tribulations and are now able to unleash their second album "Staying Cool, Staying Free With The Everlasting Yeah". It seems like such a long time ago that they played at one of our Retro Man Blog Nights at the Half Moon in Putney and debuted a couple of new songs, well it was a long time ago, 2016 in fact. One of the songs that I captured on video that splendid evening was called "Dylan '65", I loved it at the time and I'm pleased to see it features on the new album, although I'm not sure if it will be very different from this...
Here's a few words taken from my review of our Retro Man Blog Half Moon Putney show (you can read the full feature here.)
"The chemistry between all four members is apparent when they play live,
they look like they enjoy each others company and it certainly pays off
in their music. Brendan Kelly's bass throbs with a thunderous intent
and his understanding with drummer Ciaran McLaughlin is impressive as
they lock into a mighty groove. The Everlasting Yeah have added a dash of Krautrock's motorik beats into the mix too which
enables the songs to develop nicely at their own natural pace. In fact
there are more ideas crammed into one Everlasting Yeah song than most
bands manage in a whole album! Raymond Gorman and Damian O'Neill seem
to have some sort of psychic thing going on as their guitars weave in
and out of each other like Richard Lloyd and Tom Verlaine at their
best. I've always thought that Damian and Raymond were totally
underrated as guitarists, they spin out razor sharp shards of spiky and
inventive riffs that complement each other perfectly. Like Joey
Santiago from the Pixies they take what at first might be familiar
melodic lines and twist them to breaking point. You think you know when
the pay off is going to come but they surprise you with another
unexpected and thought provoking detour. Although Raymond handles most
of the lead vocals - ably backed by Ciaran, who takes the spotlight on
"Everything Is Beautiful" - there's no front-man as such, TPE's singer
Steve Mack having relocated to his hometown Seattle - The Everlasting
Yeah are however, a tight-knit gang who present a united front and
share some stunning four-part vocals harmonies."
The Everlasting Yeah are having a listening party for the album on August 17th from
2-6pm at The London Irish Centre, 50-52 Camden Square, London NW1 9XB. Admission is free and there will be a Q&A session with the band hosted by Jon Hunter from The June Brides. Afterwards you will be able to buy
signed vinyl, CDs and T-shirts and chat to the band. For more information on the Event please check out the details here.
You can check out our features on The Everlasting Yeah gigs at The Half Moon Putney and The Lexington with exclusive Paul Slattery photos. You can check out the Retrosonic Podcast archive for special episodes with Damian and Raymond and lots of related features on the band. Don't forget our thoroughly entertaining Retrosonic Podcast with Raymond, Damian and Ciaran where they discussed their time in That Petrol Emotion, the formation of The Everlasting Yeah and their debut album "Anima Rising".
We spent a very entertaining Sunday afternoon at the legendary Dublin
Castle in Camden courtesy of the Rock ‘n’ Roll Book Club in the company
of Paloma Romero McLardy, otherwise known as Palmolive, the former drummer with The Slits and The Raincoats,
talking about her forthcoming
memoirs “Punk’s Palmolive: Fighting Dragons In The Land of Concrete”.
After an introduction, Palmolive sat behind a laptop and treated us to a
‘Punk Rock PowerPoint Presentation’ with lots of rare and previously
unseen photos from her childhood right through
to her time in The Slits and The Raincoats. She started off talking
about growing up in Spain under the rule of the dictator Franco and how
she escaped to London, knowing that she did not fit in under such a
harsh regime and not wanting to conform to the norms
of society. She fell in with the West London squatting scene based
around the Pub Rock band The 101ers and fell in love with their frontman
Woody in the process. Of course, they were both galvanized by seeing
the Sex Pistols and Woody soon became Joe Strummer,
leaving behind the 101ers to join The Clash and the rest is their
history. There are lots of anecdotes about this time – how Joe’s new
bandmate Paul Simonon got to christen her Palmolive, how Joe was
intrigued by her tales of Franco’s regime and the Spanish
Civil War, a subject that would inform quite a few of his lyrics with
The Clash. She talks about the impact that Ari Up had on her and how she
was encouraged by Joe to form The Slits in 1976 with Ari as vocalist,
Viv Albertine on guitar and bassist Tessa Pollitt,
who was there among the audience on the afternoon to support her former
bandmate. Palmolive talks about touring with The Clash and of writing
some of The Slits early classics such as “Newtown” and “Shoplifting”
which sparks off an amusing anecdote about her
time as a petty pilferer.
Palmolive left The Slits before the recording of
their debut album “Cut” but did feature on the superb Peel Sessions,
which to my mind are some of the best recordings the band made. She talks about the run-ins she had with Sid Vicious
and Malcolm McLaren, kicking (sometimes literally) not just against the
male dominated music business, but also against the patronizing
attitudes and jealousy from some of her peers. Palmolive then went on to
join the equally influential band The Raincoats,
featuring on their self-titled debut album so beloved of Kurt Cobain,
Bikini Kill, Thurston Moore and Kim Gordon among many others. A Q&A
session followed, although some of the questioning drew some exasperated
interjections from Palmolive’s friends and family
in the crowd, not to mention the impressive contingent of Raincoats
including Ana da Silva, Gina Birch, Shirley O’Loughlin, Vicky Aspinall
and Ingrid Weiss, some of whom chipped in with their (sometimes
contradictory) versions of events! I get the feeling that
Palmolive may have to do some more editing before the book is ready.
The floor was then open to questions so I asked Palmolive about The
Slits sound and how I thought that The Clash, despite their “No Elvis,
Beatles and Rolling Stones” war-cry and the Sex
Pistols (without Johnny Rotten’s voice), were both rooted in
traditional Rock & Roll music – you could see where their influences
came from – but The Slits were truly unique, and I wondered how they
arrived at their sound. She said it was more by accident
than design, the fact that they really couldn’t play their instruments
to start with and this chaotic, confrontational attitude were all
components in the Slits sound, as she says “I didn’t play the drums, I
hit them.”
Photo Above: The Raincoats (l/r) Ingrid Weiss, Vicky Aspinall, Gina Birch, Ana da Silva, Palmolive & Shirley O'Laughlin.
Palmolive has a wicked sense of humour
with an infectious laugh, a twinkle in her eyes and some of her stories
had us laughing out loud. She still carries that spirit of independence
and creativity that the initial Punk explosion engendered as in the PR
to the book she writes “I want to inspire
you to make art, go on adventures, take risks, speak to power, believe
in yourself and don’t let someone else write your own narrative.” Fine
sentiments indeed. She was a thoroughly entertaining speaker, bursting
with energy and I came away inspired and happy
that pioneers such as The Slits and The Raincoats are still getting the
recognition they deserve to this day. Palmolive and all her former
bandmates that were present were more than happy to chat to fans after
the talk and it was an honour to meet them and
get our record covers signed. Palmolive now lives in America and
lectures on Punk History, she will be appearing at this year’s Rebellion
Festival which starts on August 1st. She has set up an excellent
web-site Punk's Palmolive which is packed full of archive
material, press coverage, merchandise and links to what she has in the
pipeline. You can also sign up to her newsletter, so you don’t miss out
on further news on the book’s release, it certainly promises to be a
fascinating read.
The Blue Aeroplanes made a triumphant return on Saturday at a packed-out
Lafayette in London, their first live performance since frontman Gerard
Langley’s recent emergency surgery. As always with the
Aeroplanes, you never know what
line-up you are going to see or what songs culled from their
impressive, sprawling back catalogue you are going to hear. First of
all, the line-up was the same as last year’s excellent show at the
Electric Ballroom with the addition of a young, enthusiastic
chap on keyboards and acoustic guitar, sorry I didn’t get this name.
Gerard was flanked by guitarist/vocalists Bec Jevons from iDestoy and Singer-Songwriter Rita Lynch and then there's Mike Youe on lead guitar. The
rhythm section comprised the spiky haired Chris Sharp
on bass and longtime drummer John Langley. And then of course, there’s
Wojtek who is still dancing full-on throughout the whole set – how he
gets the energy I’ll never know. At one point, he even leaps down into
the audience to push and pull the crowd and
show them how it’s done.
The set-list is predictable in its typical
Blue Aeroplanes unpredictable style – the regular crowd-favourites such
as “Jacket Hangs”, "Yr Own World" and “… And Stones” are joined by a selection of
deep-cuts and unexpected delights. Tonight, I’m particularly
happy as we get “Missy Lane” with Rita on lead vocals and “Mis-Firing,”
which has one of my all-time favourite guitar riff intros, and from the
band that specializes in killer guitar riff intros, that’s saying
something. Bec takes lead vocals on the energetic
and punky “(An Unexpected Hit of) Adoration” which is augmented by some
great sax from Wojtek’s son, Alexander. They also play “Building An Ark
For the Anthropocene” and a blistering “Bulletproof Coffee & A
Snake-Oil Shot” from the excellent current album
“Culture Gun”, which goes to prove that, despite the many personnel changes over the
years, the sheer quality of the songwriting never drops.
Gerard looks
extremely well considering the seriousness of his recent situation and
is on fine form vocally, he thanks us for being there,
and admits he is happy to be here too, as he didn’t think he would make
it. Admiration and emotion are buzzing round the audience and the
atmosphere is fantastic. But then things take another unexpected turn
when Gerard introduces a very special guest during
the encore. Yes, it’s Rodney Allen, who has also had to deal with his
own life-threatening illness and it was wonderful to see him take the
stage. Gerard takes a break to allow Rodney to bask in the outpouring of
relief at seeing what a remarkable recovery
he has made and the band launch into his signature song “Fun”. Fun is
probably not something The Blue Aeroplanes have had much of over the
past few years, what with Gerard and Rodney’s health situations and the
extremely sad and untimely passing of their genius guitarist
Angelo Bruschini last year. However, tonight proved how important a top
night of live music can be, it’s almost a transcendental experience. I
think there were a few lumps in throats and tears in the eyes of many of
the crowd as “Fun” drew to a close and we
cheered for Rodney.
Of course, to close the show we get the now
traditional chaotic take on Tom Verlaine’s “Breakin’ In My Heart” and
the ‘see how many musicians we can get on stage to join in’ competition
peaks at thirteen people in all. These include former
Blue Aeroplanes guitarist Gerard Starkie, who had opened the show with a
short but impressive set of solo songs and a couple of excellent
numbers from his other project, The Jesus Bolt. Tonight was a
celebration, when the band and audience connect in such
a way, it can be cathartic and emotional, there’s just nothing else
like it. It was definitely one of those “I’m bloody glad I was there to
witness it" shows that’s for sure.
The night was even more special for me personally
as the band asked to use one of my photos for
the advertising in the run up to the show, and I was truly honoured. For more news, updates and merchandise, please check out The Blue Aeroplanes official website here. You can see more videos from
the Lafayette show at our Retromanblog65 YouTube
channel here and lots of Blue Aeroplanes reports, photos and videos
from previous shows in our archive.
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