A Voice From The Wings: From Dingwalls To The Clash by Barry 'DJ Scratchy' Myers

Scratchy at Clerkenwell Festival August 2026 - Photo copyright Retro Man Blog

Back in September 2024 I interviewed DJ Scratchy (Barry Myers) for a special Retrosonic Podcast episode to coincide with the publication of his limited-edition photobook “Road-Eyes 20-20 Double Vision: Photo Tales with The Clash & The Mescaleros”. This was released mainly for his DJ tour of Japan and appearance at the Fuji Rock Festival and featured Japanese translations of the various comments and annotations accompanying the photos. During our chat, he mentioned he was working on his memoirs, and the good news is that finally the first volume has just been published by TangentBooks under the title “A Voice from the Wings: From Dingwalls to The Clash”. We saw Scratchy at the recent Clerkenwell Festival, where he gave an interesting talk and Q&A session about the book and it was good timing as I had just finished reading it the day before. What I must say from the start is this is not just another biography of The Clash, it’s very much Scratchy’s own unique story that takes us on a fascinating musical journey from his time in Ents and radio at Warwick University to his first professional work as a DJ at legendary London venues such as the Speakeasy, Lyceum and Dingwalls and his time on the road with The Clash.

Scratchy at The 100 Club, London - Photo copyright Retro Man Blog

His superb descriptions of the music scene at the time, the various promoters and of course, those legendary and sadly often long-since gone concert halls, are highly evocative, putting you right bang in the heart of the action. Scratchy was there at the centre of London’s Punk Rock explosion and he discusses the impact of first seeing the Ramones and his part in the band’s iconic 1977 New Years Eve show at the Rainbow in London, which resulted in the classic “It’s Alive” live album. When he DJ’d for The Clash at their 1978 Music Machine gigs, his selection caught the ear of Joe Strummer, and this resulted in the band inviting him along as their Tour DJ. Joe dubbed him ‘Scratchy’ and it’s a name that's stuck to this day. The Clash's Roadie, The Baker, called him a “sonic alchemist” which is apt, as to this day, Scratchy specialises in creating a vibe and building an atmosphere at a show rather than just playing a load of records to a room (or field) full of people or pressing the play button on a random playlist, there’s a big difference. 

Scratchy at Clerkenwell Festival - Photo copyright Retro Man Blog

I think Scratchy's selection of roots music such as Rockabilly, Reggae, Soul and raw R&B, along with the best Punk sounds of the times, surely must have had some sort of influence on the eclectic sound of The Clash’s “London Calling” album, it can’t have been a coincidence. It was this prime position as a trusted member of the Clash team that enabled him to capture so many superb candid photos, stories and memories that include his brief appearance in the Clash’s “Rude Boy” movie in the scenes filmed at the 1978 Rock Against Racism carnival in Victoria Park. Throughout the book, Scratchy keeps a discreet distance from the band, there’s no salacious gossip about the various members, and he doesn’t really go into depth about their personalities or his personal relationship with each of them. However, he doesn’t shy away from the on-the-road shenanigans, usually involving Topper, but generally speaking he is hanging out with the Baker and Clash Tour Manager, Johnny Green along with various roadies, van drivers and local promoters and often getting stuck in on the frontlines. It’s like a tour diary just from another perspective, as he discusses life on the road, the travelling, hotels and pranks that are played to alleviate the inevitable bouts of boredom. Scratchy captures this perfectly, as good as any band member or music biographer ever has. 

What also shines through is Scratchy’s enthusiasm and passion for music of all genres, he’s always seeking out what’s new and interesting in the cities he visits and he talks with glowing praise of some of the great support acts he saw along the way with The Clash, including those on his favourite bill, Bo Diddley and The Cramps. And there’s more, he touches on his own musical endeavours as bassist with The Snivelling Shits and the pages positively glow with energy and passion when he describes his travels around America and his love affair with New York. The book is dedicated to Johnny Green who of course wrote perhaps the definite Clash on the road book “A Riot of Our Own” and who inspired Scratchy to write his memoirs. He starts and closes the book with affectionate and touching eulogies to his great friend and mentor, who sadly passed away before the book was finished. I must also mention just how beautifully presented the book is and what a great job Tangent have done. There are full colour inner sleeves, a cord book-marker and it’s packed full of photos and various pages of Scratchy’s memorabilia including backstage passes, postcards, badges and reproductions of posters from various gigs that he has DJ’d at. In the back pages you can find various playlists and recommended songs to listen to while you enjoy the book. 

Scratchy at What's Cookin' London - Photo copyright Retro Man Blog

Scratchy will be releasing part two of his memoirs concentrating on his time with Joe Strummer and The Mescaleros and I’m sure the story will not end there. He is still very active with his Scratchy Sounds radio show on Totally Wired Radio and DJing for various Retro Man Blog favourites such as Oh! Gunquit, The Courettes and King Salami & The Cumberland 3. Not to mention his appearances at London’s premiere local community festivals in Somerstown and Clerkenwell every summer and regular tours of his beloved Japan. I’m sure it won’t be too long before we get news of a volume 3 of the Scratchy memoirs and I certainly look forward to that. You can order the book from all the usual retailers but can also contact Scratchy via his Scratchy Sounds website here for signed copies which come with a free postcard while stocks last.

Retrosonic Podcast · DJ Scratchy Sounds: Photo Tales with The Clash & Joe Strummer & The Mescaleros

Don’t forget to check out our thoroughly entertaining Retrosonic Podcast special episode where I chat to Scratchy about his fascinating life in music and photography – you can subscribe for free at Soundcloud, iTunes/Apple Podcasts, Spotify and YouTube. All photos copyright Retroman Blog except CD cover.

John Robb "Punk Rock Ruined My Life: And Other Stories" Book Launch & Gaye Advert Interview at Jacksons Lane Art Centre Highgate, 3rd June 2026

We attended a thoroughly enjoyable evening at the excellent Jacksons Lane Arts Centre in the company of John Robb, the acclaimed music journalist, TV presenter, author, frontman of The Membranes and Goldblade and of course, a cultural ambassador for Blackpool. John was on tour promoting his new autobiography "Punk Rock Ruined My Life: And Other Stories". It was a night of two halves - the first section featured John delivering an impressive one-man blast through his early years, clutching the mic stand as if he was fronting one of his bands. Then after the interval, John introduced special guest Gaye Black, or Gaye Advert as she was once known in her time as the iconic bassist with The Adverts, to discuss her life in Music and Art. In fact, this format runs throughout the intensive nationwide tour, with John's 'solo' talk followed by a Q&A session with various musical pals depending on the show's location, these included such luminaries as Stuart Braithwaite from Mogwai, Pauline Murray from Penetration, Holly from The Lovely Eggs, Steve & Paul Hanley from The Fall and Dave Rowntree from Blur.

John discussed his early life, growing up in Blackpool and how he felt it was such an uncool place that it meant he didn't have to worry about trying to be 'cool'. He talks about discovering music from a very early age and he was particularly taken by "Yellow Submarine" although he preferred the Pinky & Perky version rather than the Beatles original and admits he thought The Wombles were cool. He fell in love with Glam Rock, especially David Bowie and as an avid reader of the music press he found out about Punk Rock. In a bid to look Punk, John started buying clothes in local Oxfam shops, borrowing his Dad's string vest and piercing his ears using a compass and piece of cork. He nails what it was like growing up in the 70's, throwing in some nostalgic comments on those radioactive orange three-bar electric heaters and the state of English cuisine, where the only use of olive oil was when your Mum soaked a piece of cotton wool in it to stick in your ear when you had earache. It's these hilarious vignettes that have many of us laughing and sighing in recognition. 

 

Those shared generational experiences don't happen so much in modern life, and an example of this was Top of The Pops, where the whole nation was glued to the TV on a Thursday evening. John talks about forming The Membranes - taking the Punk motto of you don't need to be able to play music to form a band to a new level. He explains how The Membranes became cool in America and how Dinosaur Jr filmed the video to "Freak Scene" in his garden. Unfortunately, one hour just wasn't enough so we only get to the part where he takes his first steps into music journalism contributing to magazines such as Sounds and Zig Zag. I'm looking forward to getting stuck into the book to continue on the journey and hopefully I'll find out if Punk Rock did ruin John's life or indeed, save it.

Please check out John Robb's web-site here for details on the remaining Tour dates and updates on all his many and varied projects. You can order "Punk Rock Ruined My Life" here. 

Gaye Black will be curating an Art Exhibition and appearing at the "50 Years of Punk" event at the John Peel Centre in Stowmarket which runs from 9th-14th June. For more information on her Art please check out her web-site here. You can also still download or stream our special Retrosonic Podcast with Gaye, where she discusses her life in music and art and plays some of her favourite records for us.

Retrosonic Podcast · Gaye (Advert) Black, Artist & Former Bassist with The Adverts

The Damned 50th Anniversary Show at Wembley Arena with The Loveless, Peter Hook & The Light and The Courettes

My first introduction to The Damned was watching them play "Love Song" on Top of The Pops as a kid back in 1979 and the first thing that hit me was that immense blast of a bass riff by Algy Ward. I got the album from where it came, “Machine Gun Etiquette”, and it still stands out as one of the very best Punk Rock LPs of all-time, certainly one of my favourites too. However, what came next was a big departure, not just with the line-up as Paul Gray from Eddie & The Hot Rods replaced Algy on the bass, but in the sheer scope of the songs on their next release, an ambitious double album entitled “The Black Album” which included the 17 minute Gothic masterpiece “Curtain Call”. I finally got to see them play live in 1981 at the Lyceum in London on the tour promoting the album, and I was totally blown away. I still think of that fantastic line-up of Dave Vanian, Captain Sensible, Rat Scabies and Paul Gray as 'my' Damned and "The Black Album", "Strawberries" and "The Friday 13th E.P." from that era are absolute classics. So, it was quite emotional to see that very same line-up on stage at the Wembley Arena to celebrate the band's 50th Anniversary with a setlist that featured many of the songs they played back at my first ever Damned gig! When the gig was announced I must admit to being disappointed to see they had chosen such an awful venue, I am not a big fan of such large soulless places, and I was in two minds whether to go or not. However, I didn’t want to regret missing out on such a special occasion and when I saw the superb support acts lined up, I snapped up a ticket. I must admit I was very pleased and relieved that I did, in the end it was a triumphant and hugely successful show despite my initial misgivings about the venue. At least I wasn’t the only one to dislike the place, even Captain Sensible held the same view, “I prefer the Hope & Anchor” he announced, “Wembley Arena is a big concrete shithole, but at least tonight it’s our big concrete shithole!” 

 

Dwarfed by a huge backdrop and screens showing some fantastic spooky graphics, the band opened with “Street of Dreams” from the “Phantasmagoria” album, (which ironically didn’t feature the Captain or Paul Gray) and then treated us to a first set that was an absolute treat for us “Black Album”/”Strawberries” generation of fans. The brilliant “Wait For The Blackout” was one of the highlights of the night for me and this was followed by the epic “History of The World (Part 1)” and an atmospheric “Dr Jekyll & Mr Hyde” complete with old horror movie back projections. It’s a song that highlights Paul Gray’s immense bass playing, and the sound is spot on tonight so you can really appreciate his talents and wonder why he is such an underrated bassist. Maybe it’s because his playing didn’t define The Damned in the way that maybe JJ Burnel, Peter Hook (more on him later) and Jah Wobble did on their respective bands. Captain Sensible in his trademark beret, black and red stripey jumper (with the addition of an oversized ‘50’ badge) and Gibson SG guitar, looks as good as he sounds, defying the years, it’s hard to believe the band are celebrating their 50th year as he’s barely changed since that first time I saw him. We then get two tracks from “Strawberries”, the brilliant, soulful “Stranger On The Town” is an absolute delight that gets the crowd moving and the Psychedelic Pop strains of “Under The Floor Again” is an unexpected gem. Dave moans about Su Pollard keeping “Eloise” off the top of the charts, I’m not a big fan of the song but I guess it has to be included as it was their biggest hit, and I guess an entry point for a lot of new fans at the time. 

The band remind us that it’s not all about nostalgia and that they are still releasing new material with “Wake The Dead” from the 2023 “Darkedelic” album. Personally, I think the band were rejuvenated when Paul Gray re-joined and they released the brilliant “Rockfield Files” E.P. and it got me interested in their new material again. It was a similar situation when Baz Warne took on lead vocals with The Stranglers and the quality of their music and live performances shot up to another level and seemed to re-energize the band, and their fans. Captain takes over on lead vocals for the whimsical “Life Goes On” underpinned by another superb Paul Gray bassline that I’m sure Nirvana pilfered for “Come As You Are” and the pure pop of “Is It A Dream?” are pointers that The Damned weren’t always just about Anarchy, Chaos and Destruction, we’ll save those traits for the second set. My love of “Machine Gun Etiquette” is rewarded by “I Just Can’t Be Happy Today” which highlights the skills of keyboard player Monty Oxymoron who has now become an integral part of the band, “Hurry up Beethoven”, Dave jokes with him at one point. The first set draws to a close with the classic “Smash It Up Parts 1 & 2” after which the band retire for a short interval, and we are kept entertained while we wait by the Pearl and Dean music and loads of old nostalgic TV adverts.

 

The band return for a second set and take no prisoners with a far Punkier selection of songs, the back projection shows a clip of the band’s appearance on the classic comedy show The Young Ones and we get the rush of “Nasty”, which is a fantastic and unexpected surprise. That awesome bass intro of “Love Song” is like a rush of adrenaline and that’s followed by the blistering “Machine Gun Etiquette/Second Time Around” which almost careers off the rails. Despite missing his cue on occasion and some dodgy Elvis style hip swings, Dave Vanian is in fine form, starting off in trilby, black mask and long black coat, there must be a Dorian Gray style portrait hanging up in his loft, as he is defying the years like his bandmates. Rat Scabies proves that he is one of the best drummers to have come out of the Punk explosion and it’s so great that he is back in the line-up where he belongs. Dave pays tribute to Brian James and also to Algy Ward and Bryn Merrick which is a nice touch, and they slam into “Fan Club” from the debut album. 

I’m over the moon as next up they play what could well be my all-time favourite Damned track, “Disco Man” from what must be the best ever 4-song E.P. of all time “The Friday 13th E.P.” and I can feel a lump in my throat and a tear in my eye. It’s impossible for a band to satisfy everyone, especially one that’s been going for 50 years with such an immense back catalogue, but I think they got the setlist just about right. After all, if every fan submitted their ideal setlist, I’m sure every single one would be different! Also, we already had the special treat of the original line-up reunion with Brian James at the Hammersmith Apollo, so they could be forgiven for missing a lot of the early material. Personally, as it was their 50th anniversary, I would have liked to have heard “Problem Child” or “Stretcher Case”, but I was happy that I got a fair few of my favourite songs. Talking of favourite songs, “Ignite”, the opening track from “Strawberries” was incendiary, if you pardon the pun, and it turned into an immense call and response singalong with the crowd. The classic “Neat, Neat, Neat” sparked off some mosh pit action but then the mood changed for the epic, cinematic classic “Curtain Call”, a duo of songs that couldn’t highlight the scope of The Damned’s musically ambitious eclecticism any better. Of course, the set closes with “New Rose”, that very first Punk single released in 1976, fifty years ago. I’ll say that again, fifty bloody years ago, hard to believe it when the band you are watching are looking and sounding as fresh, energetic and vital as ever. Let’s hope for a few more birthday celebrations to come.

I mentioned earlier that one of the reasons I decided to go was the great line-up that didn’t just consist of the usual Punk bands that I was expecting. The Loveless is Marc Almond’s fun Rock ‘n’ Roll side project and they played a great set mainly consisting of covers with a couple of originals thrown in. They had that down and dirty sound down to a tee and some highlights included takes on 13th Floor Elevators “You’re Gonna Miss Me” and a rousing, Glamtastic “Hell Raiser” by The Sweet. Guitarist Neal X was in top form and the version of his old band Sigue Sigue Sputnik’s “Love Missile F1-11” really worked. As did, Soft Cell’s classic cover “Tainted Love” which was out of this world played in the Rock ‘n’ Roll format. Marc Almond’s voice was fantastic, and he really seemed to enjoy fronting this excellent band.

 

Peter Hook & The Light also delighted the crowd with their set of Joy Division numbers that all sounded immense. The band were formed out of the ashes of Hook’s own Monaco with the addition of his son Jack on second bass, in fact Jack seemed to carry most of the burden, playing more than his Dad, who concentrates on singing, legs wide in familiar pose. Hooky, who’s wearing an Oasis T-Shirt featuring one of my Retro Man Blog colleague Paul Slattery’s photos, has such charisma that he seems to shrink the size of Wembley Arena, and Joy Division’s icy songs flourished in the environment. Talking of T-Shirts, guitarist David Potts is wearing one featuring the cover of The Damned’s “Friday The 13th EP” and he said he was chuffed to bits to be on the same bill as one of his favourite bands, it was a nice touch. We get a superb selection of songs such as “Transmission”, “Disorder”, “Shadowplay” and “Ceremony”, which was the Joy Division song that crossed over to New Order and inevitably, the set closed with “Love Will Tear Us Apart” and the crowd sang their hearts out.

 

Opening up the night were one of our Blog favourites, the Brazilian/Danish duo The Courettes, and I must admit I was a little worried about how they would fare in the cavernous Arena. But I needn’t have been concerned, and I was so pleased for Martin and Flavia that they went down so well despite the extremely early start. In the end they owned the huge stage of the Arena, it was certainly a far cry from the first time I saw them at the Fiddlers Elbow in Camden, but Flavia’s electric presence and Martin’s dynamic drumming style, more than compensated for the huge empty space around them. Of course, having such memorable and timeless songs helps and their trademark wall of sound, bubble-gum harmonies and fuzzed up riffs really endeared them to the thankfully, quite large crowd that were there early enough to see them play. “Boom! Dynamite!” was a real highlight with Flavia machine-gunning the crowd with her vintage guitar and “Hop The Twig” with its Cramps style intro went down a storm and I’m sure they gained a whole bunch of new fans. So, overall it was a superb night and I must admit that the sound and lighting at the venue were excellent, it was loud and powerful even from where I was sitting at the side of the stage, but I don’t think I will attend many more Arena sized shows, as just like the Captain, my heart is at The Hope & Anchor.

 

You can see more videos from the show at our Retromanblog65 YouTube channel here. Also, don't forget our thoroughly entertaining Retrosonic Podcast with Flavia and Martin from The Courettes, which can be found at our Soundcloud archive here.

Retrosonic Podcast · Presenting the fabulous Courettes

Ray Stevenson "Not Just Punk" - New Book from the legendary music photographer

We went along to the Farsight Gallery for the launch party of the new book "Not Just Punk" from legendary music photographer Ray Stevenson. The gallery was packed with familiar faces including some that feature in the book itself including Gaye Black of The Adverts, Neal X of Sigue Sigue Sputnik and Spizzenergi. Also in attendance were Leigh Heggarty of Ruts DC, Tom Crossley of The Phobics, Barrington Francis of The Saints, Anne Pigalle, Chris Musto of Glen Matlock's band, Debsey Wykes of Dolly Mixture, Paul Kelly the Heavenly Films director, Clash DJ Scratchy Sounds, author Daniel Rachel, Roxy club owners Andy Czezowski and Sue Carrington and music photographers Paul Slattery (my Retro Man Blog colleague), Jill Furmanovsky, David Corio and Erica Echenberg. There was a presentation of some of the photos featured in the book and a Q&A session with Ray hosted by Farsight Gallery owner Sean McLusky (Subway Sect and JoBoxers). It was another great event at the Farsight Gallery which is located on Flitcroft Street just off Denmark Street close to the site of our beloved and much-missed 12 Bar Club. I'd recommend signing up to their mailing list as they do put on some superb shows which have previously included Mick Jones Rock 'n' Roll Public Library and the Batcave LP launch party.

Ray Stevenson with his new book "Not Just Punk"

Eric Waring, DJ Scratchy Sounds, Gaye 'Advert' Black and Paul Slattery

Gaye Black of The Adverts

Here's a brief biography of Ray courtesy of the Farsight Gallery...

Ray Stevenson started out as a teenage darkroom apprentice back in mid 1960's London. After meeting with rising folk star Buffy Saint Marie, discovered folk-nights at the Marquee Club, then he was introduced to seminal folk venue Les Cousins by Sandy Denny. Ray became a regular at both of these venues shooting many unknown musicians like Bert Jansch, Roy Harper, Al Stewart, John Martyn, Cat Stevens and Marc Bolan. Stumbling upon a Jimi Hendrix sound-check gave Ray a taste for plugged-in-guitars and opened up another trajectory that resulted in him photographing a much broader range of musicians. His photo ‘The Who at the Marquee 1967’ was used by the Royal Mail in their 2025 commemorative collection. But the Stevenson portfolio went beyond photographing the musicians of the day as his work also featured models, hippies, ballet dancers, the occasional film star and friends. One of those friends was David Bowie, whom Ray shot many pre-glam photos of. None of this activity was enough to pay the rent, so he took a 9-to-5 job in the BBC Open University dark-room. 

Sean McLusky (R) interviews Ray

Anne Pigalle with Spizz who features on the book's cover and inside... both photos above by Paul Slattery

Then in early 1976, Ray's brother Nils asked him to take some pictures of a new group called the Sex Pistols. And so began Ray's second wave of live visual work - capturing the nascent Punk movement and the New Wave and Post-Punk scenes that followed it. His photos of the Pistols, Clash, Siouxsie Sioux, Soo Catwoman, Jordan, 2-Tone, Sigue Sigue Sputnik, et al are now rightly seen as iconic and have been used in numerous books, magazines and documentaries.  His own photo books - Sex Pistols File, Vacant, the Siouxsie & The Banshees Book and Photopast - sold many thousands of copies worldwide and are regarded as collectors' items. In 2007  Ray was described 'as the most important rock photographer of his generation'. He has now released ’Not Just Punk’, a look back at some of those glorious times and people.

Paul Kelly, Paul Slattery, Daniel Rachel and Debsey Wykes

Paul Slattery, Ray Stevenson and David Corio

You can check out more about Ray Stevenson and his work at his official website here and you can order the book at Amazon here. For more information on the Farsight Gallery please subscribe to their newsletter via their Farsight Collective site here or on Instagram here.

Sex Pistols in Carnaby Street by Ray Stevenson - Courtesy of Farsight Gallery

WitchDoktors "Izzatso?" - Feature on the New Album with Photos, Videos and Tour Dates

WitchDoktors released their long-awaited brand new album "Izzatso?" on Halloween via Bomber Music, and if you're after vinyl then you can choose from three appropriately spooky coloured discs - either blood splattered, pumpkin or black and gold swirl vinyl. There's a tendency for music journalists to reach for the same old cliches when reviewing new albums, four lazy phrases such as 'best album of their career', 'return to form', 'all killer no filler', 'every track could be a single' spring to mind. Luckily, I'm not a music journalist so let's just deconstruct those cliches for a moment... First of all, yes, I'd say that "Izzatso?" is the best album of WitchDoktors' near-30 year career to date. I say that with a slight caveat though because there's always an initial rush of excitement when you give a new record by one of your favourite bands its first spin. When it's as good as "Izzatso?" there's a kind of relief that the band haven't let you down and then, after more plays, it dawns on you that this could well be an absolute classic in the band's impressive back catalogue. 

 

Next cliche - 'return to form' - if I was in a band I'd be pretty insulted when journos drop this phrase into a review as it's kind of implying the last release was basically crap! This definitely doesn't apply to WitchDoktors, for as great as "Izzatso?" is the band have never been out of form and it would be doing a huge injustice to previous albums such as "Voodoo Eye" or "$3 Hooker". However, "Izzatso?" does contain all the best elements of WitchDoktors crammed into it's eleven superb songs, capturing the very essence of the band perfectly. The album kicks off with a drumbeat and a distant 1,2,3,4 before "Lightning Strike" zooms in on a wicked Bo Diddley beat overlaid by some excellent slide guitar courtesy of special guest Leigh Heggarty from Ruts DC. "Before The War" one of the sides of the debut single from the album has already established itself as a bit of a WitchDoktors classic with it's memorable singalong chorus. 

Of course WitchDoktors are steeped in the influence of The Clash, particularly that period when they threw off the shackles of Punk Rock and embraced American roots music with the "London Calling" album. So, WitchDoktors also cherry pick from the raw Country of Johnny Cash, fuzzed up 60's Garage Rock nuggets, the swampy Blues of Gun Club and The Cramps to the downtown New York sleaze of The Heartbreakers. WitchDoktors dressed in their bowling shirts, shades and trilby hats look cool, like a gang, just like a real band should and live, they are a supercharged blur of energy, they know the score. Frontman Andy Last and guitarist Tony Major certainly know how to work a crowd and engage with them in concert and they've managed to truly capture that dynamic on record with "Izzatso?", the guitar work is stunning throughout and Andy has never sounded in better voice. Among their contemporaries I guess Jim Jones shares similar ideals, in fact next track "High, Dry and Burnt" reminds me of his current outfit, Jim Jones All Stars, with a menacing bassline courtesy of Lee Page and brass section. Also similar to Jim Jones, WitchDoktors do love their Rock 'n' Roll myths and legends too - railway tracks, whiskey, movie stars, murder ballads, voodoo, neck tattoos and tiki bars - it's all there in their albums but "Izzatso?" adds in more thoughtful subjects such as PTSD and environmental and climate issues. Next cliche up, 'all killer, no filler' - well that's definitely true, every song is well worth its inclusion, nothing overstays its welcome. 

 

One of WitchDoktors biggest talents is their understanding of the dynamics of Rock 'n' Roll, on record and in concert. Live, they know how to pace a show, build the tension and when to release it. Same on their records and with "Izzatso?" in particular, the track-listing is perfectly plotted with songs that are buzzing with ideas, genres, riffs and harmonies. To get the full effect you've got to play it from side one, song one all the way through and it all makes perfect sense. Back to The Clash and WitchDoktors have also taken  their love of Reggae and similar to The Ruts really make it work. This is no doubt thanks mainly to Joe Colfar who is certainly one of the best drummers around with an instinctive feel for the genre as you can hear on the brilliant "Spanner In The Works". Then there's "Freedom Fighter" which wouldn't be out of place on Joe Strummer & The Mescaleros "Global A-Go-Go" album it's that good. The final cliche I picked on was 'every song could be a single' - possibly, although I have one reservation in the slightly downbeat closing track "Kicking The Can" which in context of the album works perfectly well but I'm not sure it would fare as a stand-alone single. 

However, WitchDoktors have already got a head start with the release of the stunning 7" vinyl single "Before The War"/"Spanner In The Works" which is a tour-de-force double shot of Punk and Reggae that must rank up there among the very best double A-sided singles of all time. Talking of singles, "One Shot" would make another great one with it's wah-wah guitar and some superb drumming from Joe. "Planet of Pain" is a blistering quintessential WitchDoktors number that rubs leather clad shoulders next to my favourites "I'm Sick" and "No Pain No Gain". It blasts off like Rocket From The Crypt with some cool brass and Andy's rasping voice, not to forget a great bass riff and guitar freakout that will have you leaping about the room like crazy. "Jezebel" is a tuneful Pop Punk number with some nice Buzzcocks "ooh ooh" backing harmonies and the stabbing rhythm guitar of "God Knows" continues with this more melodic lighthearted side of the band. Then they up the tempo with the excellent "Candy Star" which surfs in on a naggingly catchy Pixies style guitar riff, I love this track. 

The album closes with the afore-mentioned "Kicking The Can" which starts off in the backstreets of Paris with its mournful accordion before mariachi trumpets and twanging guitars transform the song into an evocative Spaghetti Western number. It's a slightly unassuming ending to the album but I guess it's good to have a bit of an atmospheric comedown after all the undoubted highs of a quite brilliant record. With "Izzatso?" it's like the band have been slowly building up to creating this masterpiece, an all-time classic album that will proudly sit alongside all the favourites in your collection. I'm just wondering how the hell WitchDoktors are going to better it? Here's a little bonus - The Voodoo Eye (WitchDoktors with special guests) performing "Suffragette City" with Stevie Savage and Nicky Forbes from The Revillos at the Retro Man Blog Birthday Gig and Alzheimer's Society Fundraiser, Half Moon Putney back in September.

 

The band will head off on tour to promote the album so please check out the official WitchDoktors Facebook page here for more details. You can order "Izzatso?" on CD, download or your choice of coloured vinyl at their Bandcamp site here. Check out our YouTube channel Retromanblog65 for loads of original WitchDoktors videos including their special appearance at the Retro Man Blog Birthday Gig & Fundraiser at the Half Moon Putney back in September. Videos and photos by Retro Man Blog and Ruth Rae.

Glen Matlock "I Was A Teenage Sex Pistol" Documentary Screening and Q&A at The Barbican Centre, Thursday October 23rd

Last night, we went along to the first screening of the new Glen Matlock documentary "I Was A Teenage Sex Pistol" at the Barbican Centre, part of the excellent Doc 'n' Roll Film Festival. The movie was followed by a Q&A session with Glen and directors, Nick Mead and Andre Relis being interviewed and taking questions from the audience. The documentary is based on Glen's memoir "I Was A Teenage Sex Pistol", telling his often overlooked side of the story, his part in the formation of the Pistols and his contribution to the song-writing of many of those classic tracks. Glen explains how he got to work with Malcolm McLaren and Vivienne Westwood in their Kings Road store Let It Rock which would evolve into a hangout for disaffected local youth including Steve Jones and Paul Cook. He explains how the Pistols got together and the personal dynamics that made the band so unique. More poignantly he discusses the negative impact of the infamous appearance on the Bill Grundy TV show and the frustration he felt in not being able to get out there and play, which was always his priority. 

Chris Musto, Neal X from Glen's band, Glen and Kathy Valentine from The Go-Go's

 

The machinations going on behind his back to get John Lydon's mate Sid Vicious in to replace him and Malcolm's preposterous press release to say he had been sacked for "liking the Beatles" is something that clearly still rankles. I guess his book and this movie must go someway to putting those demons to rest and he also busts some long standing myths about his relationships with Sid, his bandmates and manager. Although of course the movie concentrates on the Pistols, it does touch on his musical career after he left the band such as his time with The Rich Kids, touring with Iggy Pop and Blondie and his solo music too. "I Was A Teenage Sex Pistol" paints a picture of a man who basically just wants to get out there and play, to experience the shared joy of performing and writing music with like-minded people. Throughout the movie there are enlightening interviews with some impressive guests including Steve Jones, Paul Cook, Billy Idol, Debbie Harry, Chris Stein and Clem Burke, Dead Boys guitarist Cheetah Chrome, Kenney Jones from The Who and Neal X. In fact Neal was there at the screening along with drummer Chris Musto, both from Glen's current band. Also in attendance were Kathy Valentine from The Go-Go's, Billy Doherty from The Undertones and Tony Major from The WitchDoktors.

For more info on the Doc 'n' Roll Film Festival please check out their web-site here. For news and information on Glen Matlock's current recordings and gigs etc. please check out his official web-site. You can see a feature on his superb gig at The 100 Club in London earlier this year with Kathy Valentine supporting in our Blog archive here.