Obituary - Tim Smith

On Tuesday 21 July 2020, Tim Smith, best known as vocalist, front man and main writer of CARDIACS passed away. He was aged 59. The cause of death was a heart attack. 

Born Timothy Charles Smith on 3 July 1961 in Carshalton, Surrey, England, he had formed his first band by 1975 with some school friends while 1977 saw the formation of THE FILTH with his brother Jim. 

By 1979, he had formed CARDIAC ARREST releasing its first single, ‘A Bus For A Bus On A Bus’, before taking over vocals the following year for the ‘The Obvious Identity’ cassette album. In 1981, the band had morphed into CARDIACS for the release of the cassette album, ‘Toy World’.

In 1983, Smith married Sarah Cutts, who had joined the band three years prior. 

Smith created the Alphabet Business Concern in 1984, a carefully constructed myth of an exploitative organisation that dictated CARDIACS activities and held them to account. It debuted with ‘Archive Cardiacs’ that compiled the two previous cassette only releases. All future CARDIACS material, bar a rare exception or two, was released on Alphabet Business Concern. 

CARDIACS was a unique band and virtually unparalleled in a live setting. Fusing the abrasiveness of Punk and the musical exploration of Prog Rock, the band created a truly original sound be it on the minor hit single, ‘Is This The Life’ (minor as in reaching #80), through the majestic ‘Heaven Born And Ever Bright’ album (which opened with symphonic ‘The Alphabet Business Concern {Home Of Fadeless Splendour}’) through to the epic double album ‘Sing To God’.

Smith had a few side projects also, including the solo album ‘Tim Smith’s Extra Special OceanLandWorld’ which was recorded between 1989 and 1991 and saw release in 1995, while THE SEA NYMPHS was a side project that featured his ex-wife Sarah and William D. Drake (both of whom had been in CARDIACS), and played a gentler, lighter sound featuring greater emphasis on keyboards, vocal rhythms and brass. 

Two lesser known roles included performing with Jo Spratley in SPRATLEY’S JAPS in 1995, playing on and producing the band’s 1999 album ‘Pony’, and touring solo in support of GINGER AND THE SONIC CIRCUS in March 2006.

Outside performing, he also owned the recording studio, Apollo 8 in Wiltshire, producing several artists including LEVITATION, EAT, OCEANSIZE, SIDI BOU SAID and former WILDHEARTS frontman Ginger. 

He was also recognised as a video editor, working with bands as disparate as SEPULTURA and THE FRANK AND WALTERS, along with CARDIACS. 2008 saw the film, ‘The Wildhearts Live In The Studio: A Film By Tim Smith’ which featured THE WILDHEARTS performing their self-titled album along with some surreal intervals.   

A final CARDIACS album, ‘LSD’, remains unfinished. 

Tragedy struck on 25 June 2008 when Smith suffered a heart attack and stroke (after a MY BLOODY VALENTINE concert) and underwent a long period of rehabilitation, which included a second stroke in hospital. He experienced a lack of oxygen to the brain during cardiac arrest and was diagnosed with dystonia, which causes muscles to contract uncontrollably. To aid his on-going recovery, three events named The Alphabet Business Convention were staged in 2013, 2015 and 2017 while in 2016 a one-off gig in Preston named The Whole World Window was staged. 

A fundraiser set up for his care in 2018 read: “This condition has affected Tim’s movement, his dexterity, his ability to speak, and it has added painful muscle tone and spasms that are a permanent feature of his life these days.” Just the year before, Smith is quoted as saying of his condition, “Imagine if you were wearing a skintight bodysuit made of fishnet all around you, with electrical pulses going all the time. This is what my body feels like unless I fall asleep.”

On 25 October 2018, Smith received the degree Doctor Of Music from the Royal Conservatoire of Scotland, which brother Jim accepted on his behalf. 

Smith’s passing was announced by his brother Jim and bandmate Kavus Torabi stating Smith had “passed away peacefully at around 10.30pm”. 

My memories of CARDIACS go back to seeing them on Channel Four’s The Tube in 1987, when the programme aired the ‘Tarred And Feathered’ video. I didn’t have a clue what it was, whether I liked it or hated it. The Tube, from memory, played more CARDIACS stuff - and I got a taste for them. 

I finally got to see the band when they played Ipswich Caribbean Club in March 1992. The Caribbean had a reputation for bad sound but CARDIACS made the place sound awesome - the only band I ever saw that managed it.  I caught them again at Colchester Arts Centre around 1996 on the ‘Sing To God’ tour and a final time at the, I think Highbury Garage (although it might’ve been the Camden Falcon - I know it was cold though!) in early 1999.  

CARDIACS gigs were joyous, distinctly British (as in fusing hymns and music hall into their sound), chaotic, celebratory and frequently laden with make-believe cruelty (witness Tim’s goading and near bullying of his bassist brother, Jim). But never once was I not impressed, or even amazed that such complex songs could be played so efficiently and when the jarring, fractured sounds exploded into a joyous, heavenly symphony of sound, it was a truly beautiful thing.  

Where Smith’s muse came from, I cannot begin to imagine but I feel intensely fortunate that it touched me deeply and I got to experience The Leader Of The Starry Skies in all of his fadeless splendour.

Joe Strummer Foundation

I’m sure everyone reading has heard of JOE STRUMMER, the legendary frontman of THE CLASH, solo artist, short-term POGUE, writer and actor. Many have had the tag ‘legendary’ attached to their name, but few deserve it more than Strummer.
What you might not have heard of is a charitable collective in East Sussex, England called JOE STRUMMER FOUNDATION. Its aim is to provide opportunities to musicians and support to projects around the world that create empowerment through music. 

This is achieved via various projects and fundraisers, the latest of which is a rather smart split digital single of CLASH tunes.
The Foundation has three main objectives, being:

1. The prevention or relief of poverty, particularly of young people, anywhere in the world by providing: grants, items and services to individuals in need and/or charities, or other organisations working to prevent or relieve poverty.
2. To promote, improve, develop and maintain the education of the public in the art, culture and science of music in all its aspects for the public benefit, in particular young musicians, including by the provision of funds for the purchase of musical instruments and studio rehearsal.
3. To promote, improve and advance the arts, including music, for the public benefit including by the presentation of exhibitions, public events and concerts.

Their latest project in raising both funds and awareness is a split digital single featuring DIY stalwarts NOSEBLEED and THE ZIPHEADS, both of which cover a CLASH song. It was released on 8th May as a joint venture with Joe Strummer Foundation and Bomber Music, raising funds to support musicians in these incredibly difficult times.
You can get the digital single via Bomber’s bandcamp page with all proceeds going to the JSF, and find out more about the Foundation HERE.

Obituary - Dave Greenfield

On Sunday 3 May 2020, Dave Greenfield, keyboardist with legendary British band, THE STRANGLERS, passed away. He was aged 71. The cause of death was COVID-19 (Coronavirus).
Greenfield was born David Paul Greenfield on 29 March 1949 in Brighton, England.
On leaving school, he played with various bands on American airforce bases in Germany, and also played in UK bands while working for his father’s printing business, and as a piano tuner. 

In 1970, one of his early bands, THE BLUE MAXI released a single on Major Minor Records entitled ‘Here Comes Summer’. Other early bands included prog rockers RUSTY BUTLER and CREDO.
Things changed massively when he auditioned for THE STRANGLERS in 1975 and replaced Hans Warmling as the band’s keyboardist. He stayed with the band through to his passing playing on all 17 studio albums and a multitude of live albums, be they official or otherwise.
The story of THE STRANGLERS is well documented and, it is often said the band was influenced by THE DOORS. At the time of joining the band however, Greenfield had hardly heard Morrison and co, and was said to be more influenced by Rick Wakeman of YES and DEEP PURPLES’s Jon Lord.
His most notable contribution to the band was the baroque-influenced 1982 single ‘Golden Brown’ which started off as a piece of waltz-time harpsichord music during the recording of ‘The Gospel According To The Meninblack’ album. With added lyrics, the song became a number two hit single in the UK, also winning an Ivor Novello award.
He frequently sang backing vocals for the band, and in places used a vocoder. His lead vocals can also be heard on the tracks ‘Dead Ringer’, ‘Peasant In The Big Shitty’, ‘Do You Wanna?’ and ‘Four Horseman’.
Outside of the band, Greenfield had an interest in the occult, which was evident from his wearing a pentagram in many early photos of the band.
Besides THE STRANGLERS, Greenfield released an album with the band’s bassist, Jean-Jacques Burnel, in 1983 entitled ‘Fire And Water (Ecoutez Vos Murs)’ which was used for the soundtrack to the film Ecoutez Vos Murs, directed by Vincent Coudanne. He also tried his hand at production with the 1981 single ‘Back To France’ by Boys In Darkness.
On 26 April 2020, he was diagnosed with the COVID-19 virus during a stay in hospital for heart-related issues before succumbing to complications related to it on 3 May 2020. 
He is survived by his wife, Pam.

My journey on the road to a life with the music of THE STRANGLERS started either late ‘79 or mid 1980 when I saw them play ‘Duchess’ on (I imagine) Top Of The Pops. I managed to score the 7”, even though it had been out a while by that stage.  Still got it too.
I saw the band live just four times, with the most memorable event being on the ‘Dreamtime’ tour in 1986. It was in my home town of Ipswich and someone had been spitting at the band. Vocalist/ guitarist Hugh Cornwall asked them to stop, which was immediately ignored as a great phelgm-ball headed his way. Cornwall stopped the band, dived into the crowd and pulled Mr. Gobber onto the stage. The band then removed his trousers, and undies and stuff a peeled banana on his wiener before throwing him to the roadies.
The last time I saw the band was 2018 at the Auckland Town Hall here in New Zealand. The abiding memory I have of that was during the keyboard solo in ‘Walk On By’, which Greenfield played one-handed while downing a pint. On completion, and still playing one handed, he scrunched the cup and headed it away!! Biggest cheer of the night? Possibly only ‘Get A Grip’ surpassed it.
It’s without a doubt that it was Greenfield’s keyboard skills that set THE STRANGLERS apart from the rest of the Punk throng. His swirling arpeggios and dramatic swell of sound gave their music not just a greater melodic structure and even accessibility, but they also added something much darker and muscular.
It’s tragic that the very disease that prevented THE STRANGLERS completing their farewell tour should be the virus that took the life of the band’s mercurial keyboardist and one of the two pivotal members remaining.
Greenfield maybe gone, but the sound and memories of those who saw and listened to THE STRANGLERS will live forever.

Obituary - Andy Gill

On Saturday 1 February 2020, Andy Gill - best known as guitarist and co-founder of GANG OF FOUR - passed away at a hospital in London, England. He was aged 64. The cause of death was pneumonia.
Gill was born Andrew James Dalrymple Gill on 1 January 1956 in Manchester, England.
It was while at school in Sevenoaks, Kent that Gill met the co-founder of the band he would become infamous with: future GANG OF FOUR vocalist Jon King. Finding a love of art, they both moved to Leeds to attend the progressive Fine Arts Department at the University. While there they both ran the student film society and adopted the guise of Situationists - a radical French group from the 60s which focused on the alienating effects of mass media and entertainment.
The seeds of an idea of forming a band were sown when the pair visited New York City and experienced the then fledgling Punk scene at CBGB’s (a trip actually funded by grants intended for their studies!). However, it was at the infamous Leeds pub, The Fenton, where the band took shape with the addition of bassist Dave Allen and drummer Hugo Burnham. By 1977 the band had fully formed and were soon signed to Scottish independent Fast Product for the release of the ‘Damaged Goods’ single.
To get the band’s political message out there, they then signed to EMI for the single ‘At Home He’s A Tourist’ and the classic debut album, ‘Entertainment!’. Over the successive years, various members left, got replaced, and came back, while Gill remained the only constant on the following nine studio albums. He was reputedly working on mixes of a new album from his death bed, and planning another tour.
Throughout this period, Gill was also a record producer, and produced or co-produced all of the band's albums. He also produced albums for artists such as the THE STRANGLERS, KILLING JOKE, RED HOT CHILI PEPPERS, JESUS LIZARD And THERAPY? among others.
Gill is survived by his wife, journalist Catherine Mayer who he married in 1999, his brother Martin and "many family and elective family members who will miss him terribly" said the band in a press statement.

In all honesty, GANG OF FOUR didn’t quite resonate with me in the same voracious way that many of their contemporaries did. I have the first three albums and can see their influence throughout a myriad of bands (notably two disparate bands in FUGAZI and FRANZ FERDINAND), can appreciate that welding of politics, Punk, Funk and Dub and find Gill’s guitar playing to be not just inventive but iconoclastic in style. All of that considered, I still didn’t go and see the band play in Auckland, New Zealand in November 2019. Now, there is one gig I regret not attending...

Obituary - Pete Shelley

On Thursday 6 December 2018, Pete Shelley - best known as founder, singer and songwriter of British Punk band, BUZZCOCKS - passed away at his home in Tallinn, Estonia. He was 63. The cause of death was due to a heart attack.
Shelley was born Peter Campbell McNeish on 17 April 1955 in Leigh, Lancashire. His mother Margaret was a former mill worker in the town while his father, John, was a fitter at Astley Green Colliery. He was the eldest of two, with a brother named Gary John McNeish.
From an early age Shelley read BEATLES sheet music and wrote his first song in 1971. Two years on from that, he formed his first band, JETS OF AIR, whose set included early proto types of songs that would later find home in BUZZCOCKS’ set list.
By 1974, he had written and recorded a set of electronica and although virtually unlistenable, Shelley released it as ‘Sky Yen’ on his own label in 1980.
It was a January 1974 meeting with one Howard Trafford at the Bolton Institute Of Technology (where the young Shelley was Vice-President of the Student’s Union) however that would change the path of both individuals’ future. The pair rehearsed some STOOGES material but due to the two living in different towns, the project - at this stage - came to nothing.
What followed is the stuff of legend. In February 1976, they read a review of EDDIE AND THE HOT RODS at The Marquee, London. The support band was the SEX PISTOLS. With their interest piqued by the mention of an IGGY POP cover, the pair went to London to see the SEX PISTOLS for themselves. They saw two shows, which changed their musical horizon, adopting their now more familiar Punk names (Trafford became Devoto) and so the legend of BUZZCOCKS begins. This is incredibly well documented, so I’ll leave you to do your own research about the band should you wish to.
In 1981, Shelley called time on BUZZCOCKS, informing band mate Steve Diggle by post - an action which created friction between the two that lasted years. Shelley, however, scored an immediate solo hit with ‘Homosapien’ and the album of the same name released in 1981. Two years later, he released his second solo album in ‘XL1’. It was another three years before he released the ‘Heaven And The Sea’ album.
During BUZZCOCKS’ absence their influence and legend had grown to such a stage that, in 1989, they were offered a lucrative US reunion tour. The band continued from then on, with the final BUZZCOCKS album being 2014’s ‘The Way’.
2002 saw Shelley reunite with Devoto for the ‘Buzzkunst’ album while in 2005, following the death of the DJ John Peel, Shelley recorded a tribute version of the BUZZCOCKS classic ‘Ever Fallen In Love’ with a multi-star lineup including Elton John, Robert Plant, David Gilmour and Roger Daltrey.
Although Shelley was open about his bisexuality, he did marry in 1991 and had a son in 1993. In 2002, he got divorced. In 2012, he moved to Tallinn, Estonia with his second wife, Greta, to live a less hectic life than that in London. It was here, on the morning of 6 December 2018, that he suffered a heart attack and passed away.
He is survived by his wife Greta, his son from his first marriage and his brother, Gary.
In accordance with Pete Shelley's wishes, a private funeral was held in Maardu, Estonia on Thursday 13 December. It was attended by his wife and a few close family friends. As noted in his eulogy, "However we knew Pete, we will miss him sorely in all his shapes and guises, but his legacy will live on in our memories and in the ways he has touched our lives."  

I only ever got to see BUZZCOCKS the once, back around the time they got back together and released ‘Trade Test Transmissions’, at the Norwich UEA - 1994 I think and THESE ANIMAL MEN supported. Oddly, they played here in NZ a year or so ago; my thinking was I’d catch them next time - which obviously ‘next time’ now means never again.
The first time I became aware of the band was around 1982/83. I’m not sure which came first but it was either via the ‘Burning Ambitions’ comp which featured ‘Boredom’ or getting a copy of the ‘Ever Fallen In Love’ 7” from someone at school - it might even have been a freebie as it’s housed only in a plain white cardboard sleeve. I’ve still got it too (ditto for the ‘Burning Ambitions’ comp). I’m pretty sure I must have heard the band on the John Peel show, or even on Top Of The Pops prior to either of those, but they are the first definite memories of Pete Shelley’s wonderful songwriting appearing on my horizon. It didn’t take long from there to gravitate to the classic ‘Singles Going Steady’ compilation and then those first three stunning studio albums. 
I think it’s fair to say that BUZZCOCKS was a universally liked band within Punk. Be it the adrenalin rush of ‘Orgasm Addict’ and ‘What Do I Get’, the primitive yet revolutionary ‘Spiral Scratch EP’, through to the Indie-scene inspiring ‘Everybody’s Happy Nowadays’ and onto the epic ‘Why Can’t I Touch It?’, we all have our favourites. The band’s latter work should not be ignored either as both ‘Trade Test Transmissions’ and 2003’s ‘Buzzcocks’ are both well worth a listen and  indicate that of all the 77 bands to reform, BUZZCOCKS’ reformation birthed the best new material of the lot.
R.I.P Pete and thanks for being part of the sound track to not just our youth, but of our lives.

Show Time

Peter Murphy

PETER MURPHY - DAFFODILS - Powerstation, Auckland, New Zealand - 20th October 2018

Way back in early 1983, BAUHAUS played the Gaumont, a theatre in my old home town of Ipswich, England. I really enjoyed the songs I had heard by the band (ie: the singles) and wanted to go. However, aged just 13, my folks wouldn’t let me. I think the fact they looked a ‘bit scary’ was the reason as, within six months, I got to see THIN LIZZY and soon after that, HAWKWIND. Let’s face it, with the amount of drugs in the air at a HAWKWIND gig, my 13 year old frame was rendered a tad stoned just by breathing! Ha!! Anyway, I always had a grudge about not seeing BAUHAUS, a band I got into more as I got older.

Several years later, BAUHAUS vocalist PETER MURPHY announces some New Zealand dates. Snag was, I was in Melbourne, Australia where he was also playing - but not while I was there. Everything conspired once again to miss a live BAUHAUS set.

That is, until August this year when I heard that MURPHY was returning to New Zealand not only to play a set celebrating the 40th anniversary of BAUHAUS with a full rendering of the debut album, ‘In A Flat Field’, but he’d have original bassist David J in the band. Tickets booked for this one - third time lucky!

Daffodils

The Powerstation is a great venue, among the best I have ever been to in fact. Always good sound, good atmosphere and the procession of black-clad individuals certainly seemed comfortable as we awaited the arrival of the headline act.

First up however was a local band named, DAFFODILS. They played about half-a-dozen numbers and got a decent response. Think a fusion of jingle-jangle a’la THE SMITHS (maybe that’s where the band’s name came from as Morrissey always had daffodils hanging out of his arse) with the more boisterous pop dynamics of ICICLE WORKS. They didn’t do much for me, although the drummer was very good. Of the songs, the only one I can recall is the band’s latest single, ‘A Leo Underwater’.

As promised, PETER MURPHY delivered the entire ‘In A Flat Field’ album from start to finish, naturally kicking off with ‘Double Dare’ - and that thunderous, distorted bass sound of David J’s was stunning at such a volume. I’ve always heard a great deal of violence in the music of BAUHAUS - something that is frequently overlooked due to the minimalist (pre)Goth stylings. This was the proof I needed - a stunning sound aided by guitarist Mark Gemini Thwaite doing a decent job of Daniel Ash guitar noise and a stunning drummer in Marc Slutsky.

Peter Murphy band

‘In A Flat Field’ itself followed, keeping the intensity levels at a peak. MURPHY himself was in great form, that rich baritone loud and dominant. Now sporting a greying beard and balding pate, he looked a bit of a cat weasel-style character but still had a sense of intensity and regality about him. ‘The Spy In The Cab’ leaned on that stunning voice and MURPHY’s theatrical presence while the double hit of ‘St Vitus Dance’ and ‘Stigmata Martyr’ was one of the set’s highlights.

From there, it was one classic after another - ‘Burning From The Inside’, ‘Bela Lugosi’s Dead’ (which received the biggest cheer of the evening - although given Murphy's appearance, it could've been retitled 'Vincent Price's Dead'!), ‘She’s In Parties’ and a stunning, brutal finale of ‘Passion Of Lovers’ and ‘Dark Entries’.

David J

As good as the band and MURPHY himself was, it was David J, with those sublime bass lines that are so pivotal to the success of these songs, who made the show for me. MURPHY was also in very jovial form, stating that he was, "Harder than any man there, and more beautiful than any woman," and taking the piss out of the New Zealand "blokes".

Of course, given the level of performance and the rapturous crowd, an encore was inevitable. I wasn’t expecting a take on DEAD CAN DANCE’s ‘Severance’ however - as good as it was. Sensing the show was over, several made for the exit - big mistake! Returning again, MURPHY announced a Glam double header in the form of T.REX’s ‘Telegram Sam’ and DAVID BOWIE’s ‘Ziggy Stardust’ which was uplifting and laden with genuine emotion.

Quite an exceptional gig it has to be said - and way better than I thought it would be. I feared MURPHY maybe over weight (as opposed to his rather lithe physique) and worse, have a broken voice whilst trying to revisit himself from 40 years ago. Not so; instead we got a theatrical, witty performance that still had combustible, violent streaks about it and a voice that still senders shivers down the spine.

OK parents - you can now rest easy - my grudge is over!

Show Time!

The Damned

THE DAMNED - LEATHERHEAD - The Studio, Auckland, New Zealand - 8 March 2017

I thought my days of seeing THE DAMNED were pretty much done. After 35 sightings, the last of which was in my home town of Ipswich, I was set to call it a day. Then this 40th Anniversary World Tour is announced, along with a New Zealand date. How could I possibly refuse the band I’d seen that many times? I knew what to expect - which was minor disappointment but laced with great songs, a great vocalist and a few laughs. So, I bought me ticket to DAMNED 36.

I’d never been to The Studio before and, I have to say, it’s a shit venue. One big room with a narrow entry, crap sound and fucking $10 for a (small) bottle of beer!! If it’s competing with The Powerstation (Auckland’s best venue), it has a long way to go!!

Leatherhead

Waiheke Island locals LEATHERHEAD started things off and bored me. Imagine BEASTS OF BOURBON Garage Blues ballistics fused with COWS noise-Rock bluster and you’re kinda there but without being as genuinely unhinged as either band. The guitarist (who was in THE PHANTOM CHORDS along with Dave Vanian) had a great sound it has to be said. Of the songs, the only original I recall is something called ‘Bacon’ but, without a doubt, the highlight was a maniacal cover of VELVET UNDERGROUND’s ‘White Light, White Heat’. They left the stage with a few expletives and that was that.

It was a bit of a ramshackle start to DAMNED proceedings. Keyboard player Monty came on and, from that moment, was very nearly the star of the whole show leaping around, playing stellar keys, providing lots of laughs and a genuine enthusiasm I haven’t seen from someone in THE DAMNED since Bryn. That said, it’s THE DAMNED and no one gets to upstage Dave Vanian, who appeared sporting a straggly beard and a long, black gothic coat and looked, as always, magnificent.

Monty - The Damned

A few pleasantries from Captain were said and then the tinkling piano intro of ‘Melody Lee’ was played and it was into things - full throttle. A brilliant ‘Generals’ followed (surely the band’s most underrated song) and from there it was a set culled mainly from ‘Machine Gun Etiquette’ and ‘Strawberries’. Highlights were plenty: a thunderous ‘Love Song’, the double hit of ‘Black Album’ classics in ‘Wait For The Blackout’ and ‘History Of The World’ and the surprise inclusion of ‘Street Of Dreams’ which was dedicated to the late Bryn. Truly could’ve done without ‘Alone Again Or’ and ‘Eloise’... originals from that era would’ve been way preferential, but, certainly in the case of the latter, both songs were probably expected by those who discovered the band in their latter days. Never really liked ‘Noise Noise Noise’ much either...

Only two Brian Jones era tracks were played - the obvious ‘New Rose’ and ‘Neat Neat Neat’. Both tracks proved a couple of things: Capt can’t get anywhere near the cranked garage punk jams of Brian James and, as good as the current drummer is (and he is very good), he ain’t no Rat Scabies. You gotta remember that Rat was the best drummer of the ‘77 Punk era and would be Top Three drummers ever if there was any justice, so any one brave enough to steal his sticks and replicate his beats is on for a massive job. And yeah, those who get pissed off with ‘Neat Neat Neat’ being drawn out to epic lengths would’ve been pissed off again. I was. I’ve been seeing the band do this since about ‘88 if not earlier and it fucking irks me every time that one of the most urgent, adrenalin laced songs ever is nullified and morphed into an epic ‘moody’ rock workout. ‘Ignite’ was also drawn out into crowd participation leaves usually reserved for Bruce Springsteen and his ilk.

Captain Sensible - The Damned

Predictably ‘Smash It Up’ was saved for the encore (with Captain sporting a neat black and red stripy shirt a’la Dennis The Menace with ‘Smash It Up’ written across it). What was most unexpected and probably stole the gig for me was ‘Jet Boy Jet Girl’ - it even got me pogoing like I was fucking 15 again!!! Haha!! Another surprise was the second encore (by which time all the ‘Eloise’ listeners had left) of ‘Anti-Pope’ which was presaged by some anti-religious vitriol from Monty.

And that was that. All of ‘Machine Gun Etiquette’ was played (bar ‘Looking At You’), a clear half of ‘Strawberries’ and nothing from the band’s output post ‘Anything’. I was hoping for ‘Curtain Call’ as always, likewise ‘Thanks For The Night’ which I ain’t seen the band do since mid-80s I reckon, but alas no to both. A few of us tried to get the "Captain Is A Wanker" chant going but again, the ‘Eloise’ lovers seemed a bit confused.

After the gig I discovered my hearing was damaged - genuine long-term damage. It was brutally loud and that shit sound system didn’t help. A few weeks since the gig, the ears have cleared a bit but not the extent of being back to where they were prior to the gig. It’s kinda fitting THE DAMNED was the band to do the damage.

So, the big question is, will I see them for a 37th time or more? Well, if Rat and Brian James get back together with Dave and Captain again (unlikely now I know), I’ll be there.

Until there - I'll remain a member of The Limit Club and say over and out.... Probably!!

Obituary - Micky Fitz

On Friday 2 December 2016, Michael Fitzsimons - better known as Micky Fitz - vocalist with UK Punk/ Oi! band THE BUSINESS passed away. The cause of death appears to be cancer of the Lymph Gland.

Born in 1959, Fitz was among the school friends who formed THE BUSINESS in Lewisham, South London in 1979. The band’s first appearance on record was via the ‘A Sudden Surge Of Sound’ compilation released in 1980 on VU Records. The classic ‘Harry May’ single followed in 1981 via Secret Records. The same label released the ‘Smash The Discos’ EP the following year and the debut album, ‘Suburban Rebels’ in 1983.

Although the band appeared to remain active ever since, releasing records on labels like Burning Heart, TKO, Taang! and Captain Oi!, there was the odd disruption. Soon after the ‘Harry May’ single, all of the original members left Micky high and dry as they went on to form Q-BOW, which morphed into SMACK. Then, following 1988’s ‘Welcome To The Real World’, the same occurred. Move on a few years and Micky reappeared in THE ELITE which performed several BUSINESS songs. From there, in one form or another, THE BUSINESS never let up. Their song ‘England 5 – Germany 1’, became a football anthem for England and appeared in the 2004 comedy movie Euro Trip. The band’s most recent release was the ‘Back In The Day’ single in 2014.

Fitz was diagnosed with cancer late in 2015 and underwent radiotherapy treatment. In January 2016, Fitz made a public update via Garry Bushell’s Facebook page. It states he had finished the ‘intense Radiology and Chemotherapy treatment’ which followed a throat operation to remove an aggressive tumour that was working its way through his neck. This was to be followed by dieticians and neck and throat specialists who were to get him eating again.

I have to confess I was never the biggest of BUSINESS fans. I never saw the band live and only have the debut album and a Complete Singles Compilation in my collection. That said, I know just how important the band has been and the sincerity with which it operated, and appreciate the vitality and energy that was in every track they recorded - and a lot of that vitality was down to those charismatic and formidable vocals of Fitz.

Fitz is survived by his partner, Kim and son, Jamie.

 

Show Time!

SUBHUMANS - BIG JOBS - SEX PEST - PAUL HOOLI - King’s Arms, Auckland, New Zealand - 22nd September 2012

It must be at least 15 years since I last saw SUBHUMANS. I was just too young to catch the band before it originally split up but caught two excellent shows in the UK from the band’s reformation in the 90s. SUBHUMANS was probably the first Anarcho band I really got into, thanks to a cassette I ordered via Sounds (ancient UK music mag/ paper that was way better than NME or MM) back in about 1983 called ‘Punk... An Acquired Taste’. This lead me to ‘From The Cradle To The Grave’ album and away I went. The band’s songs mixed the velocity of Hardcore Punk with other genres, be it Reggae or Dub or even a bit of Psychedelia and the lyrics of Dick Lucas were imbibed with wit, intelligence and a political line of thinking that was both informative and pointed.

So, when Tim Edwards and his Punk Rock Road Trips team arranged a New Zealand tour for SUBHUMANS, it was a no-brainer that I’d be there. Unfortunately, I was there early enough to see PAUL HOOLI.

I’m not quite sure how HOOLI got the gig - possibly on the strength that he used to be in THE MANAGERS. It was a solo set with just HOOLI’s voice and his acoustic guitar doing a bunch of songs that ranged from MOR Ska-esque originals through to a few covers from the likes of WHO, BUZZCOCKS and more. He wasn’t necessarily bad, just way out of place and more than a bit tiresome.

Thankfully the relatively new Auckland band, SEX PEST, came on and delivered a set of snide, sneering and embittered Garage Punk Rock that fused the likes of SEX VID and SHITTY LIMITS with vintage Kiwi Punks, THE HENCHMEN. The band includes members of TENTACLES OF DESTRUCTION and MALENKY ROBOT among others. The ten or so songs they played were uncompromising and powerful, but didn’t really on hyper speed to get their message across; instead the songs pivoted around a mid-paced guitar riff and a vocal that was spat out.

The King’s Arms had filled up nicely by this time too with a mix of Punks, some long hairs, a few Joe Normals and the odd, wasted Sid Vicious clone.

Next up was the endearingly titled BIG JOBS that feature ex-members of CITY NEWTON BOMBERS and MISSING TEETH. They blitzed through an incendiary set of raging Hardcore Punk (and not your shitty Metal-tainted macho bollocks either) that was over all too soon. The songs were short, direct and rippled with the fury of prime-time Boston Hardcore but delivered with an instant accessibility.

As 11pm dawned, Dick, Trotsky, Phil and Bruce assembled on stage and it was Show Time! Dick said his brief introduction and then it was into ‘Apathy’. It didn’t take long for a minor scuffle to breakout as one of the Sid clones got a bit of a hiding, but that was the only spate of violence I saw.

From there, every SUBHUMANS release was represented except ‘29:29 Split Vision’. It was an interesting choice of songs in places too - the obvious were there: ‘All Gone Dead’, ‘Mickey Mouse Is Dead’, ‘Wake Up Screaming’, ‘Joe Public’, ‘No’ (my personal fave), ‘Parasites’ ‘Businessmen’ and ‘Animal’ along with a number of tracks from the more recent ‘Internal Riot’ album including a scorching ‘This Year’s War’ and ‘Too Fat, Too Thin’. The gig closed with the excellent sing-a-ling-a-Dick ‘Work Rest Play Die’ (which was one of the tracks on that cassette mentioned above), and as usual, the classic ‘Religious Wars’. The interesting tracks came in the form of ‘Who’s Gonna Fight In The Third World War’, ‘Til The Pigs Come Round’ and, more specifically, ‘Germ’ that I had never heard live before - it was a superb take too really emphasising the groove of the bass line.

One of the main faults with SUBHUMANS though, is there are just too many great songs. I was really looking forward to ‘Waste Of Breath’, ‘Black And White’, ‘Peroxide’ and, even though it was a long shot, ‘Fade Away’. Biggest surprise though was no ‘Subvert’.

What I did notice about this gig that I had failed to before, is just how musically adventurous guitarist Bruce and bassist Phil are. Previous SUBHUMANS gigs I’ve been to, I’ve usually been a little too alcohol-soaked - this time I was virtually sober (mainly cuz I ain’t gonna pay the inflated booze prices at the King’s Arms - $10 a pint of Guinness? Get real...) which allowed me clearer vision and a clearer head the next morning! The excellent sound from the PA no doubt helped also.

As 12.15 hit, the band said their thank yous and the gig was over. SUBHUMANS certainly lived up to their reputation live and I’m pleased to say the intervening 15 years or so since I last saw the band has not diminished their power one jot. Unfortunately though, the world is still fucked and these songs- even those recorded way back in 1981 - are still as relevant today as they were then. Whilst that is the case (and let’s face it, things ain’t gonna get any better), this Punk Rock scene of ours should be very thankful that there is still a spokesman who possesses the clarity of vision and power with words as Dick Lucas.

Show Time!

STEVE IGNORANT PRESENTS: THE LAST SUPPER (CRASS SONGS 1977 - 1984) - THE BROOD, Kings Arms, Auckland, New Zealand - 19th June 2011

As much as I love life here in New Zealand, I recall that back in 2007 I was rather pissed off to be here instead in my country of birth, England. Y’see, I was just too young to see CRASS. They split when I was 15 and, if I am honest, back then they didn’t register too much on my musical horizon. I was in my mid-late teens when I bought ‘Feeding Of The 5000’ and I really failed to appreciate the music and the message at that stage. I kept returning to the record though, and over the years my love of CRASS, and the message the band conveyed, increased.

Thirty years on from that aforementioned (and now infamous) CRASS record came the news that inspired and ignited my discontent: Steve Ignorant was staging two shows to commemorate the 30th anniversary of the release of ‘Feeding...’ during which the record would be played in full “Yep,” I thought, “life in NZ can really suck.”

Spring forward a few years and more UK dates are announced. Neat. Then a US tour. Lucky Yanks. Then, low and behold, some Australian and New Zealand dates! Yep, thanks to the mercurial talents of Tim Edwards at Punk Rock Road Trips, STEVE IGNORANT was bringing the CRASS SONGS show to New Zealand. And yes, I was going.

Of course this was not CRASS, and those who believe they have ‘seen CRASS’ on the strength of these shows are woefully misguided, but it’s probably as close as I am ever likely to get. There has been the cries of ‘sellout’ of course, which I really could not give a fuck about. Those doing such finger pointing really need to get a grip on reality; there is no corporate promoter involved here, there is no ridiculous rider provided, tickets are priced much more reasonably than some of the more ‘right-on’ bands that come to NZ (the soon-due RISE AGAINST and SICK OF IT ALL shows at the same venue are over double what Ignorant was charging) and the band is not a bunch of jaded session musicians doing the tour for a salary.

My greater worry was the fact that Ignorant himself could be just a tired old man, reliving past glories in the most embarrassing of ways. That theory was partly dispelled on my arrival as there was Steve Ignorant in the bar, happily chatting to anyone and everyone who wanted to say, “Hello” and get their photo taken with him. I found him a very warm, personable and witty man - why should he be anything else? If CRASS stood for just one thing, it was sincerity. There was certainly no sense of egotism about him, which is further evidence against the hipster-elite claims of ‘selling out’.

I had to pity THE BROOD somewhat. The Kings Arms is not a massive venue. There is a stage of approx 3-4ft high, a bar, minimal seating and a capacity of, I’m guessing, 500. Essentially, the band can clearly see its audience - and any ambivalence it may display. The band started well, with tense bass-heavy riffs that brought to mind GANG OF FOUR meets FUGAZI-lite. Ultimately the inoffensive nature of the sound lead to distraction for those waiting for one of Punk’s most significant sons. Distraction could be read as evacuation as there seemed to be more amassed in the beer garden than the actual venue.

A familiar descending bass line followed by the even more familiar words, “Yes that’s right, Punk is Dead. It’s just another cheap product for the consumer’s head” signalled the arrival of Steve Ignorant and the exodus from the beer garden. Any thoughts that Ignorant was just a ‘tired old man’ were instantly dispelled. His vocal was still passionate and angry and he certainly wasn’t simply going through the motions. He spent the performance acting out song lyrics, contorting his body and delivering a full-on vocal. It was also clear that some of the most infamous CRASS songs were gonna be dealt with early when ‘Do They Owe Us A Living’ followed.

The band, consisting of Gizz Butt on guitar, Pete Wilson on bass, Spike T Smith on drums and Carol Hodge taking over the female vocals, played the songs faithfully but added a new dimension to them, especially from Spike’s bombastic drumming and the dazzling talents of Gizz on guitar.

As per CRASS days, images flashed on the screen at the back of the stage, most dramatically during ‘They’ve Got A Bomb’ which also signalled the first spine-tingling moment. Up to that point, there did seem to be something missing, a certain intensity maybe, but this song, particularly in nuclear-free New Zealand, certainly revived all the impending fears of imminent nuclear destruction that most UK citizens had in the Cold War days of the 80s.

From here, it was literally the best of CRASS: ‘Mother Earth’ was electrifying with Gizz taking on the opening news-reel vocal; ‘Bata Motel’ saw Carol take the spot light for the first time and do a stellar job; ‘What Next Columbus’ was attacked with a pace and intensity that was literally breath-taking and ‘Rival Tribal Revel Rebel’ and ‘I Ain’t Thick, It’s Just A Trick’ provided the evening’s pogo opportunities.

It was the encores though that really left me numb with a finale of ‘Shaved Women’ and the best track CRASS wrote in ‘Bloody Revolutions’. The former was a screaming, mechanical diatribe of frightening proportions while the sentiments and performance of the latter could feasibly be up there with the best live performances I have ever seen. Both tracks left me wondering what the effect would’ve been of seeing CRASS do them back in the 80s; I can only but wonder but these versions left me disorientated and in awe.

For the Auckland crowd, that sense of awe was apparent throughout. I understand why those in the UK who did see CRASS in their hey-day look upon these shows as Crass-on-45, but for those who never saw CRASS this proved to be no let down - just the opposite in fact. The songs played this evening have, for many, gone on to form the listener's identity, awaken them to the evils inherent in the system and those who support it unquestioningly. To have the vocalist on those songs resuscitate them in such a formidable way on a live platform and to do it all with dignity, commitment and in a spirit which certainly does not tarnish the CRASS name, really does make more of a mockery of those who view this as Crass Karaoke than it does of Steve Ignorant himself. An excellent night and one which fulfilled the hopes of many who attended. Still an inspirational figure.
More pics at www.facebook.com/steve.scanner

Obituary - Poly Styrene

“Some people think little girls should be seen and not heard; But I think Oh Bondage Up Yours!”
Those were the first detonating words I ever heard from one Marianne Joan Elliott-Said, who is better known to all as Poly Styrene, vocalist in the band X-RAY SPEX. I was mid-teens and the song that followed, ‘Oh Bondage Up Yours’, sounded screeching and a tad annoying. But, the energy of the song captivated, inciting me to play it again... and again. The b-side, ‘I Am A Cliché’, had an equally abrasive almost unorthodox vocal and just as much jarring energy, but it was ‘Oh Bondage...’ that lured me into the day-glo world of X-RAY SPEX. Soon after I managed to hear another track, ‘Identity’. I was hooked.
Incredibly, that was 27 years ago and the memory is still extraordinarily vivid, as is the sleeve of that ‘Oh Bondage...’ 7” with Poly’s eyes staring out and that jagged, orange logo embedded over the black and white image.
I’ve been thinking a lot about that day when her raw but emotive vocal made my tender, 14-yr-old ears prick up. I started reading rumours just yesterday of the passing of Poly Styrene; there seemed little in the way of confirmation but today her passing, on 25 April 2011 due to advanced breast cancer, was confirmed.
Marianne Elliott-Said was born on 3 July 1957 in Bromley, Kent. She was the daughter of a dispossessed Somali aristocrat but raised by her mother who was a legal secretary. After a flirtation with the hippie culture, she cut her first record in 1976. Under the name of Mari Elliot, the single was a Reggae song titled ‘Silly Billy’. It was after seeing the SEX PISTOLS that she placed an ad requesting ‘young punx’ to form a band. It was also at this stage she re-christened herself as Poly Styrene.
The resulting band was, of course X-RAY SPEX. The band’s history is well documented elsewhere but clearly, they became one of the most instantly recognisable bands from that original wave of Punk. They played twice during the first 100 days of the infamous Roxy club with the band appearing on the ‘Live At The Roxy WC2’ album. The sound, as stated was a strident, energetic and slightly discordant rush, with Laura Logic’s saxophone and Poly's natural, untutored howl setting the sound apart from any other band on the fledgling Punk scene. And visually, Poly herself instantly stood out from the crowd with her mixed-race ethnicity, prominent thick braces (on her teeth that is!) and day-glo wardrobe. She also rebelled against the stereotypical notion of the female pin-up and championed the roll of female equality stating, “There's nothing wrong with beauty, but whether it's actually helping the female cause of being equal to men, you have to judge for yourself."
November 1978 saw the release of the classic ‘Germ Free Adolescents’ album – an album which has stood the test of time as well as any of the classic albums (and much better in many cases) of the era.
In 1979 Styrene left the band. A Jazz-influenced album, ‘Translucence’, followed the next year. In 1983 she became a follower of the Hare Krishna movement and was initiated as a devotee while living at the Bhaktivedanta Manor. During this time, she released the EP ‘God’s and Godesses’. She remained in the movement until 1988.
Less fortunate news occurred in 1991 when she was diagnosed with Bipolar Disorder (this following a misdiagnosis of schizophrenia in the very late 70s). The same year, X-RAY SPEX reformed for a sell-out gig at the Brixton Academy with another reformation occurring in 1995 and the recording of the ‘Conscious Consumer’ album.
Another solo album, this time a set of soothing musical mantras – ‘Flower Aeroplane’ – was released in 2004.
In September 2008, to celebrate 30 years since the release of the ‘Germ Free Adolescents’ album, a gig at the Roundhouse saw Styrene and the band play the album in its entirety. The same year also saw Styrene hook with John Robb’s GOLDBLADE for a one-off Christmas single, the rather excellent ‘City Of Christmas Ghosts’.
As recently as March of this year with the single ‘Virtual Boyfriend’ and the succeeding, critically-acclaimed album, ‘Generation Indigo’, Styrene was back in the public eye and warmly received at that. "I just channel my songs like a medium," she said of the new material. "If my friends like them, then I'm quite happy that they're good songs." She had planned to take the new songs on tour.
The album was a particularly poignant and triumphant release due to the fact that, just one month earlier in an interview with the Sunday Times, Styrene had talked of her battle with breast cancer and of the fact that it had spread to her spine and lungs.
On Monday 25 April 2011, aged 53, bed-bound due to a fall that broke her back in two places, she passed away as a result of the cancer.
She is survived by her mother and daughter, Celeste Bell-Dos Santos.

Additional obituary here.

Obituary - Phil Vane

As you may already be aware of at the time of writing, on 17th February 2011, Phil Vane - vocalist in EXTREME NOISE TERROR - passed away in his sleep at the age of just 46. No official cause has yet been stated.
I’ve abstained from writing anything prior to this because, unlike Ari Up or Jim Carroll who are also written about here, I came from the same town as Phil (Ipswich, England) and since my first involvement in the Ipswich Punk scene, Phil was usually present at many of the early events that I attended. I can’t claim to actually have known Phil; he probably knew me by sight (at least, prior to my move to NZ that was), but via many nights seeing ENT play face-meltingly intense sets at the Ipswich Caribbean Club (and a hazily remembered gig at Murrayside Youth Club before that among others), I certainly felt that I knew him.

I also wanted to wait until after Phil’s funeral... It just seemed to be more respectful to me than penning something hastily thrown together in the immediate wake of the tragic news.

As a frontman he had an imposing presence, especially in those early ENT days where, dreadlocked and animated, he shared the front of the stage with fellow vocalist Dean Jones as the band beat out what is still some of the most intense sounds ever heard. But Phil was no novice to the Punk Rock stage...

Before the formation of ENT in December 1984, Phil had already been in both FREESTATE and VICTIMS OF WAR along with ENT guitarist Pete Hurley. ENT (line-up completed by Dean Jones - vocals, Jerry Clay - bass and Dazz ‘Pigkiller’ Olley - drums) debuted as a band at Murrayside in October 1985 supporting CHAOS UK. The band also made its recording debut with CHAOS UK on the 1986 split, Manic Ears released, ‘Earslaughter’.

1987 saw the band record the first of four John Peel sessions before the visceral debut album, ‘A Holocaust In Your Head’ was released the following year. Through various line-up changes, ENT continued releasing more records and touring Europe and Japan.

In 1991, Phil - along with Roki (ex-SCREAMING HOLOCAUST) - formed OPTIMUM WOUND PROFILE, a band that mixed hi-tech sampling and programming technology with Punk and Metal influences to create an intense Industrial sound. The band recorded two albums with Phil, before he left in 1994 prior to the release of the band’s final album.

1991 also saw ENT collaborate with THE KLF, re-recording the latter's ‘3am Eternal’. The bands appeared on the Brit Awards in 1992 (not aided by sabotaged sound), causing controversy by firing blanks into the audience!

Phil left ENT for a brief spell in NAPALM DEATH before returning in 1997, only to leave again in 1999. After a spell in Switzerland, Phil re-joined ENT once again in 2006 in which he remained until his passing.

A funeral was held for Phil in Norwich on March 15th 2011 with a wake at the nearby York Tavern. A message on ENT’s website requested, “Please all Punks come in full force.”

It’s heartening to read writings from those who did know Phil personally, be it a number of associates’ Facebook postings or Andi Morris’s memories of the man on the Maximum Rocknroll blog, all of which say Phil was a charming and friendly fella. They make a fitting tribute for a genuinely inspirational man.

Phil is survived by his son, Sam, and partner, Jennie.

Obituary - Arianna 'Ari Up' Forster

On 20th October 2010, Arianna Forster (aka Ari Up), vocalist and founder of pioneering Punk band, THE SLITS, passed away at the age of 48. The news was announced via John Lydon’s website, which stated:

John and Nora have asked us to let everyone know that Nora's daughter Arianna (aka Ari-Up) died today (Wednesday, October 20th) after a serious illness. She will be sadly missed. Rest In Peace.

Forster was born in Munich, Germany on 1st January 1962. Her mother, Nora, was known within the music industry via her promotion of Jimi Hendrix in the 60s and having dated Chris Spedding for a few years. It was through Nora’s relationship (and eventual marriage) with SEX PISTOLS frontman Johnny Rotten that lead to Arianna’s exposure and experimentation with Punk Rock, reputedly learning guitar from Joe Strummer of THE CLASH.

At the tender age of 14, along with drummer Palmolive, she formed THE SLITS. Joined by Viv Albertine and Tessa Pollitt, the band became one of the most notorious on the early London Punk scene with an unconventional, abrasive sound that mixed reggae dub rhythms with scratchy abrasive guitars creating something that was both angry and joyous. Of the band’s debut gig supporting THE CLASH in Harlseden on 11th March 1977, Forster said, “It was something I was born to do. It was like an explosion for me. Made that stage my living room. We were musically so fucked-up and untogether. And we were just so amazing in our time-bombing up there, we just went up there totally fucking up every single note, every single beat! And we were just great. We were brilliant at it.” A month later, Forster was nearly the victim of a stabbing as THE SLITS supported the SEX PISTOLS are the infamous Screen On The Green shows, as an anonymous punter declared, “So you’re the SLITS huh? Here’s a slit for you!”

Later in 1977, the band supported THE CLASH on the band’s White Riot Tour and again the following year on the Sort It Out Tour before dropping the classic debut album, ‘Cut’ in 1979. After the ever more experimental follow-up album, ‘Return Of The Giant Slits’, released in 1981, the band split up.

Following the band’s split, Forster moved with her husband and twin children to Indonesia and Belize, living among indigenous people in those areas, eventually settling in Kingston, Jamaica.

Her musical legacy continued, first with the NEW AGE STEPPERS followed by a solo career that resulted in the release of the 2005-album, ‘Dread More Dan Dead’. Later that same year, Forster along with Tessa Pollitt reformed the band for which she will always be remembered - THE SLITS.

An EP, ‘Revenger Of The Killer Slits’ was released the following year featuring former SEX PISTOL Paul Cook and ex- ADAM AND THE ANTS guitarist Marco Pirroni. The next two years saw the band tour USA, Europe, Australia and Japan, culminating with the release of the 2009 album, ‘Trapped Animal’.

Besides THE SLITS, Forster had played occasional solo concerts and toured with her band, THE TRUE WARRIORS and appeared on recordings with JAMMYLAND ALL STARS, German Technoheads TERRANOVA and LEE ‘SCRATCH’ PERRY.

In a tribute on THE SLITS' MySpace page, her manager Jeff Jacquin paid tribute to her, “unyielding passion for music and life. She influenced generations of women and created some of the most memorable music of our time, but Ari's true magic was how she affected people on the street, face to face, every day,” he said.

“She ate life up and spit it out.”

Show Time!

RED FLAG 77 - DANGER’S CLOSE - SKA-PA, Royal Oak, Ipswich, UK - 23rd July 2010

After very nearly six months in Ipswich, and a departure date set to head back home to New Zealand rapidly approaching, it looked distinctly probable that I would not see erstwhile Ipswich Punks, RED FLAG 77, on this visit. That’s kinda ironic as on the three previous visits, I’d seen the band at least once during each - and those visits lasted little more than four weeks each! Thankfully, some flakey pub crud-rock band cancelled the lame effort it no doubt called ‘a gig’ at the last minute and into the fold stepped the FLAG, with a scrum-diddley-umptious supporting line-up to boot!! Choice!

I’d already seen SKA-PA once on this trip and, for such a new band, had been relatively impressed. It seems the band has been practicing though, as this was a notable step up. The band was less ragged, somewhat more focused (especially the bassist) and certainly more visual - even if Kyle didn’t have that impressive Mohawk on show - although that could be due to the larger stage at the Oak. Highlight of the set for me was still ‘Shattered Young Girl’, although ‘Pirate’s Quest’ sounded impressive also. Gotta say though, that cover of ‘Teenage Kicks’ is fucking awful. There is still something of ISOCRACY about the band, but on the strength of this, it’s now coupled with something much leaner with a harder dynamic.

Had a bit of a chat with some FLAGgers after SKA-PA’s impressive skanky blast and, mid-conversation with FLAG guitarist Mickey, realised that this could well be the last time I ever see RF77. I don’t plan on returning to the UK for sometime (as in years) and although the FLAG has been a constant on the UK Punk scene for the best part of 20 years (and even more relevant to that of Ipswich), it can’t go on forever. That was kind of a sobering thought and one that got in my way of fully enjoying DANGER’S CLOSE.

I had been hugely impressed with DANGER’S CLOSE when the band played with the ADICTS last year, but for some reason they didn’t quite hit me tonight. I do remember ripping versions of ‘Apathy’, ‘Denial’ and a scathing ‘What’s Your Problem’ but a lot more passed me by. Sure, the band was good but I think I had been expecting a bit too much. How a band that has a vocalist like Abby - someone who can sing with power and has a stage presence that is both explosive and natural - can pass me by I am not sure but unfortunately for me it did. The band got a great reception from the assorted local Punks - guess it just was not my night.

And so came the FLAG. In one form or another, and in many different places, I’ve probably written more about this band of reprobates than any other. This show though, as suggested above, had a greater sense of gravitas than any I had previously witnessed at the hands of the FLAG. The more I thought about things (and too often through the DANGER’S CLOSE set), the more I realised that this could very well be the last time I see the band live; it felt like kissing away a great part of my history. As per usual, the band played a blazing set, culled from all three albums.

Undoubted highlight was, as always, ‘As I Fall’ (personal dedication aside - thanks for that Rik!!). It’s a song that I first recall hearing back at the Earl Roberts many years ago, sat next to Jim Kocher, and after RF77 had played the song, we both looked at each other and kinda went, “Fuck me - that’s in a different league!!” To me, it’s still a song that resides in the Top Three All-Time Ipswich Punk Songs and, on a personal level, probably stands at #1. Other highlights included opener (I think!) ‘Insane People’, the excellent ‘Time Has Been Called’, ‘Backs To The Wall’ and the too-catchy-for-words ‘Stormy Weather’ while ‘You Won’t Get Me’ saw vocalist Rikki prowling the crowd for some audience participation. When it came to requests, I called out for THE DRONES’ classic ‘Lookalikes’ which resulted in a chuckle but no performance. Tut tut!!

As always though, covers are still an integral part of the FLAG live. Besides the obligatory ‘Football Crazy’ and CLASH tunes, I was treated to ‘People Who Died’ - the old JIM CARROLL classic. I half expected Pete Hurley to come lurching back from musical obscurity, brushing the cobwebs outta his bleached barnet, to reclaim his FLAG place for the song; instead we got another ex-FLAGger, Jonny Learjet, who gave the track a neat ragged, raucous vibe before falling over a monitor and ending up on his back on the beer-drenched floor - but still playing!

A sobering walk home surely helped dispose of the Guinness-induced damage I should have felt the next day. ‘Drunk Again’? You can betcha bondage pants and brothel creepers I was!!

Another great night at the hands of RED FLAG 77; I sincerely hope it was not the final one.