Unhappy - The Excuses (2) - Limited Edition (mate) (CD, Album)

The 6 June issue lists only Max and Laurie. Chris Welch, next to whom I sat, was the Features Editor and Laurie Henshaw, another old timer who, bless him, probably thought Free was something you didn't have to pay for, was News Editor. Onwards and upwards. Who was he? But Tony Stratton Smith remains elusive. Which is how Strat, as he was universally known, probably wanted it.

Time to declare an interest. The manuscript for this book, allwords of it, landed on my desk at Omnibus Press about seven years ago. I declined to publish it, partly because it was far too long and partly because I knew from experience that books on music industry figures never sell anywhere near as well as books on music industry stars.

Fast forward a few years and Chris Groom rings me up to say that he has found a publisher who requires the book to be cut by overwords, a task beyond him. Could I help? So, Chris crossed my palm with silver and early last year I reduced it towords, eliminating repetition and rewriting large chunks in the process, tinkered with the chronology, followed a lead or two of my own, restructured and retitled the chapters, and added an index.

This seemed to satisfy Wymer, the publishers, and the book finally saw the light of day at the beginning of this month. Having thus contributed considerably — so much so that the author has seen fit to add my name to the cover, alongside that of Peter Gabriel who has written a Foreword — I can hardly review it in the customary sense.

Suffice to say that although Tony Stratton Smith — the Stratton was adopted early on to differentiate him from a work colleague with a similar name — somehow manages to confound the author as regards the full picture of himself, I defy anyone to pull together a more comprehensive picture of this extraordinary man.

This certainly confirms that those who knew — or thought they knew — him as well as anyone will find something to surprise them in the book. Strat was a journalist, sports writer, author, traveller, music publisher, concert promoter, manager of rock bands, record company boss, film producer, wheeler and dealer, gambler, racehorse owner and, finally, a tax exile.

There were rumours, unconfirmed, that he might have worked for the British secret service. He was gay, a borderline alcoholic, overweight, addicted to risk and spoke with a posh accent that belied his humble upbringing in a suburb of Birmingham. Born out of wedlock, he never knew his father. He was befriended by millionaires and paupers.

He was generous to a fault and might have been defrauded by persons who saw him as an easy mark. He died, quite suddenly, from a gastrointestinal haemorrhage attributed to pancreatic cancer, aged 53, and left no will.

What everyone agrees on is that Strat was a joyful, carefree man of the world, often to be found propping up bars in Soho, glass in hand, when he should have been working. I knew him briefly and can confirm he was splendid company. That he was loved dearly is clear from the testimony of so many friends and business associates in this book. Most will be saddened to read about his final months as a tax exile in Las Palmas where he seemed to be rudderless, rarely sober and lacking the support of genuine friends.

Yesterday, June 21, the day I began to write this, Columbia Records in in New York launched a new vinyl disc that spun at thirty-three and a third revs per minute.

TDIM Books have already published several conventionally priced music books but this is their first foray into the luxury book market. And very nice it is too, though I must declare an interest since my reports for Melody Maker on Free and Bad Co occupy several pages within. I thus found myself covering them fairly closely, interviewing them and seeing several shows. The truth is I loved Free. Peter paused for a long moment. The big fucking blunder of a lifetime.

At the time, though, he charged on. Adrian Belew is probably best known for the nearly 30 years he spent as a guitarist and frontman of the progressive rock group King Crimson.

He has also racked up an impressive resume as a solo artist, session player, touring musician, guitar designer, and mobile app creator. InBelew produced a seven-song EP called Backwards Boywhich was intended to be a marketing tool to entice another label.

Though the effort generated some positive attention, it ultimately stalled in terms of propelling The Irresponsibles to the next level of exposure. It was disappointing all the way around, but Belew believed in the band and, intried one more avenue. So, to his credit, he invited us on a really extensive 2-month tour of the US, and it was a blast. That was one of the best times of my life. There are so many addictive songs there! The band put out one final full album inQuality of Lifeand started another one, but retreat was necessary.

After a couple of years, the time was right to try something new. In his 40s at that time, this new project became more about having fun and expressing himself through his writing. They recorded two albums: Unnatural Selection aroundand Walkie Talkie in And then Peter took a detour. His family was falling apart, and he dove heavily into songwriting to cope. Four years later, the result was a deeply personal, heartbreakingly transparent, track concept album called Baby Sunshinereleased in under the name Pete Montgomery, detailing his relationship and breakup with the mother of his kids.

Like those guitar riff sessions from his younger days, it took Peter exhaustive practice until the harder life lessons finally gelled. He emerged from those dark days a little older and a little wiser. Two-thousand-eighteen found him gathering momentum again as he geared up for another Montgomerys album. Not quite subdued, but with an edge of thoughtfulness, he set off writing again, and the result would be one of my favorite albums, First World Bluesreleased January 1, True to form, these new songs are dressed with self-deprecating humor and cheeky honesty.

But now there seems to be a sharper intelligence behind his lyrics, a greater sense of purpose born from taking some hard knocks. Mike Levesque remained on drums, and now bassist Mark Nigro, who had been with Peter in The Irresponsibles, came on board.

I strayed off to have Adrian produce us, and I strayed off to make one Montgomerys album without him, but you know, I feel guilty about it laughing. My loyalty is to Barry. Barry brought another meaningful element to this album: his connection with Elliot Easton.

He can go from one sound to another sound right in the context of one guitar solo. And he can change flavors of it, like he can go from country into heavy metal. Barry felt like FWB was a worthwhile project, and so he reached out to Elliot to make arrangements.

As before, Elliot was happy to schedule in some studio time. Barry assured me that it was an easy, natural partnership. And his experience playing on so many different projects across a variety of genres gives him a huge palette to choose from. Peter agreed. Barry and Peter sent a rough demo to Elliot before flying to LA for the first of four recording sessions.

But I think it was a lot of work because the next time we went down there he said he would just come into the studio and wing it! Once in the studio, they tackled each song, one at a time. Sometimes Elliot would figure things out right off the top of his head, within five or ten minutes of hearing the song.

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While on a trip to Maryland's Eastern Shore, Dr. Wendy Osefo struggles to keep up with Mia Thornton's husband Gordon doing shots. Watch the LOL clip. The internet is abuzz over speculation that Taylor Swift and the Jonas Brothers may be collaborating, and it all has to do with…pizza?

But which coach will she pick? Ray Burns basswhose lips always glisten with Woolworth's best pearly pink Tu lipstick, chooses to fool everyone with a front as mad as a village idiot's. Bryan James lead guitarthe band's "elder," is likely to look up from his guitar and catch Rat and Ray acting out their honed star trips and crack up with spontaneous laughter. Their lead singer is Dave Vanium. He was a grave-digger until last week, and he looks as if he's risen from Dracula's crypt. Onstage he hisses.

And, for one so new to the game, he can keep Unhappy - The Excuses (2) - Limited Edition (mate) (CD show going through appalling obstacles. Vanium's mike keeps crackling and cutting out, but the show goes on with the minimum of fuss. The new roadie has to fix the equipment. Suddenly he leaps into the audience. But Album) he gets back up again he screams with a conviction which transcends a stage act: "someone has just hit one very near and dear to me" The show goes on, but Dave is on the verge of freaking.

Three minutes later three people appear at the back of the club. There Album) no commotion but they are bleeding. The atmosphere chills. On to the stage jumps the club's manager. The last number. The band scream through it, black and moody, slamming out the last riffs before they make a dash to the dressing-room. Dave, whose girlfriend was one of the injured people, heads straight for the street in time to sit in the ambulance as it heads for hospital.

Malcolm McLaren, the Sex Pistols' manager, tries to buy a drink and is refused because the barman doesn't want any more missiles flying through the air. The Vibrators — and Chris Spedding: The show goes on. The first time the Vibrators — John Ellis lead guitarKnox lead vocals and Jon Edwards drums — played at the Club, their manager-cum-bassist Pat Collins told me: " We don't really go along with the punk rock thing, but it's the fashion, isn't it?

And, since Chris Spedding hasn't managed to form a band, they are the ideal bunch for him to jam with. The Vibrators play on, Spedding joins them. He's dressed in black from head to foot, and his eyes are like coal-holes in his white face. It's simple and bold, "I'm in a bad condition," sings Sped, "the doctor says I got malnutrition. Ray Burns, who's standing at the side of the stage, can resist no longer.

Up to the mikes he leaps. They are turned off until he reaches the other side of the stage. Spedding's cool, Ray sings the choruses, and the audience, seeing that Spedding is trying to slip away, cheer him back again. The Buzzcocks: This Manchester band was formed less than two months ago. The front line — Howard Devoto vocalsPeter Shelly who plays a chopped-in-half, second-hand "Starway" and Steve Diggle bass — are pint-sized.

Howard, who doesn't speak to the audience much, has just dyed his mousy hair orange. All the band's energy implodes around John Maher's drum kit. But their approach, though very energetic, is unnecessarily defensive.

Devoto insists that he is only in a rock band "temporarily," and his self-consciousness impedes them coming across. He hates being on stage. The festival ends with the Buzzcocks fluttering into the audience and Peter Shelley's guitar, still on stage, feeding-back. It pounds out a gut-renching lub-dub, lub-dub, like the no-feeling sound of a robot's heartbeat. It was a bitter-sweet two days.

There was a fine display of inventive music, plenty of hope, a lot of fun, and revived spirits. The star bands gave their best, and the newcomers were very entertaining.

But, echoing the black spots in almost all festivals this summer, someone was badly hurt by an alcohol container. Thus the optimism of this otherwise milestone event was undercut with sadness. Nobody wants to see the fiery, aggressive energy in the music diminished. But, promoters, increasingly eager to book punk-rock bands, must take a few elementary precautions like plastic mugs to protect their very young audience. It's the only sensible way to present their scene.

On the second day, after an accident in which Dave Vanium's friend lost her eye, Sid Vicious was arrested. When I tried to find out why, I too was arrested. During most of Chris Spedding's set I was in the police station with Sid but I was released and later given an absolute discharge in time to see the festival end. Nothing quite so collectively out of context as last Monday's queue outside the Club has gathered on Oxford Street for nearly a decade.

When the Hari Krishna chanters stopped rush-hour traffic in their saffron robes and bald heads and started pinging finger cymbals, there was no denying that the hippie era had arrived. The six-hundred strong line which straggled across two blocks waiting for the Punk Rock Festival to start was again indisputable evidence that a new decade in rock is about to begin. Two eighteen-year-olds from Salisbury were at the head of the queue. I just want to be involved, really. Michelle and Bruno are both sixteen.

Their attire, shirts and ties, leopard skin jackets, stilleto heels, pointed toes and dramatic make-up, is echoed down the line — in various home-made and inventive variations. Over the last eight months, a generation of rock fans has been developing an extraordinary sense of belonging together. Excited by the blast of direct energy in the music of the bands playing on the Punk Rock Festival bill, they are creating a new cultural identity for themselves. They have their own clothes, language, 'in' jokes and fanzines.

There is a healthy comradeship and competitiveness in equal doses. Apart from the thirty musicians actually playing in the Festival, the audience itself is seething with new talent. Our band's called " Ulterior Motive Five" 'cause there's four of us, see. Johnny Moped is there looking to find musicians for his band The Morons.

The creative buzz and exciting feel that something is 'happening' is infectious. There is a continual stream of criticism and rude abuse poured over each other's favourite enterprise, but having and giving back that kind of attention is part of the fun.

The Subway Sect. It's their first-ever gig. There's Vic Godard 19 and Paul Myers bass. Paul Smith 18 has played for five weeks and Robert Miller lead guitar for three months. It's been tough for them to find rehearsal rooms, but after a weekend at the Clash's spacious studio, their set is debut ready.

They stalk purposefully on stage and without looking at the audience start a lengthy, foot-finding, tuning-type warm-up. The Clash planned to let Siouxsie and the Banshees use their equipment at the Club festival, but when their manager, Bernard Rhodes, saw Siouxsie wearing a swastika arm band which she refused to removethey withdrew their consent. If she used it, we too would be associated with the swastika.

I felt she was mucking about with a loaded gun and we didn't want to have anything to do with it. When I was working with Malcolm he went up North and came back with a whole load of bits and pieces with swastikas on them which someone had given him. Eventually Siouxsie wore one of the shirts, more because it was there than anything else.

She said that as a symbol of shock, the swastika was the only thing around. I don't think she thought very much about it. As a symbol, or an emblem it was a random choice. A bad accident. A bit of a red herring. But the Clash are into specifics, not red herrings. If we're going to use emblems, then they should be nearer the mark.

People can do what they want. But we don't think the swastika means anything relevant to us. Siouxsie and the Banshees. It's never the same at a Pistols' gig nowadays if what is known as the 'Bromley Contingent' isn't there.

This inseparable unit are Steve 21Bill 22Simon 19 — he sells hot-dogs off a mobile stand during the day raspberry-haired Debbie and Siouxsie herself. They first heard the Pistols at their local Tech in January, and they've been faithful followers ever since. They made the trip to Paris in a ropey old car to see their heroes' first overseas performance, and Siouxsie, shocking in her semi-nudity, got punched on the nose.

She'll wear black plastic non-existent bras, one mesh and one rubber stocking, suspender belts variousall covered by a polka-dotted, transparent plastic mac. Over the weeks the Bromley Contingent's continuous parade of inventive dress it's rarely the same two weeks running has set the fashion. Apart from Siouxsie, membership of the band was not settled until the day before the festival. At the last moment, in an orgy of rock iconoclasm they decided on The Lords Prayer spiced up with 'the most ridiculous rock songs ever written'.

Two-tone Steve his hair is black on top, white at the sides was on a bass he picked up for the first time the night before. Sid Vicious, Johnny Rotten's friend, and inventor of the pogo dance, was on drums. A mature gent called Marco was lead guitarist. But Sid, with miraculous command, starts his minimal thud and doesn't fluctuate the beat from start to finish of the, er, set.

Against this rough corrugation of sound, Siouxsie, with the grace of a redeemed ghoul, rifles the senses with an unnerving, screaching recitative. Sid flickers a smile, Marco, his guitar feeding back, rolls up his sleeves, and Two-tone Steve two-tones. The audience, enjoying the band's nerve and audacity, eggs them on, gets bored, has a laugh then wonders how much more it can take. The enthusiastic cheering is a just recognition of their success.

If the punk rock scene has anything to offer, it's the opportunity for anyone to get up and experience the reality of their wildest stage-struck dreams. The Album) are horrified. But Siouxsie is not interested in contracts. The Clash. We see a glimpse of their very considerable potential.

Rhythm guitarist Keith Levene is off forming a new band. This has left Joe Strummer lead vocals and guitarMick Jones lead guitarand Paul Simonon bassmore room to move. The band is fast, tough and lyrical, and they've mastered the way of dovetailing Joe's mellow approach with Mick's spikey aggression. Terry Chimes drums uses the opportunity to undercut his solid bass drum surge with candescent splashes over the high hat.

Later, I ask Paul Simonon, Album) has played bass for only six months, how he feels about the set. Most of them stand still like John Entwistle. And give myself a good time too. Joe Strummer, who's last band was the now-fabled 'ers, has played with very experienced musicians. What was it like playing with someone like Paul who's learning as he goes? It's not exciting for them and they start playing for playing's sake and the emotion disappears. It's really exciting playing with Paul because there are no rules.

My guitar style is really rudimentary and Mick's is great, so the combination is really interesting. The Sex Pistols. The atmosphere in the club is feverishly high pitched. This is the band everyone's been waiting for. The private party is over. The band is public property. But with mixed feelings the band's throbbing nucleus of fans are holding their breath as their champions start a steady climb to the ethereal reaches of stardom and rock immortality.

Will the businessmen spoil them? Once Rotten would poke his pretty mug into any camera lens and leer. Jones, once the brooding loner unsure of his sex appeal, is now exuding a magnetic confidence which guarantees a screen of exotic women around him.

Glen Matlock and Paul Cook, perhaps because they've been less 'visible', have yet to zip into their rock star mantles. They will, once their partnership — Glen's driving fluid bass lines and Paul's billowing drum storm — is recognised as the superb bed-rock of taut rhythmic structures it is. The band's fanatical following is growing fast.

Fans follow them all over the country from gig to gig. They are the unquestioned stars of the Punk Rock Festival and as they step on stage they are greeted with lung bursting cheers.

Over the nine months that the Pistols have played together, Rotten has developed his stage presence beyond the realms even his most ardent fans imagined possible. He is still prying open the nether reaches of his personality and presenting audiences with yet another dark fragment from his psyche. Once he moved over the stage squirming and jiggering around like a spinderly, geigercounter needle measuring radio activity.

Rarely was he motionless. Lately, he rarely moves. This deathly, morgue-like stance sets skin crawling, and his lyrics are as suffocating as the world they describe. He wears a bondage suit for the festival. He is bound around the chest and knees, a confinement symbolising the urban reality he sees around him.

SMASH — and their instantly identifiable, careering, evisceral splurge sears the air. The fans go wild. Johnny strains at his jump-suit prison. The crowd sprawls at his feet, a struggling heap of excited bodies. The photographers fight for better shots, the pogo dancers leap above the crowd, sweat pours and the crush rolls forward and back from the stage like a tidal wave.

Steve breaks open, flinging his guitar diagonally across his chest and slicing up his fret, he leads the band with power and imagination through a breathless one hour and fifteen minutes of thunderous rock 'n' roll. They are called back for a triumphant encore. Compulsively physical. Frightening in their teenage vision of world disintegration.

And refreshing in their musical directness and technical virtuosity. The audience on the second night of the festival is conspicuously longer haired and more denim clad. The atmosphere is competitive still but without the reigning kings there's not the same buzz. Stinky Toys. The night before, when she realised there was no time for the band to play, she'd made a not-too-successful prima-donna exit — kick, push, tut-tut at tables as she ran out into Oxford Street where, it is said, she was saved from wounding herself under a bus.

They play completely out of tune even though they spend minutes between numbers 'tuning-up'. As the band liven-up with petulant anger at the impassive crowd, Ellie, frisking her blond hair out of beautiful blue eyes, does a frenzied dance before the mike. If only the rest of the band didn't give the impression they want to get off the stage as fast as they can. Which singers, I ask Ellie, before she dashes off after the set to catch the last train to Paris, have influenced her most?

The Damned. There's something very special about this band. They've come a long way fast from the night, three months ago, when they played their first gig at the Nashville.

Each one of them did his own number in a private daze. The band took to the stage like famished maggots to an over-ripe cheese. They are more voluptuous, both musically and physically, than the Pistols, and less classically musical than the Clash.

But, with these two bands they are the third key-stone to emerge and they are holding up a corner of the canopy loosely covering the punk rock scene. Rat Scabies is already being tagged a nubile John Bonham. He drums as solid as an express train. Ray Burns, whose lips always glisten with Woolworth's best pearly pink Tu lipstick, plays bass as if he were Marc Bolan on lead guitar. He's articulate and sensitive but he chooses to fool everyone with a front as benevolently mad as a village idiot's.

Bryan James lead guitarthe band's 'elder', is likely to look up from his guitar, catch Rat and Ray acting out their star trips, and crack up with spontaneous laughter. Their lead singer, Dave Vanium he gave up his daytime job as a grave-digger last weeklooks as if he's immaculately risen from Dracula's crypt. On stage he hisses like an angry bat. It is always difficult for Rat to keep sitting at his drum kit for more than a few numbers at a time. Bryan, meanwhile, has broken a string.

After ten minutes the roadie still hasn't fixed it. Chaos on stage. The show starts again. He leaps and scrabbles at the torrid air and flinging back his glossy black head he spits out lyrics in a style which is developing into a show-stopper.

Suddenly he jumps into the audience. But when he gets back up on stage again he screams with a conviction which transcends a stage act, 'Someone has just hit one very near and dear to me'. The show goes on, but Dave is on the verge of freaking. Minutes later three people appear at the back of the club. The atmosphere chills perceptibly. Onto the stage leaps Mr. Hunter, the club's manager. The band screams through it, black and moody, slamming out the last riffs before they make a dash to the dressing-room.

Dave, whose girl-friend was one of the injured people, heads straight for the street in time to sit in the ambulance as it heads for hospital. The Vibrators — and Chris Spedding. The show goes on. The first time the Vibrators, John Ellis lead guitarKnox lead vocals and Jon Edwards drums played at the Club, their manager-cum-bassist, Pat Collins, told me, 'We don't really go along with the Punk Rock thing, but it's the fashion isn't it?

However, they still play very few original numbers. And since Chris Spedding hasn't managed to form a band they are the ideal bunch for him. He wants to play it safe. They know all the old classics.

By this time, policemen, plain clothes and in uniform, are mingling with the audience. Everyone feels uncomfortable. People have been hurt quietly. There wasn't a fight, and nobody knows exactly what happened. Suddenly, with no more impact than a moving dark blue flash, five uniformed police surround a figure by the bar. He looks surprised.

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Our Services When it comes to essay writing, an in-depth research is a big deal. Need some help? Baxter was the mastermind behind the construction of the stretch of elevated motorway that stamped its massive concrete feet across west London, from Shepherds Bush to Marylebone, in the late s.

Whatever its shortcomings for motorists, however, the Westway's impact on the boroughs through which it sliced was grave. Its stark concrete aspect brutalised an urban landscape of predominantly 18th and 19th-century brick housing, and physically severed neighbourhoods. Noise and air pollution became a local scourge.

Many west London residents claimed at the time that they did not know the route's alignment until construction workers moved into their back yards. Reporting on its official opening, the Guardian suggested that Michael Heseltine, then junior transport minister, had rescripted his speech at the last minute, excising praise for the engineers and planners in favour of a pledge to help those living in the structure's shadow.

Baxter himself acknowledged that the project was conceived and built in an era when engineering was carried out on a "decide, announce, defend" basis, with little or no local consultation.

Insix years after the Westway was opened, he confessed that it had marked the beginning of the anti-roads campaign. Despite the criticism, Baxter, an indomitable optimist, stood up for the Westway, maintaining that, in the mids, it was virtually impossible to imagine the traffic volumes that would clog the capital's roads a decade later, let alone 30 or more years in the future.

He also held that technically the project would have been difficult to better. Because it is massively built of concrete, it is quiet in comparison to a steel bridge; concrete dampens noise, while steel tends to resonate and amplify it. The bridge also included electronic heating to prevent ice forming in frigid winters. Baxter and his colleagues at Maunsell had set out to build the bridge using a pioneering technique - post-tensioned, precast segmental concrete construction - that is still at the cutting edge today.

This method involves precasting a series of short concrete deck elements, transporting them to site on lorries and lifting them into position. By stringing cables through the segments along the length of the deck and jacking them tight, the elements are clamped together to form rigid spans capable of carrying traffic. Its advantages over conventional cast-in-situ concrete are relative speed and simplicity of construction, and its virtues are dramatically shown on the record-breaking, concrete-arched Gladesville bridge, near Sydney, Australia, whose m clear span is thought to be unrivalled 39 years after it was completed.

Gladesville's dramatic arch is actually composed of four arches side by side. Each is made up of more than2. Born in London, Baxter left Westminster City school at the age of 16 because he "wanted to get on and do practical things".

He put himself through a degree course in his spare time, obtaining a BSc in engineering from the City and Guilds Engineering College, London, at Professionally, he cut his teeth on concrete structures working for the Trussed Concrete Steel Company and on chemical factories for Shell There he met the engineering star of the day, Guy Maunsell, and joined the firm of Maunsell, Posford and Pavry inbecoming one of four founding partners of the new firm of G Maunsell and Partners in Maunsell, then in his 60s, had spent much of his life as a contractor, and instilled in Baxter the ethos that buildability is central to good design.

In return, Maunsell was impressed by the much younger Baxter's talent and spirit of get-up-and-go. As senior partnerBaxter expanded the firm of Maunsell from a strong UK practice to an international force of more than 2, It continues to excel in the fields of bridge design and transportation.

This growth was achieved through Baxter's low-key approach to management, trusting his staff and giving them freedom. Inhe was president of the Institution of Civil Engineers. The Clash 's known live concert appearances. Example: List of Beatles concerts. Unhappy - The Excuses (2) - Limited Edition (mate) (CD The first gig we ever played was at what we used to call the Mucky Duck actually called the Black Swan in Sheffield.

We had a song we did called "Listen", which had a bassline that went up in a scale and then down a note to start, and Paul was so nervous that he just kept going up the scale, and we all fell over laughing 'cos we didn't know when to come in. It was the first time that I had ever played on stage. The night before it felt frightening but once we were on the way there then I began larking about.

I tied one of Keith's shoes to a piece of string and hung it out of the back of the van — the door had to be open anyway so we could breathe. So there we were sitting with all the amps and luggage with a plimsoll bouncing around behind us and all the cars behind us slowing down to avoid it. But the moment that we walked out on stage it was like I was in my own living room. I felt really comfortable.

Things went wrong during the evening, and Mick had to come over and tune my guitar, but it didn't bother me. I just wanted to jump around, but Mick wanted it to be in tune. The Independent - Fri 10 Unhappy - The Excuses (2) - Limited Edition (mate) (CD Last gang in Town p. This is a historic for it is the third ever Clash gig and the first known recorded. It is also the earliest known recorded performance and a rare recording of the Sex Pistols with Glen Matlock. The band were also nervous and there is no stage talk from Joe he went to the opposite extreme at the Roundhouse 2 gigs later.

It is suggested that the Buzzcocks and The Clash were beset by appalling sound problems that miraculously improved when the Pistols hit the stage. Though this is not entirely born out in this recording Glen Matlock and others have since confirmed that tampering may have taken place. Press reviews at the time were not kind to put it mildly.

Perversely only two years later Album) was describing the Clash as the greatest rock band in the world in the same paper. This is a recent bootleg 2CD released in early on the Punk Vault label. It features all three bands in full from the famous Screen on the Green gig in First up are the Buzzcocks and this has an average sound. The Pistols is slightly better again. Drums are clear, bass is present but not focussed, guitars are good but somewhat distant.

They are also the only recordings of the 5 piece Clash with Keith Levene on lead guitar, Mick on rhythm, Terry Chimes on drums and Joe solely vocals. This recording reveals the The Clash of were a very exciting band. The punk snarl has not quite been added yet and the songs destined to be recorded lack their later subtleties but they are already playing tight and fast. The set ends with warm applause and calls for more. I Never Did It?

How Can I Understand the Flies? Janie Jones Some lyric changes but already sounds great. Mick sings the chorus Joe later at the Roundhouse and there after. The tempo is so much slower at this point. Mark Me Absent Song about schooldays written by Mick. Used later as basis for Clash City Rockers though the resemblance is not noticeable. Again like Janie Jones a much slower version than it would become in Sitting at my Party Fast, furious but slight song.

A song about a girlfriend still and not the USA. Mainly different lyrics but indecipherable. You can go on the web and find any number of complete Clash bootleg discographies. That is not my intention here. What I set out to do here was to provide the curious with what I think is a meaningful representation of the evolution of the live Clash, i.

The emphasis here is on recording quality or historically significance. Part of what fueled my bootleg obsession back in my youth was my need to hear material from Sandinista and Combat Rock played by the Clash, not by Mick, Topper and a bunch of studio hacks. However, as long as you can stomach the recording quality, I also recommend any show the Clash did. The intensity of those shows is unparalleled.

This is an historic and essential Clash bootleg. Despite being only their 5th gig it stands as an exciting performance in its own right and confirms that The Clash were a great band right from the start.

The old circulating tapes are of very poor quality and should be avoided. The boot MS is either from the master or very low generation and has some spots of wear. Vocals are good but somewhat distant. Many of the lyrics on the unrecorded songs can now be heard or at least guessed at. This is partly unfair, Joe is obviously nervous admits to being and unsure how to deal with hecklers but his sincere desire to communicate and get through to the audience Album) clear.

Not surprisingly therefore they were nervous and the easy option would have been to bash out the songs as previous gigs, abuse the audience and make an early exit. Significantly Strummer rejected that and sought to communicate his frustrations with the rock scene to an audience from his own area.

Gray acknowledges that it was a varied and proficient 14 song set, but with pacing ruined by these lengthy interruptions which failed to generate any compensatory dramatic tension. Deny The song fades in losing its beginning.

Lyrics and song structure are very similar to the recorded version. A very good version with the twin guitar interplay coming across well at the ending coda. Many of the lyrics can now be heard. A good song and one of the longest in the set. Another fast and enjoyable unrecorded song. Slight song but enjoyable. Protex Blue Very good performance, guitars clear, same lyrics as recorded, good vocal from Mick. On Midnight Special Mick sang the chorus but from now on Joe now sings the whole song.

Same lyrics as recorded version but not the finished classic yet; it sounds too basic without the punk snarl yet. Did you watch the documentary on TV last year on them, nothing else on, agreed. Deadly Serious Before this other unrecorded song Joe is more successful in getting across to the audience. Guitar work is not very exciting from Levene, a work in progress. Short fast, and with unintelligible lyrics. The ending is weak and not developed yet. Why was this lyric changed, its much more disturbing evocation of the extreme possible effects of alienation and identity, the song's subjects?

There are cheers at end and applause. Joe Strummer's Clash--the best new band of the year? Well, some would claim as much. At least you can garuntee that any band formed by the ers guitarist will bristle with fire and energy. Unfortunately at the Roundhouse the Clash had little more on offer. The Ramones out of an East End squat? Indeed, many of the leather-clad Strummer's new songs were little more than rewrites of this years punk classics.

But 'I've got a Crush on you', 'Janie Jones', and the apocalyptic 'London's Burning' proved there was still power in Strummer's right arm. Unfortunately however, the warmth and love of the old pub rocking ers has been traded for a new aggression and belligerence. At 6 o'clock on a Sunday evening, long before the bar opened, the Roundhouse audience wasn't in the most receptive of moods.

The more they sat down, the more Strummer screamed at them to stand up. It was a brave, if bitter attempt to instill some kind of occasion into the weekly Roundhouse rock and roll binge, but it was not appreciated. There was no disaffection when the Crazy Caven and the Rhythm Rockers hit the stage. The Welsh band's normal entourage of drapejacketed, creep-soled teds were conspicuous by their absence by Crazy Caven's characteristic brand of authentic rockabilly brought out dancers all the same.

Only the hair oil is changed. The new album, tentatively titled 'The Golden Mile', is scheduled for October release but already the Kursaal Flyers are promoting it.

I think I can help clear up the minor omissions at the end of the review last paragraph on RH side on this page. The producer was 'Wombler' Mike Batt. Batt wrote and performed Wombles songs in a Womble outfit! However Batt was also a renowned producer and knew how to arrange a 'big sound' with an orchestra. As did George Martin and most of the studio producers of the 60's. I always will remember the Clash for the rants at Unhappy - The Excuses (2) - Limited Edition (mate) (CD audience.

It was normal to sit down during performances in those days - so it was amazing to hear Joe Strummer shout at us about 'wearing out yer denims'. So I was delighted to see that you have a recording of this gig and that my memory hadn't let me down.

We kept in touch with the Clash in particular - Mick Jones during their meteoric rise to fame and met them 'back at the hotel' whenever our tour dates coincided. The first film was about Pete Doherty which included the studio sessions for his new single - Janie Jones. Funny to think I saw that song performed at the same venue exactly 30 years ago!

The other event yesterday was Paul Weller live - amazing. He must have been delighted as inquisitive newcomers turned up to mingle with the regular punk faces.

Punk was breaking out of the small clubs and the media frenzy following, would give it significant impetus. Savage said the group lacked confidence. Hardly surprisingly as it was their debut as a four piece. Keith Levene had left only two weeks earlier but Terry Chimes is quoted as saying this caused no problems: the band were now more focussed and determined.

Mick's lead style was now developing using further drop out to add more drama to songs. A further benefit was that Paul was now free to move into the front line spotlight, hurling his bass around and completing visually, the classic line up. A short song set was played lasting only 25 minutes. It was on the second night that Sid threw the glass, and it was this isolated violent incident alone that was to preoccupy the 'normal-a-phrenic' national tabloid headlines.

The music press though also went into overdrive, with extensive band coverage, heaping praise praising on The Clash et al. England's Dreaming wrongly attributes this gig to the occasion when with a broken string Strummer switched on a transistor and with the help of Dave Goodman echoed the Northern Ireland news report via the PA. This did take place at the Club but earlier on August 31st.

The previously circulating recording of this gig had awful sound, so beware, but a new source is now in circulation, which is a big improvement. Several older tapes of all had a poor sound of varying degrees. A new copy coming from a 1st gen source has just come into widespread circulation is a significant upgrade and is a 3.

Avoid the others. Whilst still distorted and flat, instrumentation and vocals are much clearer from this much lower generation source.

It is listenable but nowhere near as enjoyable as Midnight Special and 5 Go Mad bootlegs. This was the live debut of White Riot, which has different lyrics to the recorded version, but most of which are indecipherable. The recording loses the opening bars to the song but is otherwise complete with no other edits. Guitar sound is thin, drums distant but bass is not too bad with vocals and backing vocals coming through best. It's a very good performance with some significant differences from their last gig at the Roundhouse.

The songs are stripped down to their basics, and played faster, i. Janie Jones is now "he's in love etc" not "I'm in love etc" and Mick sings the chorus, Joe the verses.

I'm So Bored is the same lyrics of a put down of a girl with references to "you don't look like her" and "public school" but now Joe shouts USA after the verses at the end of the song.

A song and band in transition. The promoter a guy called chris France had also promoted gigs by the jam,the dammed and eddie and the hot rods all in leighton buzzard he also managed john otway and wild willy barrett at this time.

Last gang in Town p from Time Out mag. This is the second gig on the 5 Go Mad At The Roundhouse CD, and although the sound is not as good as the Roundhouse gig, it is still a rare decent early live recording from the new line up. This Clash performance here is some six gigs on since Keith Levene left after the Roundhouse gig, and where Mick took over lead guitar and Joe rhythm.

John Ingham in a review in Sounds thought their minute set to be their best yet noting "that every song is pared to the minimum required to get it across with maximum energy and zero flab". The 30 people in attendance did not go amiss as Joe remarked upon the next visit to Barbarellas on the White Riot Tour, dedicating at gig to the few soles who where here on this night.

Although no doubt an exaggeration this would have been a small audience which the recording confirms, yet the band is met with warm applause at the end and returns for an encore. Again there were sound problems with a PA malfunction resulting in the vocals being routed through the club system, with the band's own amps required to project the sound of the guitars.

The unfortunate Mr Gray off Last Gang infamy writes that ironically, this made for one of the clearest vocal mixes they had ever experienced. Unfortunately the vocals on this recording are not that clear and somewhat distant and thin. The guitars come across brightly though. It's a good stereo miked audience recording presumably by the same taper as the Roundhouse and very close to the master. Drums and cymbals are very clear with bass there but somewhat buried.

Both guitars are clear but the sound is thin and harsh making this a less enjoyable listen than the Roundhouse. It has a sound quality between a 3 and a 4. The Clash have developed significantly since The Roundhouse, the songs are faster, shorter and now definitely punk as Ingham pointed out.

The recording captures the band midpoint between the early fast, r'n'b Clash, largely singing Mick's songs about teenage love and school, and the Clash that was to come. A new set of songs with a new direction. Lyrics by Joe inspired by Bernie's situationist politics, and a general instruction to write about as Bernie put it "what you know and affects you".

White Riot The gig begins with Joe saying, "Hello got anymore light, can't see my hero! This is the first decent recording of it but it's not that fast and raw yet with a poor solo from Mick.

A good song but Album) yet a classic. There are some different lyrics, sadly indecipherable although Joe does namecheck Birmingham.

Warm but polite applause and someone shouts, "where's the pistols" who had played Barbarella's recently. London's Burning This song is nearly the finished article with the drum crash ending now added. It's sung as Birmingham's Burning and it's with boredom now.

The rest of the words though still sound the same as the Roundhouse version, so a song literally in a state of transition! As well as the lyric changes the song is now faster, rawer, and punk. Joe is obviously surprised at the enthusiastic reaction to at least some of the crowd and asks at the start of the song to some of the audience "you don't really live in Birmingham?

Deadly Serious "its so deadly serious, rock'n'roll". Still a slight song soon to be dropped, but with a better ending, punk treatment and great guitar lick mid-song. Career Opportunities First recording of this future classic in circulation.

Not brilliant yet, a song in transition and with many different lyrics to the later recorded version. What's My Name Joe "In case you're wondering whether, you don't quite know what to do with yourself, maybe join the Police cadets, go on the railways, maybe you wanna work in a bank, or wanna be a popstar, well this is a song entitled What's My Nameeeee! Mick sings a middle section. Janie Jones "Now we come to our big rock'n'roll hit of the year! It's now a punk classic, played faster and tougher than at the Roundhouse.

Not as good as the excellent Roundhouse version. Punk was going overground and the place was full of punks, the interested and students. The stage door policy was loose and backstage was as crowded as out front. The dressing rooms and corridors were seething with talent. Siouxsie Sioux was gathering her tribe to follow up the Punk Festival appearance. Adrian Thrills was starting a fanzine.

If Punk was an attitude then Subway Sect was as Punk as it got. Their complete lack of showmanship and off-centre music really made you feel you were seeing something new.

Then The Jam came on, all two-tone shoes and Shepherds Bush riffs. Somehow the sharp suits and Rickenbackers were at odds with the homemade fashions and Fenders of the Pistols and the Clash and backstage they sat apart from the other bands.

The Clash were incendiary. The sound was big and loud and they climbed all over their brace of songs like kids on a building site, crashing guitars and a rabble-rousing Joe. Then a student threw a beer glass. Joe questioned him and the guy looked sheepish. Then Sid Vicious got on stage, muttering into the mic and looking well-named.

A few minutes later and they got back to the wonderful racket. People used to say their life changed the first time they saw The Clash. This was the night when that scenario began. This Cd was released by Sonic Books in a dual language format Italian and English It also contains a booklet which just repeats much of what is already written about the Clash.

The CD contains just 7 tracks. This is the original version which is mixed with the Tony Parsons Tube interview. The sound quality for the Polydor session is studio standard though these songs come across a little flat.

Nov 6 Lanchester PolytechnicCoventry 3 photos given as this date, though it is likely to be the 29th Nov. Some Clash photos circulate from this Tour but the venue is unknown, possibly the Winter Gardens at Cleethorpes? Strummer, Jones, Simonen, Harper. The actual gig was played at the Dundee College of Technology Student's Union, known to one and all of a certain age, as the Bowling Alley.

I was too young to get into these premises at the time, although a couple of years later spoke to different punters who described the same incident. One, Gary, winessed Johnny Rotten spending most of their set as far back from the audience as he could get before the speaker stack collapsed on someone.

The other person was the girl the speakers fell on - she got a broken arm. Recent unseen Pistols archive footage was screened on Welsh TV in In earlythe Clash set out their first tour in America. The so-called Pearl Harbour was a short nine date tour, they were supported by Bo Diddley for all of their gigs in America. Started on 31 January and ended on 20 February. Two year-olds from Salisbury were at the head of the queue.

I just want to be involved. Michelle and Bruno are both Their hair is short and neat. Their shirts and ties, leopardskin jackets, stiletto heels, pointed toes and dramatic make-up is variously-repeated down the line. Isn't it all rather aggressive? The violence is part of the music. It's not going to have any psychological side-effects. Over the last eight months a generation of rock fans have quietly developed an extraordinary sense of belonging together.

Excited by the new to them anyway blast of energy in the music played by bands like the Sex Pistols, Eddie and the Hotrods although these particular bands have little time for each other, many of their fans love them both and most of the others on the Punk Rock Festival bill, they are creating a new cultural identity for themselves.

They have their own clothes, language, "in" jokes and fanzines. There is both healthy cameraderie and competitiveness. The established bands share their equipment and rehearsal space, and most of the established musicians are encouraging friends to form bands of their own.

Even apart from the 30 musicians actually playing in the festival, the audience is seething with new talent. Our band's called Alteria Motive Five, 'cause there's four of us, see. Johnny Moped is there, looking to find musicians for his band the Morons. Chaotic Bass is on the loose. Fat Steve of the Babes says he's rehearsing. The creative buzz, the feel that something is "happening," is infectious.

There is a continual stream of criticism and rude abuse poured over each other's favourite enterprises, but having and giving back that kind of attention is part of the fun. Everyone wants to get in on the act. Everyone can. For the Subway Sect, it's their first-ever gig. There's Vic Goddard 19 and Paul Myers bass. Paul Smith 18 has played for five weeks, and Robert Miller lead guitar for three months.

They are familiar faces, having been in the audience at many Pistols gigs. It's been tough for them to find rehearsal rooms, but after a weekend at the Clash's spacious studio their set is debut-ready. They stalk purposefully on stage and, without looking at the audience, start a lengthy, foot-finding warm up. Already they look like they belong together. We're part of the U.

They are unashamedly inspired, by the Pistols. Vic stands before the mike, both arms stretched behind his head, just like Rotten used to.

Halfway through the set he thrusts his left hand deep into his trouser pockets and stuffs his mouth with little pieces of something — like pills or nuts. That's original. Their sound is a grind of frantic, jagged discords which, whether by chance or design, mostly resolve into acceptable patterns of unadorned simplicity.

Paul and Robert, standing each side of Vic, their faces screwed up with intensity, flash- their fingers across their guitars as fast as white lightning. Drummer Paul, though, seems to float his drum-sticks through the air. He chews gum and pounds away with the studied suavity of a young rating on his first day of home leave. They're all dressed in underground grey jerseys and casual grey trousers.

The effect is utilitarian and bland. It suits their nail-sinking rhythms and doomy lyrics. And then, in one of the last numbers, "we're splitting. The end. Take hold of your life. There's something you've got to prove. At the bar, where all through the festival record company P.

But Debbie 15 from Bromley gets it right. In the last two months her hair has been mauve, yellow and raspberry pink. There, I said it," she confesses. This inseparable unit is Steve Bill 22 and Simon 19 — he sells hot dogs off a mobile stand during the day — raspberry-haired Debbie and Suzi herself. They first heard the Pistols at their local tech. They made the trip to Paris, in a ropey old car, to see their heroes' first overseas performance, and Suzi, shocking in her semi-nudity, got punched on the nose.

She is nothing if not magnificent. Her short hair, which she sweeps in great waves over her head, is streaked with red, like flames. She'll wear black plastic non-existent bras, one mesh and one rubber stocking, and suspender belts variousall covered by a polka-dotted, transparent plastic mac. Over the weeks the Bromley Contingent's parade of inventive dress it's rarely the same two weeks running has set the fashion pace of the scene. It was only a matter of time before they took their street theatre to the stage.

Apart from Suzi, it wasn't decided who would actually end up doing the festival until the day. It was not to be. Two-tone Steve his hair is black on top, white at the sides was on the bass he picked up for the first time the night before. Sid Vicious, Johnny Rotten's friend and inventor of the Pogo dance, was on drums.

He had one rehearsal. And a mature gent called Marco was the lead guitarist. The prayer begins. It's a wild improvisation, a public jam, a bizarre stage fantasy acted out for real. The sound is what you'd expect from, er, novices. But Sid, with miraculous command, starts his minimal thud and the beat doesn't fluctuate from the start to the finish of the, er, set. Sid's smile flickers. Marco, his guitar feeding back, rolls up his sleeves, and Two-tone Steve two-tones.

The audience, enjoying the band's nerve and audacity, eggs them on, gets bored, has a laugh, and then wonders how much more it can take. Twenty minutes later, on a nod from Marco, Sid just stops. The enthusiastic cheering is just recognition of their success. If the punk rock scene has anything to offer then it's the opportunity for anyone who wants to get up and experience the reality of their wildest, stage-struck dreams.

The bar-flys are horrified. But Suzi is not interested in contracts. The Clash: "They're great! We see just a glimpse of their very considerable potential. They have reduced their line-up. Rhythm guitarist Keith Levine is off forming a new band. The audience is instantly approving. The band is fast, tough and lyrical, and they've mastered the way of dove-tailing Joe's mellow approach with Mick's spiky aggression.

Terry Chimes drums breaks up his solid bass drum surge with hi-hat splashes. The sound, though disciplined, is bursting forth. Later, I asked Paul Simenon, who has only played bass for six months, how he felt about the set.

I'm never content. I know I can do a lot with the bass. Most of them stand still like John Entwhistle. I want to move around and give the audience a good time. And give myself a good time, too. Joe Strummer, whose last band was the now fabled 'ers, has played with very experienced musicians.

What was it like with someone like Paul? It's not exciting for them, and they start playing for playing's sake, and the emotion disappears.

The Clash are a fine, visionary rock band with a wild style. I've seen them four times now, they've never played the same set. Their humour and spontaneity is uncontrived and, now that they've settled into their new line-up, they'll be a cornerstone for the developing punk rock scene. The Sex Pistols: The atmosphere in the club is feverish and high-pitched. This band is what everyone's been waiting for. Not everyone, however, is happy about the Pistols' growing success and notoriety.

The private party is over; the band are public property. It had to happen. But with mixed feelings the band's nucleus of fans are holding their breath as their champions start their steady climb.

Will the businessmen spoil them — that's the anxious question? Already the band has changed — especially Johnny Rotten and Steve Jones. Once Rotten would poke his pretty mug into any camera lens. Now he's likely to sweep his arms across his face with an Ava Gardner gesture of exclusivity.

Jones, once the brooding loner unsure of his sex appeal, is now exuding a confidence which guarantees exotic women. As the Raven's Home theme song notes, it's crazy when things turn upside down—and that includes cast shakeups. Find out who won't be returning for season five. Say hello to Emily Ratajkowski's baby boy.

Seven months after welcoming her first child with husband Sebastian Bear-McClard, the star unveiled her son's face to the world in new pictures. It's a process," she wrote. Ever wonder what exactly goes down when filming an episode of Ghost Adventures? Paranormal investigator and TV personality Zak Bagans told us what it's really like to make his spooky show.

The "Love Story" singer surprises fans by announcing her album "Red" is dropping sooner than expected, but what does Adele have to do with this?

Get the details! Christine Quinn shows how to stay flawless with her Ciate London makeup collab. See Lizzo's thoughts on the history of twerking and Black culture! Plus, Cynthia sets the record straight about her new man! Get the details.

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8 thoughts on “Unhappy - The Excuses (2) - Limited Edition (mate) (CD, Album)

  1. Feb 28,  · View credits, reviews, tracks and shop for the Vinyl release of "Excuses" on Discogs.

  2. Marketplace 37 For Sale. Vinyl and CD. Discography. 1 – 2 of 2. Sort. Title, A-Z Title, Z-A Label, A-Z Label, Z-A Year, Year, Show. 25 50

  3. Mixed By – Peter Amato (tracks: 6), Rob Eaton. Photography – Ian Abela. Producer – Chris Willis, Peter Amato. Production Manager – Brian Coleman (2) Recorded By – Craig Lozowick, Jules Gondar, Nathan Malki, Peter Amato (tracks: 6), Rob Eaton, Sheldon Steiger. Written-By – .

  4. I Excuse are a Japanese punk band who formed in Kyoto in , after each member left their previous bands. They released 2 LPs and a few 7"s before splitting up in Members: Hashimoto (6), Jesus (7), Junkou Gon, Masahide Nishikawa, Takashi Ono, Tomo Yamauchi. [a].

  5. Explore releases from No Excuse at Discogs. Shop for Vinyl, CDs and more from No Excuse at the Discogs Marketplace.

  6. Ca khúc Excuse (Original Mix) do ca sĩ Christopher S., Brian thể hiện, thuộc thể loại Âu Mỹ khác.Các bạn có thể nghe, download (tải nhạc) bài hát excuse (original mix) mp3, playlist/album, MV/Video excuse (original mix) miễn phí tại blueskyservices.biz

  7. Apr 06,  · The album was recorded in one afternoon on a 2-track and the cover was shot on the roof of Island boss Chris Blackwell’s Chelsea flat. The Simmer Dim ().

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