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Live: 1st & 2nd April 2011 Back To The Phuture (BTTP) and Dennis Music proudly present two nights of electronic futurism with GARY NUMAN, JOHN FOXX, RECOIL and MOTOR. Academy 1, Manchester: Friday 1st April Gary Numan live / Recoil live / Motor live / Mark Jones DJ set plus very special guests The Troxy, London: Saturday 2nd April Gary Numan live / John Foxx live / Motor live / Mark Jones DJ set plus very special guests

Wall of Sound founder, DJ, radio presenter and Back To The Phuture creator Mark Jones has announced the first in a series of set-to-be-amazing live events. They will take place in Manchester and London with live performances by electro originators Gary Numan and John Foxx (London only), alongside rising starts Motor on both dates and Recoil in Manchester. An obsessive fan of electronic music, Jones’ concept with BTTP was to jointhe-dots between the pioneers of electro pop, club music and experimental sounds with new blood who’ve taken the blueprint and pushed the envelope in their own original direction.

Back To The Phuture is Mark’s multi-platform phenomena incorporating the new BTTP live events, a BBC 6 Music radio show, the curation of Thursday nights at Bestival and an Ibizian residency. The original purveyors of electronica such as Gary Numan, John Foxx (formerly of Ultravox and presently in his acclaimed solo guise), plus Richard H Kirk’s Cabaret Voltaire made music that on release sounded entirely alien and futuristic yet soon became the sound of the decade.

Mark Jones will be spinning seminal machine music from the past, present and future with Mark’s sets paying special attention to new talent like Hurts, Villa Nah, La Roux, Little Boots, Penguin Prison and Ellie Golding. “Its amazing to see Back To The Phuture evolve into a live ‘happening’ and to be able to present inspiring artists that’ve paved the way for all of us alongside ace current talent”, says Jones. “Their music has never been more relevant to what’s happening - tomorrow is today.”

Still sounding fresh today, their influence is ubiquitous. Modern R&B, pop, house, techno, indie, dubstep and more besides, owe a massive debt to the experimental electronics with a pop sensibility laid down by these musicians and their peers. Numan, Foxx and Kirk are all still making exciting music.

Franco-American duo Motor makes uncompromising, sleek yet spiky EBM-influenced techno and their forthcoming album features none other than Gary Numan and Martin Gore, further highlighting the cross-generational exchange of ideas as expressed through BTTP. Recoil, aka Alan Wilder blurs the boundaries between cold wave, icy soundscapes, sleazy goth and pounding beats with an expert panache that one would expect from an ex member of Dépêche Mode. Back To The Phuture started out as a radio show on BBC 6 Music in 2009. The acclaimed program links the synth pioneers with today’s electro-pop artists in celebration of 30 years of daring electronics. Two new very special shows faced soon - watch this space.a

The show has enjoyed massive success, uniting the likes of Gary Numan and Little Boots for a session and orchestrating a performance by Heaven 17 and La Roux at the BBC’s famous Maida Vale studios. It was a definitive pop event

that drew huge audiences and broke the record for the most watched music event ever on BBC Digital with 1.3 million hitting the red button. Jones has delivered entertaining and educational radio shows with guests including Arthur Baker, Andy

Ticket details are as follows:

April 1st: Academy 1 Manchester University Students Union Oxford Road, Manchester, M13 9PR / www.manchesteracademy.net Tickets: Standard - £25 plus booking fee Doors: 6pm-11pm Tel: 0161 275 2930 Tickets: http://www.townsendrecords.co.uk/product.php?pId=1575&pType=5 Aptil 2nd: The Troxy 490 Commercial Road, London. E1 0HX / www.troxy.co.uk Tickets: Standard - £27.50 plus booking fee (Unrestricted: Circle or Stalls). Doors: 7pm - 1am

Mcluskey and Paul Humphries from OMD, Phil Oakey of The Human League, Gary Numan, Daniel Miller of Mute Records, Heaven 17’s Martyn Ware, Steve Strange of Visage and August Darnell of Kid Creole and the Coconuts.

Tickets:

http://www.crowdsurge.com/backtothephuture/ Tickets from the links above, plus www.backtothefuture.net, www.seetickets.co.uk, www.ticketweb.co.uk, www.wegottickets.com, www.crowdsurge.com and the venue’s box offices.

Facebook Manchester: http://www.facebook.com/event.php?eid=160278 567346217&num_event_invites=0

Facebook London: http://www.facebook.com/event.php?eid=160541 340653218&num_event_invites=0

You Tube Channel: http://www.youtube.com/BackToThePhutureTV www.backtothephuture.net Gary Numan: http://www.numan.co.uk

John Foxx: D.N.A. / Metatronic

John Foxx continues to be a huge inspiration to today’s music scene, thirty years on from the original release of his debut solo album Metamatic. This two CD and one DVD package has been put together by John himself. CD one features his hits “No One Driving”, “This City”, “Burning Car” and brand new mix of “Underpass”, as well as his own favourites and some rare mixes.

CD2 is a previously unreleased recording of a concert in Sydney in 1985, whilst the DVD features seven promo videos (including two versions of “Underpass”), available on DVD for the first time. Now i can’t be much else but honest, and i have to say that way back when there were two camps, John Foxx Or Midge Ure (Ultravox) I have to admit i was not in the Foxx camp, this came from the fact that i had gone to see Kraftwerk play live in Liverpool and had a discussion with a young chap called ‘Andy’ who told me guitar music was over and synths were going to take over rock n roll and i had better get used to it, at this point Midge Ure had been in Thin Lizzy for a while and was indeed a heavy metal kid, so by the time we roll towards 79 i certainly had more than one foot in the rock camp, BUT i just could not let go of those electric dreams… btw: Andy did quite well in OMD…

So once i got asked ‘Are Friends Electric’ and i was hooked, and Underpass by John Foxx certainly was a massive tune in all the clubs me and my best buddy ‘Nick’ used to go to, but then ‘Sleepwalk’ stole me away to the Ultravox camp and i never really looked back, Nick (my buddy) was two footed in the Foxx camp (prob why we got on and hated each other at the same time) but when it came to music we often were flip sides of the coin, so John Foxx was just a distant echo to me, while Ultravox became one of my fave bands ever… Fast forward to early 21st century and i did an interview with Gary Numan (who was starting to turn to the dark side with Trent Reznor / Depeche Mode) and he told me how John Foxx had been such an influence on what he had done and especially in those early Tubeway Army days and that i should grab hold of some latter day Foxx material and put right my wrongs…

Listening to this double album with early Foxx cuts which even now sound fresh and relevant, in fact over the last few years modern music has returned to that late 70’s period and raped it, many people who i played John Foxx to thought it was brand new, people mailed me at the radio station asking where he was from and did he have a debut album, which just goes to prove how this music has served it’s time so well, many other music from that period sounds dated (including it has to be said Ure/Ultravox) it’s also testament to the talent of the man when you listen to CD2 in this package which has the man live from 2008 and it’s quite stunning, it made me want to go and see his show and just soak in a performance…

The DVD with this album is simply boss, it’s just like pressing the rewind button to your youth, many of the clips certainly look of their day, but there are a couple that don’t simply because as with the music their are many artists trying to create that ‘old’ feel, I kind of regret not staying on the foxx trip, but then again it makes it a great pleasure to be discovering much of this for the first time, I would certainly say that John Foxx deserves his place in the hall of fame and this album / dvd is a great place for anyone to start and take the lid off the foxx box… 5/5.

Here are some customer reviews from Amazon… Great to see this compilation get a bit of exposure this week. Just read a brilliant interview with Foxx on the BBC site, and I immediately snapped this up. I love the DVD - but it’s also a nice surprise to discover material I didn’t know. I can’t agree about there being too much Metamatic material on here that another reviewer has criticised this for. There are tracks from across Foxx’s career. In fact as someone who hasn’t bought a Foxx album since 1983 this compilation is something of a revelation. It just seems a little sad that it’s taken this long for people like myself to catch up with what he’s been doing. Disc 2 is half concert recording (from a 2008 Australian tour) and half remixes and unreleased mixes, including a sleek updating of Underpass by Mark Reeder that’s well worth the price of entry. But the best is saved for the DVD: a (very) selected collection of promo videos and some other films. These include some live footage of The Noise and Shifting City, with LG bouncing around at his keyboard like some mad muppet, and one of the Tiny Colour Movies films (Smokescreen). Nice to see the black and white version of the Underpass video, which looks like it was made on a shoestring, but still oozes urban alienation and isolation, and there’s also a colour version to accompany the Reeder remix. Still, a reasonable price for a 2xCD/DVD set and quality packing, as one expects from Mr F. Apart from great melodies, inspired lyrical imagery, catchy riffs, deep atmospheres, tight rhythms and memorable basslines, this CD also *sounds* superb. It’s been expertly mastered, especially considering the material spans 20+ years, and really kicks without the horrible strangled compression you get on most CDs these days. Even the more subdued tracks like “Never Let Me Go” sound better than ever.Film music can often be either amazing or fall flat on it’s arse, what John Foxx has done is create a ’soundscape’ in which to lose yourself within, I recomend you listen to this album through headphones in a candle lit room (as i did) and let the music simply wash over you creating your own visuals in your head, many artists (Philip Glass / Brian Eno) tread this path with ease, John Foxx can certainly hold his head up in their esteemed company, this is a great record to ‘listen’ to, not just hear. The visual side to the project shows the diversity of the music on offer, again it’s a personal take on each piece of music, visual art like any is in the eye of the beholder, the visuals here certainly deserve to be seen. 4/5

This release features unique collaborations between John Foxx and some of his favourite film-makers, with all of the short movies on the DVD being made especially for this project. On top of that, the CD features all the music for the films, plus tracks that Foxx had recorded as possibilities for soundtracks.The final track on the disc, Over the Mirage is a new collaboration between John Foxx, Harold Budd and Ruben Garcia, while both parts (2 & 7) of A Secret Life and Violet Bloom were recorded with Steve D Agostino. Ex-Japan percussionist Steve Jansen also features on the A Secret Life instrumentals. All of the stunning artwork for the project has been designed by Jonathan Barnbook, who has previously worked with Damien Hirst and also David Bowie, designing the sleeve and inner booklet for his Heathen and Reality albums. The full track-listing for DNA is as follows…Disc One : CD…01. Maybe Tomorrow 02. Kaiyahura 03. City of Mirage 04. Flightpath Tegel 05. Violet Bloom 06. Phantom Lover 07. A Secret Life 7 08. A Secret Life 2 09. Over the Mirage Disc Two : DVD - a collection of short films… 01. Maybe Tomorrow by Karborn 02. Violet Bloom by Steve D Agostino 03. Flightpath Tegel by Ian Emes 04. A Secret Life 2 by Ian Emes 05. City of Mirage by Macoto Tezka 06. Kaiyagura by Macoto Tezka 07. Over the Mirage by Macoto Tezka 08. A Half-Remembered Sentence From The Quiet Man by Jonathan Barnbrook 09. Clicktrack by Jonathan Barnbrook

‘D.N.A. is huge on lavishly layered filmscapes. As the finest instrumental music should, it allows the listener to paint their own pictures. Foxx is really on to something here.’ Q MAGAZINE

‘Perfect blend of sound and vision. A brilliant idea perfectly captured by genius.’ RECORD COLLECTOR

‘A fine overview of Foxx’s talents - from “quiet music” maestro to purveyor of pulsating synth noir.’ FACT MAGAZINE ‘D.N.A.’s instrumentals have that lovely half-heardness of the likes of Harold Budd or Roger Eno.’ MOJO MAGAZINE ‘The ambient pieces have an unavoidably Eno-esque quality to them: still melancholic but also involving a profound sense of peace, of drift, ebb and flow. In his moody electro songs Foxx spans both the conceptual and the infectiously melodic.’ THE QUIETUS

“The album varies between shimmering Electronica and bold analogue-driven blip-Pop and elegant ambient works, of which the ghostly “Kaiyagura” - with its melancholy, reverb-drenched piano - is quite exquisite.’ FUTURE MUSIC Once again, some thoughts from Amazon… I find this one of John Foxx’s more emotional and evocative albums. The tracks range from the very electronic Flightpath Tegel and semi-robotic Phantom Lover to his latest collaboration with Harold Budd on Over The Mirage - but what links most of them is sort of wistful, understated melancholy. Also, after a couple of plays the melodies really start to grab hold, especially on the really very beautiful Kaiyagura. Best of the films? The Metamatic-like work of Jonathan Barnbrook, and Macoto Tezka’s ambient, dreamy

NEW t o T HE UK! Online .www.b uyene

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In A

Live 2011 There are few bands that come into your life that stick with you - for life! Legendary 80â&#x20AC;&#x2122;s rockers Big Country, who have reformed and recently announced 7 shows in December/January, are one of those bands, so naturally we went up to Liverpool to check them out. So successful has the tour been that they have added 14 more live dates in Aprilâ&#x20AC;Ś

Saturday night’s allright for fighting, so sang Elton John, and he ain’t far wrong, but not in a ‘having a scrap’ way but in standing up for something and shouting it as loud as you can; ‘Fighting’ for what you believe in, and I my friends believe in a Big Country dream… I loved all the so called ‘celtic’ bands in the 8os like U2, Simple Minds, The Waterboys, The Alarm and Big Country. I saw them all so many times (at least 20 times each) but they they NEVER let me down, were always on the money, and I remember playing BC records all day when frontman Stuart Adamson died… So imagine my joy when rumours that the nucleus of the band (Mark/Bruce/Tony) were

planning some new shows under the BC banner and they had brought in another guitarist Jamie Watson (Bruce’s son) and on main vocals Mike Peters (The Alarm) this must be good, how can it not be? So it’s Sat 7th January 2011, I’m driving to the ‘home of rock ‘n’ roll’ Liverpool to catch the last of the opening set of dates from the band. I have a high speed blow-out on the way, it’s all good, get into the city and hook up with Jamie and Bruce pre-show for a chat. They tell me that it’s all going great, it’s just so much fun, the crowds have been amazing, and where it goes from here? Who knows! They are back out in April for round 2 and will take it from there…

9pm arrives and with no intro, except 30 mins of great i-pod music (including The Skids), Big Country are back on stage and firing on all cylinders. Mike Peters is like a man possessed, deffo with something to prove tonight. Tony’s bass is deep, rumbling and he is in fine voice too. Bruce and Jamie crank up that distinctive BC sound and it’s so great to see Mark behind that drum-kit again, he really is one of the best… They open with ‘1,000 Stars’ and from the very first chord it sounds right, booming and Big the sound fills the hall, NOBODY ever sounded like this band before or since, the first salvo includes ‘Harvest Home’ ‘The Teacher’ and ‘Look Away’ the crowd sings these louder than the band, they are the sixth man for sure and I’d forgotten what being in a big country gig was like. Oh how we have missed these songs, oh how we welcome them back with open hearts and open lungs… Mike’s vocal comes down an octave to replicate the studio sound on a couple of tracks and the sound is, dare i say it, ‘Like Stuart is here’. Honestly, he really has worked his vocal around the songs and sometimes tonight I close my eyes and I’m right back in ‘85… It’s testament to the longevity of the band’s music that hit after hit simply floor you; a barrage of canon fire; this band don’t just have great songs, they have a batch of classics that live forever. If only we heard them more on the radio! ‘Wonderland’, ’Chance’ ‘Fields Of Fire’ plus of course ‘In A Big Country’ and I have to say again how good it is to not just hear them, but see them too. It felt like the spirit of Stuart was in the room, this feels right, and sounds amazing, this is the real deal… Welcome Back Big Country… Roll On April…

The band exploded onto the scene in 1983 with anthemic songs such as ‘Fields Of Fire’ and ‘In A Big Country’ which were culled from their classic debut album ‘The Crossing’ which sold several million worldwide. They followed up with a number one album ‘Steeltown’ and released 8 studio albums all of which entered the Top Ten. Big Country released 28 singles 5 of which were also Top Ten. Approaching their 30th anniversary, these concerts make a period of celebration that will not only embrace their illustrious past but also honour the life and times of original lead singer, guitarist and cofounder Stuart Adamson, who passed away so tragically in 2001. Taking on the mantle of lead singer and joining the band for these dates and more will be Mike Peters of fellow celtic rockers The Alarm. The band exploded onto the scene in 1983 with anthemic songs such as ‘Fields Of Fire’ and ‘In A Big Country’ which were culled from their classic debut album ‘The Crossing’ which sold several million worldwide. They followed up with a number one album ‘Steeltown’ and released 8 studio albums all of which entered the Top Ten. Big Country released 28 singles 5 of which were also Top Ten. Approaching their 30th anniversary, these concerts make a period of celebration that will not only embrace their illustrious past but also honour the life and times of original lead singer, guitarist and cofounder Stuart Adamson, who passed away so tragically in 2001. Taking on the mantle of lead singer and joining the band for these dates and more will be Mike Peters of fellow celtic rockers The Alarm.

“I first met Stuart on stage at a U2 concert in Hammersmith Palais back in 1983 says Mike Peters. “Bono introduced us to his audience as being “part of the new breed” and Stuart was literally passed up onto the stage by the fans and I shook his hand as I handed him a guitar - an unforgettable entrance. The last time I saw him was also on stage with Big Country at Glasgow Barrowlands for the last night of the Final Fling tour in 2000, when we sang Neil Young’s ‘Rockin’ In The Freeworld’ together. When Bruce Watson called and asked me to sing for Big Country, it was something I didn’t need to think twice about. I’m looking forward to meeting all the fans again and playing a part in keeping the spirit of Stuart Adamson alive and celebrating the music of a band I have loved from near and afar for the whole of my adult life.” Bass guitarist Tony Butler says “To play again as Big Country was something that was only going to happen if we could find someone who could compliment the band and sing the songs in the way they need to be sung - with heart and soul. Mike Peters from The Alarm has stepped in to fill the premise. He is the right man for the job. It’s about time the songs got another airing, and we think Stuart would be pleased too.” Drummer Mark Brzezicki also says “I am looking forward to the next Big Country chapter. Along with the constant warmth and affection shown to Big Country by it’s dedicated fans from around the world, and on it’s 30th anniversary, it feels right and fitting that Big Country continue the journey. Mike Peters will do us proud, and as Stuart always said, “when taking a journey, it’s not about the getting there, it’s enjoying the view on the way.” Cofounder member Bruce Watson added “I am really pleased to be playing with my old pals again, miss them dearly.”

The new line up consists of: Tony Butler Bass Guitar and Vocals Mark Brzezicki Drums and Vocals Mike Peters - Vocals and Guitar Bruce Watson - Guitar and Vocals Jamie Watson - Guitar

April 2011 –

Friday 8th PORTSMOUTH Pyramid 0239 282 4355 Saturday 9th MANCHESTER Academy 0161 832 1111 Sunday 10th OXFORD O2 Academy1 0844 477 2000 Monday 11th CAMBRIDGE Junction 01223 511 511 Tuesday 12th NORWICH Waterfront 01603 508 050 Thursday 14th BRISTOL O2 Academy1 0844 477 2000 Friday 15th LONDON O2 Shepherds Bush Empire 0844 477 2000 Saturday 16th LEEDS O2 Academy 0844 477 2000 Sunday 17th SHEFFIELD O2 Academy 0844 477 2000 Tuesday 19th DUBLIN The Academy 01 877 9999 . Wednesday 20th BELFAST Spring & Airbrake 02890 327 007 Thursday 21st EDINBURGH PICTURE HOUSE 0844 847 1740 Friday 22nd DUNDEE FAT SAMS LIVE 01382 228181 Saturday 23rd INVERNESS IRONWORKS 0871 789 4173 All shows are already on sale from www.gigsandtours.com or on 0844 811 0051. Tickets are priced £20 regionally (£22.50 London). www.ticketmaster.ie www.mcd.ie www.theacademydublin.com www.gigsinscotland.com www.bigcountry.co.uk

The nucleus of Big Country was formed when Stuart Adamson left The Skids in 1981. Stuart recruited guitar partner Bruce Watson who also lived in Dunfermline. The band were initially a five piece and featured fellow Scots Pete and Alan Wishart who went on to form Runrig. (Pete is now an MP for the Scottish National Party). This line up did very few shows but did open for Alice Cooper in February 1982. They were asked to leave the tour after two shows because they weren’t cutting it but, fate shone kindly on them because they were soon to re-connect with the rhythm section of Tony Butler and Mark Brzezicki whom Stuart had met some two years earlier when their band On The Air (with Simon Townshend) opened for The Skids. It was considered during that initial phase that the rhythm section was it’s weak spot. The new line up changed everything and they cut their first demos at Phonograms studios in London and were immediately signed in May 1982. After somewhat of a false start with legendary producer Chris Thomas they released their first single ‘Harvest Home’ and were ‘Special Guests’ to The Jam at Wembley Arena for five nights on their farewell dates. Paul Weller had voted Stuart “The Finest Human Being On The Planet” in an NME Christmas poll, the year before. The single sold over 6000 but in those days that number only reached 83 on the charts and they gained many fans from the Jam gigs. Fate continued to shine kindly because although the exercise with Chris didn’t work out as hoped for, a certain producer by the name of Steve Lillywhite was about to come to the rescue. “Fields of Fire” recorded in January 1983, released in February and after two weeks had become a Top Ten hit.

The band broke massively worldwide during that year with their debut album The Crossing that sold over 2 million copies and earned Big Country 3 Grammy nominations. Their subsequent four albums, Steeltown which debuted at no: 1 (1984), The Seer (1986), Peace In Our Time (1988) and No Place Like Home (1991) were all certified gold on release and took the bands total record sales tally to five million.

Big Country appeared at Live Aid and The Princes Trust 10th Birthday Party and in 1988 they played the first ever privately promoted gig in Russia at the Moscow Sports Stadium. At the end of the

decade Through A Big Country, featuring all the bands classic hits was released and while it charted Top 5 nationwide and sold over a million copies, the group parted company with Phonogram after massive personnel changes at the label. In 1992 Big Country signed to Compulsion, through Chrysalis, scored two top 30 hit singles (Alone and Ships) from their sixth album Buffalo Skinners, and set out on another sold out UK and European tour. Their first live album, Without The Aid of a Safety Net, was recorded in December 1993 at a tumultuous sold out Barrowlands gig originally released in June 94 and released also on DVD in 2006.

Big Country’s seventh studio album, Why The Long Face, was released on the newly reactivated Transatlantic Records label in 1995, and while critically well received, did not sell as well as hoped. But on the live scene the band were doing as well as ever; they co-headlined many 1995 European festivals with the likes of Bob Dylan, Faith No More, Black Crowes and Soul Asylum. They then landed the special guest slot on the 1995 Rolling Stones ‘Voodoo Lounge’ European tour and several shows in the UK and Ireland with Led Zeppelins, Jimmy Page and Robert Plant later that year. An unplugged album featuring friends (Steve Harley, Kym Mazelle, Hassam Ramzys Egyptian drummers) was released in 1996 after which Stuart decided it was time for a break; he moved to Nashville and the rest of the band did their own thing for a while. In August 1998 they were once again invited to open for the Rolling Stones on their ‘Bridges To Babylon” tour in Europe. Some of the best songs on the new album Driving To Damascus, their upcoming eighth studio album, were written in between these dates. (”one of the best opening bands we have had” - quote Mick Jagger) Two songs (Somebody Else and Devil In The Eye) were co-written with Ray Davies, who became firm friends with the band after they joined him on the main stage at Glas-

tonbury in 1997 to perform a storming set in the rain. “Both Ray and I pushed each other into areas we wouldn’t normally go” says Stuart. The first single from the album, Fragile Thing, featured Eddi Reader. “We had been mutual admirers from afar and Eddi is one of the finest singers I have ever come across. She took a sideways look at the song and expressed herself,” said Stuart at the time. Eddi also sang backing vocal on See You, Grace and Bella. Big Country are one of the few truly awesome live outfits to have survived the roller coaster ride of the mad Eighties and their star was burning brighter than ever in 1999. The band headlined a Scotland for Kosovo gig in Glasgow, joined by Eddi Reader, Teenage Fanclub, Gun, Simple Minds, Ricky Ross and Midge Ure. The success of this gig led to the band actually performing on 11th September in Pristina, the capital of Kosovo, as part of a multinational all-star bill brought together by Vanessa Redgrave & Bill Kenwright (partner of band manager, Ian Grant). The band were flown to the gig by the RAF and then shuttled to the venue in a K-FOR armoured car. The sight of several thousand Kosovars going wild in a sports arena in the middle of a devastated city was one of the most moving events in the bands career.

Big Country, who have scored 17 top 30 singles and seven top 30 albums in the past, released their eighth studio album in September 1999. Produced by Rafe McKenna, Driving To Damascus was released on the Track Record label (original home of The Jimi Hendrix Experience, The Who etc.) reactivated by Bill Kenwright and Ian Grant. Driving To Damascus was a major leap forward for the band, containing textures and influences never before embraced and manifested Big Country back at the peak of their creative powers. However, in November 1999, the band received more International Media coverage than they had seen in a decade or more. Stuart Adamson did not arrive in the UK for British TV appearances and some shows with Bryan Adams. Speculation was such that not only the tabloids but the broadsheets (The Times called his publicist requesting an up to date biog so that they could prepare an obituary) and radio and TV gave massive coverage to him being missing. Then residing in America and with many changes in his personal life, Stuart decided he had had enough of touring. He agreed to tour one final time in Europe. The band embarked on their Final Fling tour of UK, Germany and Holland. The last gig at their beloved Barrowlands was filmed, recorded and a double DVD - Come Up Screaming (bonus disc was the band playing before 150,000 people in East Berlin) which included most of The Crossing live and other favourites was

released in 2002. The band had never sounded so good and the audience as fervent or even, more so than ever. Big Country did in fact perform one more show in 2000 and this was in Kuala Lumpur, Malaysia. In October they were on a multi national bill, which included Jethro Tull, Steve Vai and Joe Satrianni plus numerous acts from the Pacific Rim. This was their last ever performance. Stuart only ever wanted to put Big Country on the backburner whilst he explored new territory in Nashville with his new band The Raphael’s; he fully intended to work Big Country again. Tragically, it was not to be. Stuart sadly died on December 16th 2001. He was honoured by his children Callum and Kirsten, former band members and musician friends when they gathered to perform and remember him and his music at Barrowlands (long considered the bands spiritual home) in Glasgow on May 31st 2002. The Skids made an appearance for the first time in 20 years. Hugh Cornwell (former Strangler) Midge Ure, Bill Nelson, Steve Harley, Brian James and The Vibrators, Runrig, Damon Hill, Mike Peters and many more took part in a programme put together by Bruce Watson and band manager Ian Grant. The remaining three members had not had any thoughts of performing as Big Country again. But, Tony Butler, Mark Brzezicki and Bruce

Watson united to celebrate the band’s Twenty-fifth anniversary in 2007. The trio performed some of their best-loved hits, a selection of songs that were not played live much in the past, and some brand new material. The hits ended up on a live album ‘25 Live’ and the new songs were recorded with with producer Pete Brown (son of Joe) and released as ‘In Our Name’ under the name of ‘Brzezicki, Butler and Watson’. During the 00’s Bruce performed with Dead Men Walking, The Casbah Club and Four Good Men. More recently he and his son Jamie Watson played with The Skids and they recently recorded an acoustic album together which has been released on Track Records titled, ‘Another Anthem for the Damned’. Mark continued to work with Procul Harum, was also a member of The Casbah Club and recently formed a band around legendary Andy ‘Thunderclap’ Newman and was also a guest with Bruce Foxtons ‘From The Jam’. Tony kept himself busy by studying music and teaching ‘Music Business’ at college in Cornwell. Tony Butler says “To play again as Big Country was something that was only going to happen if we could find someone who could compliment the band and sing the songs in the way they need to be sung; with heart and soul. Mike Peters from The Alarm has stepped in to fill the premise for a few shows. It’s about time the songs got another airing, and we think Stuart would be pleased too.”

BIG COUNTRY – Curious facts

2011/12 is their 30th Anniversary year. Classic Big Country songs were demoed in April 1981 such as Angle Park’, ‘Heart and Soul’, ‘Wake’, ‘We Could Laugh’, ‘Harvest Home’, ‘The Lost Patrol’, ‘The Crossing’ and ‘Inwards’. The first line up was a five piece band. Two members went on to join Runrig one of whom (Pete Wishart)is now an MP. Stuart and Bruce met Tony and Mark for the first time when they were in a band with Simon Townshend called On The Air who opened fot The Skids in 1980. Before Tony and Mark joined there were demo sessions with Rick Buckler of the Jam on drums (recorded by producer John Leckie) and Adam Sieff the heir at the time, to Marks and Spencers. The first line up played their first gig on 4th February 1982 at the Glen Pavillion in Dunfermlime. Six days later they opened for Alice Cooper in Brighton and the following night when they were asked to leave the tour due to not cutting it. 2 years later, Alice introduced them at the Shrine Theater in L/A when they were nominated for two Grammy’s. Film director Taylor Hackford was a huge fan and wanted a band song to be the follow up to ‘Against All Odds’ in the film of the same title. He didn’t get the song ‘Wonderand’ as wished for but ‘Balcony’ did appear in the film. Their first recordings were produced by legendary producer Chris Thomas. The choice made easy because Tony and Mark were playing on a Pete Townshend solo album that Chris was producing. Tony Butler played bass on the Pretenders ‘Back On The Chain Gang’. He also played on The Creatures (Siousie Souix) album. Mark Brzezicki played on all Pete Townshend solo albums and ‘Under a Raging Moon’ by Roger

Daltrey. He was also a member of Procul Harum. Big Country’s first American gigs were in August 1982 when they opened for The Members and former Supreme. Darlene Love. Paul Weller once voted Stuart the “finest man on the planet” in NME poll. He also gave the band the support slot opening for the Jam on their farewell dates (5) at Wembley Arena in December 1982. The bands first appearance on TV was on Channel 4’s ‘Whatever you Want’ programme in December 82. Their first TOTP appearance was in March 1983 with Fields of Fire which was a Top Ten hit. Their first appearance on Old Grey Whistle Test was also this month, The Alarm opened for the band in March and April of this year. Stuart and Mike were also invited to the stage by Bono during a U2 performance at Hammersmith Palais for a rendition of ‘Knocking on Heavens Door’. At the Reading Festival in 1983 three band members needed St Johns Ambulance treatment when they were standing too close to a fireball let off on stage during Fields of Fire. Shock Jock Howard Stern was no match for Stuart and Bruce’s quick wit when they appeared on his syndicated radio show in USA. The bands debut album remained on the charts for 82 weeks. They appeared on every tv programme going in the 80s. Kenny Everett, The Young Ones, Tracey Ulmans Three of a Kind, Wogan (several times), The Tube, Cannon and Ball, In June 1986 they appeared on the bill at the Princes Trust 10th Birthday Party. Kate Bush was guest vocalist on the title track from their third album ‘The Seer’. Steve Lillywhite proposed to Kirsty McColl backstage at Big Country’s 1983 NYE gig at Barrowlands in Glasgow. In May 1984, Bruce Watson was arrested on entering Japan for possession of a Vicks inhaler.

Elton John loved Big Country so much so he went out of his way to invite them to appear with him in 1984 at Wembley Stadium when Paul Young pulled out at the last moment. His manager John Reid, had the bands gear taken of a ferry at Harwich which was on it’s way to Sweden without notifying the band. Beatles engineer Geoff Emerick produced their classic soundtrack to the film ‘Restless Natives’. Mark and Tony played on Nils Lofgren album Flip Bob Geldolf thought Big Country had broken up and didn’t think of them for Live Aid. Harvey Goldsmith did think they should appear and invited them to appear in the encore. Mark Brzezicki plays on the Cult ‘Love’ album and was in their ‘She Sells Sanctuary’ video. Sharing the same management, Mark came to the rescue when drummer Nigel Preston became ill. Big Country took 286 journalists and record company execs to Moscow in 1988 for the first ever privately promoted concerts in Soviet Union. Big Country opened for The Rolling Stones in Europe 19 times during 90s. Mick Jagger told manager Ian Grant that they were “one of the best warm up acts we’ve ever had”. Big Country backed Ray Davies for a Kinks set in 1997 at Glastonbury (Pyramid stage). Ray loved the band and this led to Stuart and Ray cowriting two songs for the ‘Driving to Damascus’ album. Big Country were signed to Bill Kenwright in 1999 who had set up 60s label Track Records with band manager, Ian Grant. In 1999 at the invitation of Vanessa Redgrave, the band flew to Kosovo (with United Nations armed protection squad) to play at the ‘Homecom-

ing’ only six weeks after the war ended. Those who had fled the city were returning. Big Country launched the airline Easy Jet. They were personally invited by owner Stelios Haji-Ioannou and played (acoustically) on the inaugral flight and their logo adorned the side of the first Easy Jet plane for three years. The band also played at the New Zealand embassy at their invitation when promoting their single ‘Post Nuclear Talking Blues’ which was anti French Nuclear testing. Greenpeace allowed footage of Rainbow Warrior to be cut into their video. MIKE PETERS opened for Big Country on their ‘Driving To Damascus’ tour in 1999. At the suggestion of agent John Giddings, he reformed The Alarm and went out with Big Country again on their final tour in 2000. Mike Peters and Simon Townshend rehearsed with Tony, Mark and Bruce with the intention of carrying on as Big Country with the knowledge and blessing of Stuart Adamson in 2001, when Stuart made it known he didn’t want to continue. Stuart was then living in Nashville and pursuing a solo career but did intend to come back to Big Country. Besides Dead Men Walking, Bruce has been in The Skids and Casbah Club (with Mark Brzezicki, Bruce Foxton and Simon Townshend) during the last decade. The Deadmen Walking period was another one that has a Mike Peters connection. They toured and performed Big Country songs with Glen Matlock, Slim Jim Phantom and Kirk Brandon also in the line up.

B4MV Vs BMTH:

Mcr Live

Now listen up people…

Bullet For My Valentine are not a Rock band, they are a Metal band with a capital ‘M’ They are sons of Metallica, Grandsons of Maiden and Priest… THEY also are the FIRST metal band from the UK to headline Arenas this century! So with that in mind, let’s go. Manchester during tea time is a f****n’ nightmare, everyone trying to be somewhere else, most going home! Me? Well I’m slowly making my way to the ‘Evening News Arena’ or M.E.N. as it’s known these days, a huge cavornous space that’s never really been my cup of tea - some bands work it (Linkin Park) some bands don’t…

Tonight’s bill is heading down the highway with opening support act Funeral For A Friend (I’m stuck in traffic) and on the poster Atreyu are also on the bill? But no-one confirms or denies this and by the time we roll into the venue I couldn’t care less… As we get to the box office to be told ‘no one’s left you a photo pass’ I simply shrug my shoulders and go in (been let down to many times before to let it bother me anymore). We get to our seats, there’s four people in them, the MEN staff are useless, so I scream at these people that ‘I don’t care where they are meant to sit, just FUCK OFF’ and they do so… We sit down…

Bring Me The Horizon

are something of a revelation, they are now bitter, dark and twisted. At Sonisphere in August and when I had seen them previously they were just bitter! There seems to be more of a second vocal, more of a beat than a kick, while synths (yes) and samples seem to puncture their set with interludes and space. Lead singer ‘Oli’ still screams, has a bad attitude and is still mainly the reason you love or hate this band. They now intrigue me for they have become the ‘nu-metal’ band for the Sk8r generation, screamo never sounded like this and more melody enters the equasion than ever before. They are fast becoming one of the most essential rock bands of a generation… Jj*

up for. The band’s second album is a bruising experience to

Album review: 2011:

Bring Me the Horizon’s opening gambit, the This Is What the Edge of Your Seat Was Made For EP, was an uncommonly good debut. At the beginning of 2005 it left me breathless, and promptly earned itself a near-perfect review. Fast-forward five years, and they’ve experienced their share of amazing highs and crippling lows. The Sheffield five-piece – metalcore, but not strictly metal to the core – lost a member in 2009 and departing guitarist Curtis Ward was replaced by former Bleeding Through axe-mangler Jona Weinhofen. The fury directed the way of this still young band – Sykes is only 23 – just focused them on refining their music, making it both as brutal as possible but also retaining the crossover appeal that made their first recordings so instantly rewarding. What 2006’s Count Your Blessings lacked in clout, 2008’s Suicide Season made

this day, and this third LP takes things further still. Recorded in Sweden and California, it’s the group’s most ambitious offering yet, a collection that bites harder than anything they’ve previously issued but which is equally eager to kiss everything better. F*** is a great example of their accomplished mix of tempestuous noise and cooling comedowns – as Sykes screams bloody murder, You Me at Six’s Josh Franceschi’s backing vocals persuade the subject of the piece to “come a little closer, tell me those three little words”. At its centre, it’s a love song; on the surface, a riotous rant of lust: “Let’s f*** ‘til our hearts give up”. Similarly impressive are Anthem, which pairs holler-along gang vocals with riffs so raw the UK mainstream’s heard nothing so savage since Gallows’ breakthrough debut; Visions, less a call to arms, more a full-blown casus belli; and the 65daysofstaticstyle electro-glitch flourishes of opener Crucify Me. And everything’s

sequenced fantastically well – this is an album ‘proper’, not a clutch of tracks arranged in an arbitrary order. They’ve not done everything the easy way, but Bring Me the Horizon today stand at the very vanguard of the UK metal scene. This third album takes risks with confidence, and the end results are never less than startling. - Mike Diver Two years after crashing into the US Billboard charts at number 4 with the album Scream, Aim, Fire, Welsh four piece Bullet For My Valentine returned with their third album, Fever, produced by Don Gilmore (Linkin Park) and mixed by Chris Lord Alge. The band vocalist/guitarist Matt Tuck, guitarist Michael Paget, bassist Jason James and drummer Michael Thomas - recorded Fever in studios both in their native Wales and in Los Angeles. The guys were named Kerrang! Best British Band in both 2008 and 2009 (after winning best newcomer in 2006) and have supported legendary acts such as Metallica, Guns n Roses and Iron Maiden and now they step up to arena level…

B4MV vocalist Matt Tuck seems genuinly touched, suprised and in awe of the fact that in front of him is an arena crowd and his band is the headliner, it’s almost as if the shock of that fact has yet to sink in, and one can only guess that it’s only as you stand in front of a crowd this size that it would… Make no mistake B4MV are a great live band, rightful heirs to the arena metal crown. It’s handed to them on their third album, Maiden hit that place after their 3rd Number Of The Beast, so they are in good if not hallowed company…

Do they pull it off, does a bear shit in the woods? The set is paced well enough that the crowd never gets out of sight (it is however not a long set) but tracks from their current album ‘Fever’ are met with more cheers than older material proving that while they have built up a great fan base, that base continues to grow and judging on the radio airplay for ‘Bittersweet Memories’ it can only continue…

There is one major difference here mind… While Maiden and Metallica shows are very much a ‘cock-fest’ with over 80% being male, B4MV have a healthy 50/50 split between male and female and I don’t ever remember looking at this many pretty faces at a metal show… Ever! The band seem to get all the boy’s who love to ‘Scream, Aim, Fire’ and get all the girls who will love the band ‘Forever & Always’ it’s the best of both worlds… This makes them THE metal band of the 21st century, they can and will get even better, they will learn to project themselves even more at this level, they are the only UK metal band that has a chance of headlining Sonisphere or Download. And I for one hope that with album # 4 comes the opportunity to do just that, the band’s appetite is met by their fans, for everyone understands that tonight is what dreams are made of and out in this audience tonight is a whole new generation of dreamers… So it is said, so it shall be done… *Jj **Photo’s Danni

Album Review 2010:

Bullet For My Valentine are the biggest British metal band since Iron Maiden. That’s a statement that (still) rankles the more pernickety metal fan, who continues to claim that, because BFMV focus on huge tunes (and have a penchant for syrupy ballads) rather than huge lyrics, and have meticulously straightened hair that’s more salon than sweatbox, they lack credibility. It’s just not true. They simply have more strings to their bow than the average metal band, hence their sure and steady rise to the top. 2008’s Scream Aim Fire, the band’s second long-player, went top five in both the UK and US upon release, and for its follow-up heavyweight producer Don Gilmore (Linkin Park, Avril Lavigne) has been brought in to create an album that will become ubiquitous. BFMV are aiming for world domination, and with Fever they may well achieve it.

The military drumming of Your Betrayal opens the album with infantry intensity and then some wonderfully crisp riffing gives way to Matt Tuck whispering about insanity and such. This approach is maintained throughout the rolling, pogo-friendly title-track and the fantastically frantic The Last Fight. The three make for a brilliant opening trio. Maybe as an acknowledgement of their critics, there’s only one real ballad to be found on Fever – Bittersweet Memories, with lyrics of childish despair and forlorn desire. The brightest standout is Alone, which rocks to a rampaging riff that courses all the way to its core – it’s sure to give any listener shivers, such is its magnitude. Fever represents a significant step forward, and practically guarantees that BFMV will fulfil the expectations preceding its release. An outstanding set of songs, this collection will raise the temperatures of metal fans across the globe. - Raziq Rauf

Early Winters: In From The Cold! Traveling across the globe exploring four separate solo careers, the four members of Early Winters have gathered sonic souvenirs to share with each other and their listeners. Made up of U.K.-bred singer Carina Round, Canadian artist Justin Rutledge, L.A. producer/musician Dan Burns and Zac Rae of the band Pedestrian, the formation of the band started as an informal writing session that blossomed into an expansive musical partnership.

Justin, Dan and Carina got together to write a track that led to an instant placement of “Turn Around” on the hit CBS show Ghost Whisperer. After adding in Zac to complete the quartet, Early Winters was born. It wasn’t long before their songs were popping up online and added into heavy rotation on KCRW, CBC, and CJTR. They shared their poignant tunes for the first time live last year in Canada in front of packed houses opening for Justin.

Since all four were on the road and in the studio, in order to finish their debut album they had to get creative. Continuing to write songs via video chat and Skype, they finished the album from each corner of the world Carina from her home base in Los Angeles, Justin from Toronto, Dan from Tokyo where he was recording and performing with the legendary Japanese artist Utada, and Zac from New Zealand where he was recording with Tim Finn (Split Enz, Crowded House).

The final result is a well-traveled package. Early Winters is finally poised to share their far-flung emotions and transcontinental harmonies with the U.S. during their release of their debut 7 and a residency at The Hotel Cafe in Los Angeles in March. The band has received airplay on KCRW, CBC, and CJTR. “Spanish Burn” was featured as KCRW’s Today’s Top Tune” on January 21. The band’s self-titled debut 7 and five-song digital EP will be released on March 8.

The band will begin a residency at the Hotel Cafe in Los Angeles on March 9. Visit the Early Winters Tour page for all dates and more information. Carina Round has enjoyed success as a solo artist, having released four acclaimed albums (including her 2004 Interscope debut “The Disconnection”), supported Ryan Adams and Coldplay, and toured with James Blunt and Annie Lennox. Justin Rutledge has also found success as a solo artist, having released

four acclaimed albums, been nomination for a Juno Award, and opened for Dolly Parton. Dan Burns is an established producer / engineer / mixer / songwriter. His credits include Andrew W.K., Diddy, Lenka, Michelle Branch, and Rob Zombie. Zac Rae is also a member of the band Pedestrian, which has toured with Damien Rice and Our Lady Peace, and he is credited as a musician on releases by Annie Lennox, Kris Allen, Macy Gray, and Meiko.

www.earlywintersmusic.com www.myspace.com/earlywinters www.facebook.com/earlywinters

Lemmy:

Motorhead: Northern Cats is a music company like no other. The brainchild of two music industry professionals,

All Yours

we have a goal. To nurture, develop and guide up & coming artists through the pitfalls of the ever changing music industry. Our products and services can be purchased individually or as part of our highly recommended package schemes. We are always interested to hear from up & coming artists of all levels and profiles, so feel free to contact us for more information. Northern Cats Development offer’s artists advice, guidance and carer advancement. Artist Development is not just about making a plan. It is a service that entails, continued support and guidance, working as a team, to get your music, recordings and live show to a professional standard, with the aim of releasing music, attracting record companies, publishing houses and booking agents, as well as helping you the artist to create a business and income from your music. Our aim is to help talented artists seek a path that suits the individual or project, with a tailor made action plan and continued support, that will ensure any strategy is seen through to fruition.

Development packages include, Album and Single Recording / Business Advice / Marketing / Pre Production / Social Media awareness / Song Development / Production

With over 15 years experience in music production, Northern Cats have the skill, knowledge and ability to meet any of your recording and production needs. Working out of our own studio facility in Stockport, Cheshire, which over the years has been home to many International recording artists, musicians and acts such as: Happy Mondays, Badly Drawn Boy, Shaun Ryder, Peter Hook, Mani, Andy Rourke, Johnny Marr, Doves, Cherry Ghost, and Starsailor. We have recorded and produced demos, EP’s, singles and albums for hundreds of new up and coming acts. Recording new and undiscovered music is something that excites us as a company; so what ever level you feel that your music is at please don’t hesitate to get in touch as I’m sure we will be able to help.

Ok, let’s get one thing straight from the start… I am not a Motorhead fan, Yet I Love Motorhead! I am a fan of Lemmy… Halestorm unleashes aand garnered a folwith Shinedown, Seether, Flyleaf, and I Just The Watched - The Movie’ lowing across And Pennsylvania. band ‘Lemmy Trapt. Playing more On thanDVD! a thousand gigs, with thethree addition theyand cultivated a captivating live show, Iline-up have was metsolidified Lemmy ‘once’ times!, it became evident that he of Joe and Josh. Further honing their while appearing on various festivals and was the type of person you only ever needed to meet ‘once’ and no sound, Halestorm began showcasing for the annual Sno-Core tour. matter many you labels inhow 2005. Lzzy times explains, “Wemet werehim again, Once was enough. For no other than it was over doing a reason show at Don Hill’s in NYC. Don 10 years between each of the meetHill himself loved the show and asked ings, yet every time Lemmy wasusthe same. There are others I have to come back on a regular basis to help us met and can say Exactly the same about (James Hetfield, Ozzy, build a buzz in the area. It was snowing Johnny Cash, Berry,night Keith hard in New York Chuck on the coldest of Richards, Brian Johnson, David the year when Atlantic Records first saw Bowie, Prince, Trent Reznor, Dave Grohl, Bono, Even Gene Simmons) I us perform. From there it was only a could go on, but the point i’m making is there are certain artists matter of time until we solidified our you don’t just ‘meet’ grace you with their pressence and you relationship, and put ink to they paper.” Halestormand signed withto Atlantic and should need come away from those moments with something released the live EP, One and Done. The extra, often something you won’t even know you have untill years band immediately hit the road, touring

later, BUT the one thing that connects them all, the only real thing that they all create is… Inspiration…

Lemmy inspires me, always has, always will, many speak of him as a ‘Maverick’ a ‘Renegade’ yet he is simply being ‘Lemmy’ this IS who he is, this is what he does, and when he opens up every single Motorhead show with ‘We Are Motorhead & We Play Rock N’ Roll’ he does so with the same spit and venom he has always done, because Lemmy is ‘Rock N’ Roll’ He’s not the first, but he certainly is the ‘Last’ and I can honestly say that over the period of this new century I have not seen or met anyone who is going to replace him, there are several who come close, but they are all 40+, There are no ‘New’ rock’n'rollas… Lemmy is the ‘Road Warrior’ And that’s the reason YOU need to see this film, Everyone needs to see this BEFORE he dies, while he is still here, I don’t want Lemmy to get fame and fortune in the way Ozzy has (So many people have said to me ‘I did’nt know he was a singer!) Yet what I hope for is that with their new album ‘The World Is Yours’ on their own record label and this film being shown around the world (and in every home via DVD) that finally Lemmy will take his rightfull place at the Head of the Rock ‘N’ Roll Round Table, Ozzy, Simmons, Hetfield et all will sit around, but their can and only ever will be one King! This film is Inspiration… And by the end of it you will Love Motorhead! (I’m listening to them loud as f**k right now) You need to see this movie! Jj: 2010

Over four decades, Motorhead frontman Lemmy Kilmister has registered an immeasurable impact on music history. Nearly 65, he remains the living embodiment of the rock and roll lifestyle, and this feature-length documentary tells his story, one of a hard-living rock icon who continues to enjoy the life of a man half his age. Shot on a combination of High Definition and Super 16mm film, “Lemmy” includes interviews with friends, family, bandmates past and present and such admirers / peers as Metallica, Slash, Dave Grohl (Nirvana/Foo Fighters), Ozzy Osbourne, Peter Hook (Joy Division/New Order), actor Billy Bob Thornton, wrestling superstar Triple H, Alice Cooper, Mick Jones of The Clash, and many more. Called “pure gold” by WIRED, “Lemmy” made its world premiere in March 2010 at the South by Southwest Film and Music Festival, and has since collected rave reviews at film festivals around the globe. Variety remarked “‘Lemmy’ rocks,” and The Hollywood Reporter noted, “You don’t have to be a metalhead to love ‘Lemmy.’”

THE FILMMAKERS Greg Olliver –

Co-Director/Producerreg Olliver – CoDirector/Producer: As a director Greg has worked with Joan Jett, Snoop Dogg, Carmen Electra, Dale Earnhardt Jr., the NY Rangers, Mike Vallely and has directed / produced shows for Fuel TV, and has other long-form projects in the works.

Wes Orshoski – Co-Director/Producer: “Lemmy” marks Wes Orshoski’s debut as a director. For nearly 20 years, he has worked as a music photographer, writer and editor. Having interviewed artists as diverse as Johnny Cash and Bunny Wailer, Joe Strummer and Nick Cave, his work has been published in a diverse array of publications, from Rolling Stone and Mojo to The Wall Street Journal and The Source. Motörhead Music/UDR, EMI Label Services and Future Publishing are proud to announce an exciting new release schedule for the brand new studio album from the incomparable titans of rock — MOTÖRHEAD — preceded by the debut single from the album, “Born To Lose”. In a thrilling new development, the U.K. release of “The Wörld Is Yours” will now be a two-fold affair. On December 14, following MOTÖRHEAD’s U.K. tour, a Classic Rock Presents Motörhead fan pack will hit news-stands across the country. This is a 132-page magazine featuring not only brand new interviews with the band alongside a complete career overview, but also the entire album on CD. It will retail at £14.99 and is the perfect way for U.K. fans to purchase the album in the run up to Christmas.

Following this four-week exclusive period, the album will then be released on January 17 in a standard CD format and available to buy in all usual retailers at the price of a regular CD. This follows the fantastic success earlier this year of the Slash fan pack, devoted to the debut solo album by Slash, which was a massive commercial success, selling 30,000 copies on the newsstands before the standard release saw Slash fly into the Top 10 of the U.K. album charts. “The Wörld Is Yours” is a vital, scorching statement of intent from MOTÖRHEAD as they launch Motörhead Music, their very first record label. In a recent interview drummer Mikkey Dee stated about the band’s first venture into the record company business and MOTÖRHEAD’s U.K. tour, “We have really competent people running Motorhead Music, but unfortunately, this album is getting out a little late. It won’t even be out for the U.K. tour, which is a shame, but we are going to be playing two or three songs from the album as we don’t want the U.K. audience to miss out on it this year. We had been with out label for many years and they had been fantastic to us and we had full control, nothing we can complain over at all, not the slightest. But the whole company went under. The best people out of that company are now running the new deal. When we actually got going it was fantastic — everything went so easy, In fact, I’m surprised how easy it went.”

MOTÖRHEAD have never just been the best rock n roll band in the world. They’ve never just been the loudest. Or the hardest. Or the toughest. Or the bad-ass-est. No… MOTÖRHEAD are also a lifestyle. MOTÖRHEAD are a mindset, a belief, a way to live your life, a way to both survive and beat a society that sometimes seems intent on trying to grind you down. Which is why MOTÖRHEAD have chosen now, in what might be some of the most tense times in recent global history, to release a hellraising, rebel-rousing rock’n'roll opus known as “The Wörld Is Yours”. Written and performed by Lemmy Kilmister, Philip Campbell and Mikkey Dee in both Los Angeles, California and Wales, with production once again by Cameron Webb, “The Wörld Is Yours” serves to remind everyone that you should never stop questioning or critiquing a society that would surely chew you up and spit you if given half a chance. And with 10 soul-scorching testaments to the unbridled power this worldfamous trio continually maintain, “The Wörld Is Yours” delivers some of the finest, most important Motörmusic yet. On instant classics such as “Get Back In Line”, Kilmister thunders that “The way we are is not the way we used to be my friend,” and “We are trapped in luxury, starving on parole, no-one told us who to love, we have sold our souls,” whilst on “Brotherhood Of Man” Kilmister roars “You cannot hide the truth from me I know what?s in your heart, greed and jealousy each equal, all your days now dark.” And with the defiant, uproarious “Rock ‘N’ Roll Music”, Kilmister and Co. remind everyone that “rock and roll music is the true religion” and “rock and roll even gonna set you free, make the lame walk and the blind see.”

*** Live: Manchester 02: 16:11:10

Recorded during the late spring, the album’s creation was thrown into turmoil by the poor health and sad eventual passing of Philip Campbell’s father; the situation dictated that Philip needed to be home during some of the scheduled recording time, so MOTÖRHEAD hired a studio in Wales where Campbell was able to continue working on ideas and record tracks whilst first Mikkey and Lemmy, and then just Lemmy, laid down the rest of the album in L.A. But being MOTÖRHEAD, nothing fazed them, and with “The Wörld Is Yours” the band have triumphed over adversity to produce an absolute stormer of an album.

I must also add that tonight I realised why gigs don’t look like gigs anymore… Par Fuckin’ Cans… banks of the fukers, above, below,behind, at the side… and when you watch these guys in full flow with that lighting, it looks just like gigs used to look and it’s simply stunning, fuck those robo scans and the modern computer lighting… keep it simple stupid and get back to what we used to do, what we used to love and why Rock n’ Roll still lights the fire to burn the world… and that world…is yours! Jj: 2010

I have to say iv’e never been a huge Motorhead fan, in my younger years I saw them blow out he ABC Cinema in Chester, bought in to the Overkill / Ace Of Spades, saw them around ten times in their ‘Classic‘ period (Including a ‘Home Town’ show for me in Wrexham, North Wales at The Racecourse in 1982) and I still own a signed copy of ‘No Sleep till… Hammersmith’ on Vinyl… but then music moved on and it seemed (to me) Motorhead did’nt… So tonight I head off to Mcr with some old friends, not really caring if I see the band or not… But… Fuck Me! How fuckin’ amazing are Motorhead… From the minute they walk on stage and anounce ‘We Are Motorhead & We Play Rock N’ Roll’ they simply blow the roof off the newly re-named 02 and it’s as expected Loud! they ask the crowd if they want it louder, silly fuckers cheer! The band tear through plenty of material from over the years and I start to think iv’e been missing out, songs that are just a couple of years old are amazing ‘Just because you have the power’ stands out like a sore thumb and songs from their upcoming new album ‘The World Is Yours’ are spectacular, as good as anything rom that ‘Classic’ period… They finish with ‘Ace’ of course… and then they come back out and play ‘Born to raise hell’ with Mike Monroe (former Hanoi Rocks Vox & special guest tonight) and just for this one song peformance alone I would have paid tonight, they finish off with the full version of Overkill and go…

“The Wörld Is Yours” track listing: 01. Born To Lose 02. I Know How To Die 03. Get Back In Line 04. Devil’s In My Head 05. Rock ‘N’ Roll Music 06. Waiting For The Snake 07. Brotherhood Of Man 08. Outlaw 09. I Know What You Need 10. Bye Bye Bitch Bye Bye

S h a k e Vs

‘North Rising’: At Shake Online we recently hooked up with MPL to form an alliance and help bring to the surface all the great new ‘un-discovered’ talent where we live: North Wales! The last 18 months there have been so many new bands emerge and solo artists in North Wales from the coasts of dawn to the maelor borderlands that we thought it was time somebody grabbed them all and started to push out into the world. Someone recently said to us that North Wales was ‘The New Seattle’… They ain’t far wrong! Over the last gasp of 2010 and the first breath of 2011 Shake/MPL hope to bring you the best of that talent via the website, the radio, the computer screen and from January 2011 a monthly ‘Showcase’ Live… Stay tuned…

But to get the ball rolling we give you a brief snapshot of the scene…

Gallops

fresh from headlining the ‘Introducing’ stage at Reading & Leeds Festival are that rare beast that straddle rock music and dance music with the utmost taste without being a bag of shit for old people. They seamlessly blend organic and synthetic in an intelligent manner, but this is as much for headphone listening in a dark room as it is for festival danceoffs. Gallops rock like a Friday night in the car with Wayne and Garth. http://www.myspace.com/thegallopsband

Catfish & The Bottlemen

to give away new single Bodies for FREE! Fresh from rousing performances at this year’s In The City and a string of sold out tour dates, North Wales quartet Catfish & The Bottlemen have declared that their new single ‘Bodies’ was to be made available as a free download on November. Lead singer Ryan explains the decision: “We decided to give the single away for free because we believe in what we are creating. We believe it is loads stronger than most music out there right now and so we want as many people far and wide to hear it. We feel the time is right to unleash this for FREE as we know once people hear it they’ll be loving it and they’ll want to get to a show where they will witness us tear apart a stage as well. Guitar music has been off the radar and we want to be the band that puts it back on the map.”

The track will be available at: http://catfishandthebottlemen.bandcamp.com The band has also announced December live dates: 27th Telfords Warehouse, Chester 29th Bar Bliss, Leigh For more details on Catfish & The Bottlemen please visit www.myspace.com/catfishandthebottlemen

GALLOPS

WE//ARE//ANIMAL:

In Snowdonia, North Wales Owain Ginsberg used to trek up to quarries and forests with nothing but an 8 track recording machine and his guitar for company. Next came actual, physical band members in the form of the Hamer brothers (CASTLES), Sion Edwards on drums and Liam Simpson on keys. Their recently recorded debut album IDOLISE has been given an official release in Japan in September with and is pencilled in for a UK release early next year. http://www.myspace.com/weareanimal Formed all the long way back in March 2009, Masters In France found themselves in a little shabby unit round the backstreets of Bangor working on their style and songs / up 2 this point we’re still trying to work out who nicked that packet of pork scratchings and 3 cans of gold label / hope you enjoy! Their first single “Greyhounds” was a BBC Radio One record of the week http://www.myspace.com/mastersinfrance

THE LOVING CUP are a rockin’ country and blues Americana band based on the borderline….of North Wales. Very much a live act, The Loving Cup have developed a reputation as a “good-time” rock’n’roll band with acclaimed performances across the UK. The Loving Cup are currently recording their third album, tracks from which will be available to buy on itunes as part of the E.P. “One Last Hard Goodbye” from early 2011. http://www.myspace.com/thelovingcup

The Lupin Thieves

are a four piece indie rock outfit from the North West. The past two years have seen the boys honing they’re craft and gigging heavily countrywide, whilst steadily building up a solid fan-base and taking their unique blend of catchy tunes, rocking riffs and distinctive vocals, to new audiences. http://www.myspace.com/lupinthievesmusic

I Am Austin:

in a nutshell (ish): What started out as just a jam between friends, quickly evolved into what is widely know as Dance/Rock/Future Blues/Disco/Filth/Garage/POWER. Crowned KING OF THE MOUNTAIN at Snowboming Austria 2009, Performed a live session for Bethan Elfyn BBC RADIO 1 WALES. Played Live on Channel 4’s Evo Music Rooms 2010, Played Radio 1’s Big Weekend “Introducing Stage” 2010 “They’re absolutely brilliant! It’s just the most brilliant thing I’ve seen in a long time” **Edith Bowman BBC Radio 1** “I haven’t loved anything this much since I heard the Manics’ Generation Terrorists. Bloomin’ ace! xx” **Bethan Elfyn BBC Radio 1 Wales** Played National and International festivals in the UK and Europe *CO-POP Festival Koln, Germany 09, Dockville Festival, Hamburg 09* Played various showcases for Liverpool Sound City 2009/2010 and In The City 2008.

I Am Austin http://www.myspace.com/iamaustinmusic The Mayors http://www.myspace.com/themayorsofarc Trader http://www.myspace.com/traderband No Room For Heroes http://www.myspace.com/nrfhmusic Jaguar Jones http://www.myspace.com/jaguarjonesmusic Mother Of Six http://www.myspace.com/motherofsix The Roseville Band http://www.myspace.com/therosevilleband Heal The Last Stand http://www.myspace.com/healthelaststand Andy Hickie http://www.myspace.com/andyhickie Oreint Machine http://www.myspace.com/orientmachine The Maydays http://www.myspace.com/musicmaydays Castles http://www.myspace.com/castlesuk Seagull Kinevil http://www.myspace.com/valleum Lloyd Davies http://www.myspace.com/lloyddaviesmusic Polly Mackey http://www.myspace.com/pollymackey Cal Roberts http://www.myspace.com/calroberts Camera http://www.myspace.com/cameratheband Jklmno http://www.myspace.com/jklmnomusic the Imposters http://www.myspace.com/theimpostersofficial

Northern Cats is a music company like no other. The brainchild of two music industry professionals,

Development packages include, Album and Single Recording / Business Advice / Marketing / Pre Production / Social Media awareness / Song Development / Production

Blast Records is proud to announce the signing of the legendary NEW YORK DOLLS and the release of their fifth full-length album, “Dancing Backward in High Heels”, released in the UK on Monday 14th March 2011, followed by a full pan-European release on Friday 18th March 2011.

only recorded two The follow-up to NEW YORK DOLLS origiground-breaking, semi2009’s “Cause I Sez nally formed in 1971, So” was recorded in the New York Dolls are nal albums, New York best known for influDolls and Too Much Too September 2010 at encing a generation of Soon, before disbandBlast Recording Stuing in 1976. dios in Newcastle, artists in New York After reuniting in England with producer and London who went on Jason Hill (Louis to form the first punk 2004 (at the behest of rock and heavy metal Morrissey, the head of XIV/The Killers) and bands. Largely influthe band’s UK fan club features original NYD in the 1970s), the members, David Joenced themselves by the rock and roll of band went on to record hansen (vocals) and a pair of critically Sylvain Sylvain the Rolling Stones and Halestorm unleashes a turbulent torrent of NYC. Don Hill himself loved the show and acclaimed (guitar) with Brian the Stooges as well as infectious hard rock on their self-titled asked us to come back on a records regular basis Delaney (drums), the glam rocktomade 2006’s Dayarea. It Will Atlantic debut. The Jason band-guitarist Joe help by us build a buzz One in the It Hottinger, bassist Josh Smith,David drummer was T. snowing hard in New Us York the coldBowie and Please toonRemember Hill (bass) and origiArejay Hale and singer/guitarist Lzzy est night of the yearThis when and Atlantic Rex, the legendary Even 2009’s nal Blondie guitarist Hale-churn out uncompromising rock n’ roll Records first saw us perform. From there ‘Cause I Sez So. Frank Infante. original Dolls line-up anthems. Drawing from an arsenal of songs it was only a matter of time until we that she’s penned since she was 13, Lzzy examines love and life on the edge. Lzzy and her brother Arejay formed Halestorm in 1998 while in middle school. They immediately began playing local shows and garnered a following across Pennsylvania. The band line-up was solidified with the addition of Joe and Josh. Further honing their sound, Halestorm began showcasing for labels in 2005. Lzzy explains, “We were doing a show at Don Hill’s in

solidified our relationship, and put ink to paper.” Halestorm signed with Atlantic and released the live EP, One and Done. The band immediately hit the road, touring with Shinedown, Seether, Flyleaf, and Trapt. Playing more than a thousand gigs, they cultivated a captivating live show, while appearing on various festivals and the annual Sno-Core tour.

The Making of The New Album WALKING BACKWARD IN HIGH HEELS By Mick Burgess

Back in September 2010, Syl Sylvain was interviewed when the New York Dolls were recording their latest album at Blast Studios in Newcastle, England. During the recording of the album, the band also performed three sold out concerts at local Newcastle venue, “The Cluny” on September 4th, 5th and 6th.

You’ve got the whole world to choose from, so what brings a bunch of New Yorkers over to sunny Newcastle to record new material? I guess its work you know, and Newcastle has been such an incredibly nice, hospitable place for us. They come out of the pubs to see us when we’re walking down the road. We played three nights at The Cluny and we were so well received. There’s such warmth and open hearts round here, that it’s the place to be. For any musician, you go to where you are wanted the most and right now for us its here in Newcastle. One of the main reasons that we are here is because of Ged and Eric at Demolition Records up here in Newcastle. They had so much faith in us and just loved what we were doing and they really wanted us to come over to do the record.

Is this the first time you’ve recorded in England?

No, no, we’ve recorded here many times before throughout the ages but it’s our first time in Newcastle. You’ve been over for a few weeks now, how have you found life in England compared to the States? It’s just so friendly over here. There is such a warm hand that people give out to you no matter where you are from.

Have you been able to sample any of the local delights or have you been pretty much hard at work the whole time you’ve been here?

We haven’t really had that much time to get out of the studio but as busy as we have been we have been stepping out here and there. I have been into the City Centre for a little while which was fantastic. I just love Newcastle. What about a football match? That’s big up here in Newcastle… Oh, no I haven’t been to one yet. That would be like a vacation for us. We just didn’t have the time to do that unfortunately. Maybe next time?

The main reason that you are here is to record a new album which is the follow up to last years Cause I Sez So. This will be your 5th studio album in almost 40 years so in New York Dolls terms this is pretty fast work since your last one. Are you in a rich vein of writing form at the moment?

It is a prolific time for us but having said that as a writer, you’re always bustin’ out a tune, at least one that you want to hear. I still like to write. The way I hear things coming out, I think it’s the most creative record that the New York Dolls, and me and David in particular, have ever done. We’ve worked with a lot of great people and I’m not putting anybody down and I’m not trying to compare it with earlier versions of The Dolls but as far as songwriting goes I think that these are the best songs that we have ever come up with.

As far as style goes Cause I Sez So was probably the most varied New York Dolls release to date and in many cases was quite a departure from your rock`n`roll roots. Will you be spreading your musical net widely again or will you be keeping things simple and direct? What they love us for is “Personality Crisis”, “Looking For A Kiss”, “Trash” and stuff like that but we’ve already done that. We don’t have to make records. We have a name which we can use and perform probably for the rest of our lives. That’s not the kind of musicians and performers that we are. We’re doomed to write songs whether they are good or not, are well received or not, or flop like they did in the beginning. We were told that we didn’t know how to sing, we didn’t know how to write and we couldn’t tune a guitar so why even bother, but you know what? We thought we looked pretty damned good doing that, even if it was a big crash. We had the last laugh though. It’s like those guys that’ll say “You only had one hit” but at least we got there once!! We never really wanted to be stars, that was never in our minds, not that we never had that conversation, but we just became that. We thought it would be nice to last for two weeks as we just wanted to entertain ourselves. The norm of the day was so mundane. Stadium Rock `n` Roll became more like opera and nothing to do what we thought Rock `n` Roll should be. As musicians, we cannot help but do something that’s important to us, and that is to write new music. We may feud and fight and try to make the best out of things. It’s sometimes a love and hurt situation, but we come up with new music that represents what we are about today and at this moment we want to do a record that shows many different sides to the band.

Before you entered the studio in Newcastle did you have any ideas or demos already prepared or has everything been written from scratch?

We had a lot of ideas and we’ve had a long time to work on them….about two weeks, or as you say, a fortnight! We came as prepared as possible as we all have different commitments with performing and solo careers so we didn’t have that much time really, but it’s not the time that’s important, it’s how much you can pour out of your soul.

How do you tend to write? Do you all bring ideas to the table and knock them around until a song develops or do you tend to jam together and develop ideas that come from these?

That’s very close to how we do it. A lot of time there’s the hand signals saying “Yeah, that’s great” or “No, that’s shit”. We work through a lot of ideas by improvisation and we learn a lot through live performance. We did the shows at The Cluny where we played through some of our new songs, some of them were more complete than others. We played them, worked on them, and improved them by playing them live and seeing how they worked and made changes where we thought necessary.

Have time just with

you ever come across a where one or more of you can’t seem to come up anything?

To write a good song is such a hard thing to do. If you’re doomed to write songs then you have to write songs but you’re not going to be able to write every day. A song may be good for you or it could be good for somebody else. You’ve just got to write the song and worry about who’s going to get it later. Sometimes I write songs which I call “stoppers” where I can’t take it any further at that particular moment so I’ll put it to one side and give it a break and move onto the next one. One day, all a sudden, either a piece of that one, or the results needed to finish that one, will manifest. So instead of trying to force things, we decided to make a u-turn. The song will come if you treat it right. It’s like giving birth and that’s the way it is with songs, you can’t really sweat over them too much. If they take too much thinking then you’re probably on the wrong track. If you’re flying on automatic then that’s it. If it takes

an enema to get there, you just better forget about it and plug it up. The more you write the better you get at it, it comes with experience.

How many songs have written so far?

We came to Newcastle with about 20 ideas and we recorded about 16 of them and at the end of the day we’ll end up with about 10 really good songs which will cross that line and become magic. So you’d prefer a shorter album with 10 great songs than a longer one with 15 not so good songs? I like to look at it in the way the whole thing fits and makes a whole. Just because someone makes you a big pie doesn’t necessarily mean that it’ll taste nice. What I’m trying to say is that it doesn’t matter about the size of that pie, it’s all about the taste and the flavour in every little bite and even though it’s only 10 songs, so long as those songs pass that magical point then we’ll have a great record.

Do you have any titles sorted yet?

Some of the songs have pretty cool titles. There’s a song called “Kids Like You”, which is amazing. David wrote the most beautiful lyrics to that and I wrote the music and the organ part. That really has a Leonard Cohen feel to it. David sings that so well in that beautiful baritone, raspy, Bluesy voice of his. There’s also “The End of the Summer” and that is the hit of the album to be honest. We’ve got another which is a real rocker, a kind of `60s Mitch Ryder and The Detroit Wheel kind of tune. It has a real R&B feel to it. It is really Newcastle-ish in a way, you know the way that you guys do R&B and Soul. We didn’t set out to get that sound it just happened because we’re here I guess. That’s the beautiful thing about the New York Dolls and the way me and David work together. That’s a song called “Round and Around”. There’s a great line in there where David goes “I wanna listen to the tambourine” and then there’s nothing but drums and the tambourine going “doo dah da doo dah da doo dah!!” That’s so cool and really dancing. I have to say that I think these are the best set of songs that me and David have written in years.

On your last album you reworked “Trash” from your debut album. Why did you decide to do that?

We always do a cover or we do one of our own songs and why shouldn’t we cover ourselves, it’s great for our royalties…Ha!! We always try to lay our signature over a song and make it our own. On this record we’ve done a cover of “I Sold My Heart to the Junk Man” which is a Patti LaBelle and the Bluebelles number back in the `60`s. It’s such a great song and we’ve done it our way. There’s a girl called Stephanie who worked in the pub around the corner called The Ship Inn singing on the album. One day I heard this beautiful voice coming from the pub and it was Stephanie and I thought “Wow, we need her singing on the album”. It then all of a sudden became like a movie, she was doing our catering from the pub and then she appears on our album. She also knew some singers from a college in Leeds and we brought them into the studio to play. So you see we’re using the local fans and acquaintances on the album. They also knew

a sax player who came in here and did some incredible sax work. We did this very Baroque style of song with the girls called “You Don’t Have To Cry”, it’s so beautiful and Stephanie who was singing also knew a string section. One night she went down to Leeds and brought us some singers and the next night she went back down to Leeds and brought us a string quartet. They laid down such a beautiful melody and David wrote some gorgeous lyrics for that one too.

On 2006`s One Day It Will Please Us To Remember Even This album you featured a special guest appearance by Bo Diddley on the albums bonus track “Seventeen”. Were you in the studio when Bo laid down his parts?

I didn’t come down to the studio the night Bo Diddley was there as I was sick. I was thrilled though that he appeared on our record, it was a real honour. We try to utilise special guests but it depends on whether we can get them there and that depends on schedules and where they are at the time and whether we can get them over to work on the album.

David played with Howlin` Wolf guitarist Hubert Sumlin at the Radio City New York in 2003 playing “Killing Floor” and this was featured on the excellent Lightning in a Bottle DVD. You also guested on his album About Them Shoes. Did you ever consider inviting Hubert to play on the album? You know what, if he was here, and he was available, I’d say yes straight away but unfortunately it’s a long way and it’s all about timing so we couldn’t get him involved.

Is it your plan to finish all of your writing and recording here or will you be moving on somewhere else to mix the album and finish things off?

99% of the album has been recorded and finished in Newcastle and then we have to do the mixing. If there’s anything left to be done then Jason Hill, our producer, will do that in California where he lives.

How did Jason originally become involved?

We had a few shows together about a year or two ago where we performed with his band “Louis XIV” at a festival and Jason was a big fan of good music like T-Rex and the New York Dolls. He’s grown up loving that so he’s got that in his heart and soul. When his name first came up I was so grateful as I thought we were doomed with some of the other names that also came up. It’s worked out great for us and he’s taken us exactly into the realm of sound that I think we should be in. Is he a hands-on producer, a slave driver or someone to bounce ideas off and generally get the best out of you? He’s kiss ass when you have to be and he can be a slave driver when he needs to be so he has the two of them which gets the best out of us. His balance and bed-side manner are perfect and he gets the job done. He sees your side of the story and can explain so clearly what he is thinking and he just clears away any obstacles to the creative process.

Technology wise is he keen on trying new recording techniques or is the approach more of a back to basics affair of the band in the studio together playing on vintage equipment and analogue recording?

We’re using everything together. Any recording at the end of the day winds up being digital, no matter what we like to do. We do have a shit load of vintage instruments and pedals and noisemakers and beautiful analogue gear. We’re lovers of that. I’ve been collecting that sort of stuff since the old days. So when I first talked to Jason we talked about what equipment each of us had. When I sent him my first demos he was saying, “How did you get that old Vox organ sound?” I thought “Wow”, he was really interested. All the other ones I have worked with have gone “Oh, are you going to give me that old thing again?” Jason was so different; he was really into using the old vintage equipment to get the perfect sound for us. We’re so lucky that we have Jason Hill who understands exactly what we want to do. The same things turn us on. www.nydolls.org www.facebook.com/nydolls www.myspace.com/newyorkdolls

CATS

NORTHERN

Northern Cats is a music company like no other. The brainchild of two music industry professionals,

Development packages include, Album and Single Recording / Business Advice / Marketing / Pre Production / Social Media awareness / Song Development / Production

intimate local events, to large Dan Broad: Producer national touring - Engineer - Sesevents. Andy is a sion Musician - Recurator and direccording Artist tor of Manchester Having worked in newest and brightthe music industry est Urban festival for over 15 years, “Hungry Pigeon”, Dan has established which for the first himself as a ProWe can also supply productime ever in ducer / Engineer by ers, engineers, session musicians, vocalists and Manchester’s hisworking a and Halestorm unleashes a turbulent torrent of NYC. Don Hill himself lovedwith the show string and brass arrangers. infectious hard rock on their tory, self-titled askeda us to come back onhost a regular brought whole of basis Northern Cats have contacts Atlantic debut. The band-guitarist Joe to help us build a buzz in the area. It live outdoor Music with both residential and household names at Hottinger, bassist Josh Smith, drummer was snowing hard in New York on the coldnon-residential studios in events to PiccaManchester recordArejay Hale and singer/guitarist Lzzy est night of the year when Atlantic both the U.K and Western Hale-churn out uncompromising dilly rock n’ roll Records first saw us perform. From there Gardens. ing studio, Moolah Europe. We also have portanthems. Drawing from an arsenal of songs it was only a matter of time until we able recording facilities Having his our Rouge. As well that she’s penned since she was 13, Lzzylearnt solidified relationship, and putas ink to record live shows and to paper.” examines love and life on the craft edge. over the past worked on the 2007 also not to limit the Halestorm signed with Atlantic and Lzzy and her brother Arejay formed 10 years Andy has recoding process just to Happy Mondays album released the live EP, One and Done. The Halestorm in 1998 while in middle school. the traditional studio arUnkle band immediately hit theDysfunktional road, touring They immediately began playingproduced local shows and environment i.e. Barns, with Shinedown, Seether, Flyleaf, and and garnered a following across Pennsylvaranged music to a as a mix engineer, Churches, Stately homes Trapt. Playing more than a thousand gigs, nia. The band line-up was solidified with literally anywhere that andthey degree is currently cultivatedDan a captivating live show, the addition of Joe and Josh. popular Further suits the vibe and mood of whilean appearingwriting on various and festivals honing their sound, Halestorm level. began showHe has per-and your music the annual Sno-Core tour. casing for labels in 2005. Lzzy explains, extensive knowledge forming with the “We were doing a show at Don Hill’s in of different musiHappy Mondays Who are we cal instruments, across the UK & the Andy Fletcher: music theory and rest of the world. Event Management & computer technolDan has a BA HONS in PopuPromotion - Festiogy. lar Music after graduating val Organiser from Salford University in Producer – Musician 1991 & currently holds endorsement deals with - Artist Manager – Previous CliRoland, Line 6 and SE ElecLive Sound Engineer tronics and has work with Andy started proents include the following record companies: EMI; Heavenly; moting live music – Arctic Monkeys – Sony/BMG Sanctuary Records; events in 2005 Athlete - Pete DoChrysalis; Epitaph; Warner Dance; Ministry Of Sound; fresh from studying cherty – Reverend & Hed Kandi; Freestyle; HND Music at uniThe Makers – The Moving Shadow. Previous/Current Clients versity. He has Kooks – Detroit include – Happy Mondays, promoted and worked Social Club - The Badly Drawn Boy, I Am on various size Jessie Rose Trip to Kloot, Cherry Ghost, Doves, Peter Hook, Black Grape, events from small name just a few. We have recording packages and services to suit all levels and budgets including: Recording / Production / Pre - Production / Programming / Re-mix / Mastering

Johnny Marr & The Cribs

The Pretty Reckless Manchester Academy 1, 14

A few months back I listened to an album for the first time and then put on repeat before adding to my pile of potential ‘best-of-year’ albums. The band was The Pretty Reckless, the album was LIGHT ME UP, and the style was rock of the heavy but melodic type. Since receiving it I’ve played around half of the songs on our radio shows with plenty more to play - there’s ten songs and all ‘killer’. The band has a young female lead singer who also wrote and co-wrote the album songs. Halestorm unleashes a turbulent torrent of infectious rock on their self-titled I didn’t hard delve into the band’s Atlantic debut. The band-guitarist Joe background but when I eventually Hottinger, bassist Josh Smith, drummer did some later I was very Arejay Hale time and singer/guitarist Lzzy surprisedout touncompromising find out that Hale-churn rockTaylor n’ roll anthems. from anlead-woman, arsenal of songs Momsen,Drawing the band’s was that she’s penned since she was 13, Lzzy barely seventeen years of age and examines love and life on the edge. has featured in the USA TV hit Lzzy and her brother Arejay formed show Gossip Girl. claims Halestorm in 1998 whileMomsen in middle school. she immediately had been thrown into the They began playing localworld shows and a following across Pennsylvaof garnered modelling and acting while nia. The band line-up with really wanting to was be solidified a rock musithe addition of Joe and Josh. Further cian all along. The band released honing their sound, Halestorm began showtwo singles earlier inLzzy theexplains, year casing for labels in 2005. (’Make Me Wanna Die’ andHill’s ‘Missin “We were doing a show at Don

Nothing’) which charted well and generated a couple of important ‘Live Lounge’ sessions with BBC Radio 1 which won acclaim from the station’s audience. A third single has recently been released (’Just Tonight’) and doubtless will chart highly. It was during the Live Lounge broadcast that I found out that the band was touring in December which prompted a desperate search for contacts to secure coverage of the Manchester Academy concert on the 14 December. Mission accomplished and on the night driving past the venue saw the longest queue of fans I have ever seen at a gig there. The show had been moved from the smaller University 1,000 capacity venue to its largest 2,000 plus venue due to unremitting demand for tickets. The show was a sellout and is an example of what BBC R1 coverage can mean to an act playing the kind of music not usually played on R1 airwaves.

The audience was heavily female and surprisingly ranged in age from about 12 to 20. There were parents in the venue with their children and many waiting outside in their cars to take thier kids home. And included many kids who probably for the first time had been to a heavy rock show! Opening support came from a new and young UK five-piece rock band called Francesqa who I have never heard of but were obviously familiar to the young audience who gave them a rousing welcome. In recent months I’ve noticed headliners using very poor support acts, but for this show I had no such complaints. What NYC. Don Hill got himself the showand and the audience was aloved charismatic asked us lead-man, to come back on heavy a regular skilled tight rock basis band, to help us build buzza in the area. It some decent tunesa and strong work ethic was hard into in New on the30coldthatsnowing translated an York explosive est nightofofmusic. the year when Atlantic minutes Records first saw us perform. From there it was only a matter of time until we solidified our relationship, and put ink to paper.” Halestorm signed with Atlantic and released the live EP, One and Done. The band immediately hit the road, touring with Shinedown, Seether, Flyleaf, and Trapt. Playing more than a thousand gigs, they a captivating live show, The cultivated set for The Pretty Reckless while appearing on various festivals and was simple and effective consistthe annual Sno-Core tour.

ing of a number of large lit crosses at the back of the stage. At 9:30 the band members tropped onto the stage without lead-woman Momsen which heightened audience tension to fever pitch. Roughly a minute later Ben Philips on lead guitar announced her arrival to one of the loudest receptions I’ve ever heard at a rock concert. The band has gone through a complete change of band members over the last twelve months and I began to wonder whether this was just a vehicle for Momsen - the opening to this show certainly seemed like it.

On she came looking tall, slim, blonde and frankly devestating. She reminded me of a young version of Courtney Love and even sounded like her… Nerves? Forget it, this lady oozes confidence and enthusiasm for what she does. Straight into attack mode with the aggressive, ragged and rough sound of ‘Since You’re Gone’ which is not my favourite album track but its powerhouse rhythm made it a fabulous opener. The band sounded great while Momsen sounded perfect and designed to rock. The incendiery opening continued with ‘Miss Nothing’ and I could scarsely believe that I was witnessing an astounding heavy rock vocal performance from a girl who was barely seventeen years of age. Extraordinary! Then the pace slowed and the vibe truned to serious, heavy contemplation with album title track ‘Light Me Up’ accompanied by the first of many audience singalongs of the night. As I stood there the thought crossed my mind that I was experiencing the best possible way to end another excellent rock music year, and one which accurately reflected the level of dominance of USA bands in a poor year for British acts. A few songs later, and following another huge auidence singalong with ‘Goin’ Down’, Momsen demanded that the audience buy the next single to take it to number one in the chart. ‘Just Tonight’ was duly performed with another massive singalong and if any song deserves to hit the number one spot it’s this one.

I had seen the set list taped to the stage floor and so was not surprised after a releatively short main set to see the band back on stage for a few more songs. But for one young lady in the audience it was going to be a night she will never forget. A fan had somehow got a note to Momsen begging for her to be allowed to sit next to her hero on stage for one song. Momsen has the young lady brought to the stage where the ‘duo’ sing an acoustic medly cover version of ‘Islands’ and ‘Love The Way You Lie’. Then it’s back to ‘normal’ with a stunning acoustic rendition of another one of my favourite album tracks, ‘Nothing Left To Lose’.

Now there was a part of her set list that I didn’t comprehend but it was soon cleared up when Momsen shouted “This is Manchester and we’re going to play a song by one of our favourite bands…” And with that the band play a glrious cover version of Oasis’s ‘Supersonic’ mixed in with ‘Time Is Running Out’ by Muse. Could it really get any better? The answer is yes as the band closed with their first rampant single ‘Make Me Wanna Die’ with the auidience chipping in with choruses and very major applause.

I had effectively ended Shake’s live music year with a show by a band and an unbelievably young she-rocker which had to be one of my hard rock highlights of 2010. My only criticism revolved around the sound quality reflective of an inadequate sound-man rather than a venue which usually sounds excellent. This is one special band with a very special front-woman and a superb debut album in the can, and a night to remember - the word ‘inspirational’ comes to mind.

Band Members: Taylor Momsen (vocals), Ben Philips (guitar), Mark Damon (bass), James Perkins (drums).

Set-List Since You’re Gone, Miss Nothing, Light Me Up, Zombie, Goin’ Down, Just Tonight, My Medecine, Like A Stone, Factory Girl.

ENCORE: Islands/I Love The Way You Lie (acoustic), Nothing Left To Lose (acoustic), Super Sonic/Time Is Running Out, Make Me Wanna Die.

BIOGRAPHY

THE PRETTY RECKLESS One

night several years ago, Taylor Momsen’s father took his daughter to a White Stripes show. “Before that, the only concert I’d been to was Britney Spears,” says the singer, songwriter, and guitarist. “But once I saw Jack White on stage, that was it. I grew up as a dancer and I thought you had to dance to be a girl in the music industry. Then I saw the White Stripes and I was like, ‘No, you don’t. I can do that.’” Momsen was nine. Jack White’s raw power and deceptively simple guitar-and-vocal attack proved to be highly influential on the now 16-year-old Momsen, who began humming melodies before she could talk and writing songs at the age of five after falling in love with The Beatles. “I was obsessed with them,” she says. “I also loved Led Zeppelin, The Who, Pink Floyd, Audioslave, Soundgarden, Oasis, and Nirvana. That’s what I listened to. My rock idols are all men.” So it’s not surprising that Momsen channels a lot of masculine energy on LIGHT ME UP, her rock-and-roll-heroine-in-the-making debut album with her band The Pretty Reckless. The songs, all written by Momsen and Ben Phillips with their producer Kato Khandwala, run the gamut of emotions, alternating at times between seething rage and a bruised vulnerability. With Momsen’s inky vocals, pummeling riffs, and swaggering attitude, LIGHT ME UP sounds a bit like what might have happened had Led Zeppelin been fronted by “a chick.” The album’s ferocity could raise an eyebrow from those expecting a pretty, blonde teenager to gravitate toward straight-up pop songwriting. “It’s heavier than people might expect from me,” says Momsen, who is best known as the actress who plays Jenny Humphrey on The CW’s Gossip Girl. “But this album is the most honest expression of who I truly am.”

Momsen is a smart, emotionally complex young woman who has developed a strong identity despite growing up in the notoriously critical and fickle entertainment industry. Born and raised in St. Louis, MO, Taylor spent much of her time in NYC and at thirteen, she relocated to Manhattan. At two years old, Momsen signed to a modeling agency and a year later she began acting professionally appearing in commercials as well as films such as The Grinch Who Stole Christmas. In 2007 Momsen was cast as a lead in the CW show Gossip Girl. “I didn’t choose acting or modeling, I got thrown into it,” Momsen says. “I liked it, so that wasn’t a problem, but music and songwriting are what I’ve always really wanted to do. I’ve been working with producers and hanging out in recording studios since I was five, I just couldn’t put out an album when I was eight,” she says with a laugh. “Now I can.” LIGHT ME UP is an unflinchingly honest chronicle of Momsen’s experiences, filtered through her unique point of view. “The record is about life,” she says. “It covers everything: love, death, and music itself. It’s rock and roll. It’s sex. It’s drugs. It’s religion. It’s politics. Each song tells a story about the trials and tribulations and emotional struggles that I’ve experienced or observed. It’s not a happy pop record, but it’s not Satanworshiping either. The lyrics aren’t meant to be taken literally, they are open to interpretation.” The songs tackle everything from romantic insecurity (the full-throttle rager “Make Me Wanna Die,” which also appears on the soundtrack to the film Kick-Ass), to despair (”You”), to how working non-stop can you make you feel like one of the un-dead (”Zombie”). Momsen pushes back against the haters on “Light Me Up” and asks how far you have to go to get forgiveness on “Going Down.” With her growly, world-weary alto, Momsen can do it all: garage-rock rave-ups (”Miss Nothing”), punchy blues-rock stompers (”My Medicine,” “Since You’re Gone”), as well as emotional power ballads (”Just Tonight”) and lovely acoustic guitar and string-driven numbers (”You”).

“I’m not just writing something because I think people might like it,” Momsen says. “I hope they do, but I’m writing it because I have something to say. So many feelings go into the lyrics that it’s hard to explain what they’re about. Momsen first hooked up with Khandwala (Blondie, Drowning Pool, Paramore, Breaking Benjamin) and partner and songwriter, Phillips in October 2008. By the spring of last year, they felt they had hit upon a sound that felt authentic to her. “The three of us have similar musical taste, so it was easy to find that singular vision,” Phillips says. “Kato and I worked very hard to help Taylor reach her potential because we could see how talented she was right off the bat. She went into the vocal booth and began to sing and we turned to each other and went, ‘Holy sh*t, she’s f**’ing great.’ Her voice was astonishing. So many artists these days let their voices be discombobulated by computers. Taylor doesn’t do that. She doesn’t need to. She can walk into a room and kick your ass.”

2011 – QUEEN 40: Major

@40 Exhibition,

Hollywood Film, BBC Documentary.

2011 sees one of the most talented, glamorous and influential bands in musical history, QUEEN, celebrate the 40th anniversary of their formation in 1971. With over 170 million global album sales, 18 Number One Albums, 10 Number One DVD’s, 700 concerts performed in every corner of the world including their historic appearance at Live Aid, Seven Ivor Novello Awards, inductions into the Rock & Roll Hall of Fame and Songwriters Hall of Fame and a Guinness Book of Records award for the most successful UK album chart artist ever, the Queen story is one of the most remarkable in modern British culture. 40 years after Freddie Mercury, Brian May, Roger Taylor and John Deacon formed Queen and the band became the epitome of rock n roll swagger and excess Queen continues to rule globally. The 40th Anniversary year kicks off with a major exhibition, ‘Stormtroopers in Stilettos’ - a comprehensive look at the early part of Queen’s career, from before the band’s formation when various members were dreaming of success while studying astrophysics or running stalls next to Biba in Kensington Market, right up to their spectacular free gig for over 250,000 fans in Hyde Park in 1976. Taking place in Trumans Brewery in the heart of London’s East End the exhibition opens on February 25th running through to March 12th, and will cover the group’s first five albums from the first half of the 1970’s. The exhibition will aim to take visitors to the heart of Queen by combining interactive audio and visual environments with historic and never-before-seen memorabilia; themed rooms and music all created from the bands personal archive will come together to create an exciting, entertaining and engaging insight into the foundation and rise of the global super group Queen became. Subsequent to the exhibition there will be a major BBC TV Documentary featuring a rare interview with Roger Taylor and Brian May and many other surprises and releases to come through the rest of the year. 2011 will see filming begin of a major Hollywood movie about Queen, starring Sacha Baron Cohen as Freddie Mercury. Acclaimed script writer Peter Morgan (“The Queen”,” Frost/Nixon” ) is working on the project, which is being produced by GK Films, Robert de Niro’s Tribeca Productions and Queen Films. After four decades, the collective work of Freddie Mercury, Brian May, Roger Taylor and John Deacon continues to resonate around the globe, inspiring a host of diverse artists from Lady Gaga (who took her name from Queen’s “Radio Ga Ga”), Axl Rose and Katy Perry through to Dave Grohl. Twenty years after the death of their phenomenal and flamboyant singer, Freddie Mercury remains an icon beyond measure.

Halestorm unleashes a turbulent torrent of infectious hard rock on their self-titled Atlantic debut. The band-guitarist Joe Hottinger, bassist Josh Smith, drummer Arejay Hale and singer/guitarist Lzzy Hale-churn out uncompromising rock n’ roll anthems. Drawing from an arsenal of songs that she’s penned since she was 13, Lzzy examines love and life on the edge. Lzzy and her brother Arejay formed Halestorm in 1998 while in middle school. They immediately began playing local shows and garnered a following across Pennsylvania. The band line-up was solidified with the addition of Joe and Josh. Further honing their sound, Halestorm began showFreddie casing for labels in 2005. Lzzy explains, “We were doing a show at Don Hill’s in

NYC. Don Hill himself loved the show and asked us to come back on a regular basis to help us build a buzz in the area. It was snowing hard in New York on the coldest night of the year when Atlantic Records first saw us perform. From there it was only a matter of time until we solidified our relationship, and put ink to paper.” Halestorm signed with Atlantic and released the live EP, One and Done. The band immediately hit the road, touring with Shinedown, Seether, Flyleaf, and Trapt. Playing more than a thousand gigs, they cultivated a captivating live show, while appearing on various festivals and Mercur the annualy Sno-Core tour.

“We aimed for the top slot and we were not going to be satisfied with anything less.”

QUEEN: FIRST FIVE ALBUMS RE-ISSUED ON ISLAND RECORDS - MARCH 14th 2011

the standard for British rock in the 1970s and became one of the most influential, thrilling, glamorous and downright rock ‘n’ roll bands of all time. Newly signed to legendary label Island In 2008, Halestorm entered a Los Angeles studio to record their Records and to coincide with the exhibidebut album with Grammy-nominated producer Howard Benson (Three tion, the first five albums that Queen “We aimed for the top slot and we were Days Grace, Flyleaf, My Chemical Romance) and mixer Chris Lordreleased will be re-mastered and renot going to be satisfied with anything Alge (Underoath, AFI, Green Day). The album’s a fiery flurry, packaged into special deluxe album forless.” Freddie and Mercury Lzzy describes the band?s sound best: “It’s powerful mats. The remainder of the band’s incredrock’n'roll. We have a lot of classic rock influences, but the ible catalogue will be released during March 2011 sees the re-release of feels Queensdated. music never It’s got an old school feeling with a 2011.“Queen”, “Queen II”, “Sheer Heart first five albums - one of the most modern edge.” Attack”, “A Night At The Opera” and “A exciting and influential catalogues The back record’s first single, “I Get Off,” blends a sexy hook with Day At The Races” have been specially of all time. Recorded a inrough the maelstrom ofgroove. and tumble “On that song,” says Lzzy, “I reach re-mastered and each will be released as the early 1970’s London music of scene Queen outside myself and explore sexuality. It also has this crazy a standard CD as well as a deluxe 2 disc created a groundbreaking and unique metaphor of me getting off on the crowd getting off on me.” set which will feature new bonus content. soundtrack that remains globally influenLzzy casts a hypnotic spell on stage. Drawing from influences as Each deluxe album will be released on tial today. Theatrical, imaginative, diverse as Pat Benatar, Janis Joplin, and Metallica, she has a iTunes featuring bonus tracks plus addidiverse, melodic and unpredictable they dark sensuality that’s undeniable. Her sultry side comes through tional sleeve notes, unseen pictures and had a sound and a lookon all ofmoody their“Familiar own. the Taste of Poison.” “That track is an amazvideos. Sitting alongside their contemporaries ing journey for me,” she explains. “It’s very low key, but it’s like Led Zep and Davida Bowie, set bit of Queen a performance piece. It shows a different side of this band.”

From the pure raw rock of “Queen” through to the majestic anthems on “A Day At The Races”, the first five albums highlight the diverse talent, musical ambition and already global success of a band made up of some of the best songwriters, musicians and performers of all time. ‘Queen’, recently nominated by Dave Grohl as his favourite album of all time, was recorded in the same studio that David Bowie was recording Ziggy Stardust. Because they didn’t have any money, the album was recorded on Bowies

downtime, so Queen were literally recording at 3AM after Bowie had gone to bed. ‘Queen’ is their heaviest album, influenced by The Who, Hendrix and Led Zep and contains some of their hardest rocking songs, and also some of their most imaginative.. Like all subsequent Queen albums, no two songs sound the same and there are mixtures of light and shade, the band teasing one minute with a lullaby, then blowing your head off. ‘Queen II’ is the real beginning of Queen as we know it. It’s the first time we hear the multi layered overdubs, the

harmonies, the varied musical styles (ballads, folk, blues, thrash metal, pop and rock, it’s all there). It also includes their first hit single ‘Seven Seas of Rhye’, which led to the first of many iconic performances on Top of the Pops. The band recorded ‘Queen II’ in just over a month in 1973 ahead of its release in 1974. The album cover was shot by legendary photographer Mick Rock and inspired by a Marlene Dietrich portrait. The image was later brought to life in the revolutionary Bohemian Rhapsody video.

‘Sheer Heart Attack’, Roger Taylor’s favourite Queen album, was released in 1974 and reached Number 2 in the UK. Prior to this Queen were mostly considered a heavy rock band, but this album experimented with a variety of musical genres, including music hall, heavy metal, ballads and ragtime. At this point Queen started to move away from the progressive tendencies of their first two releases into a more radio-friendly, song-orientated style, illustrated by ‘Killer Queen’, which was their biggest hit at that point reaching No 2 in the UK. It also went to No 12 in the US Billboard Charts, the first of many hits there. A song about a highclass call girl, it contains the guitar solo that Brian May is most proud of and won Freddie his first Ivor Novello Award.

‘A Night at The Opera’, named after the Marx Bros film, is widely acclaimed as one of the greatest albums of all time. Exceptional on every level, musically, lyrically and artistically, Queen took the strongest elements of their previous two albums to make the ultimate winning combination. The most expensive album ever recorded at that time, it delivered rock, opera, heavy metal, romance, ballads, pop, sci-fi folk, music hall, ‘trad jazz’ and even the National Anthem. The album contains perhaps the most famous rock song of all time, ‘Bohemian Rhapsody’ which went on to spend fourteen weeks and number one, be voted Song of the Millennium, become the only song in history to reach Xmas No 1 twice and sell a million copies on two separate occasions. Queen also recorded the first official pop promo for ‘Bohemian Rhapsody’ as they were on tour and could not appear on Top of The Pops and this video paved the way for MTV and VH1.

By 1976, Queen were back in the studio recording ‘A Day At The Races’, which was written and recorded by Queen at their happiest, riding on the crest of a wave and loving every second. The album is an infectiously jubilant piece of music full of love, optimism and good old fashioned rock and roll. Like ‘A Night at the Opera’ it again borrowed the name of a Marx Bros movie, and its cover was similar to that of ‘A Night at the Opera’, a variation on the same Queen Crest. It reached number one on the British charts and features the classics ‘Tie Your Mother Down’, Freddie Mercury’s personal favourite composition ‘Somebody To Love’ and ‘Good Old-Fashioned Lover Boy’. Look out for further exciting Queen 40 announcements in 2011. http://www..queenonline.com/

Rockstar

Taste Of Chaos Tour Manchester 12-12-2010: It’s not often that you get a tour with FOUR great rock bands - I’ve been to shows where you didn’t even get one (lol). So when the Rockstar Energy ‘Taste Of Chaos’ tour was announced featuring headliners Disturbed and three ’support’ acts Papa Roach, Buckcherry, and Halestorm… After six hours sleep and another killer dj set at Liverpool’s #1 alternative club ‘The Krazyhouse’ I’m up and driving to Manchester with my photographer Danni in tow. It’s freezing when we get into the city and after circling the venue several times we get inside to have our little chats with Buckcherry and Papa Roach, both of whom are quite supurb - it’s so refreshing and inspiring to chat to artists who are still reaching for new heights - then back out into the cold winter air and it’s ‘food time’ and in a blink of an eye it’s ‘doors’ time…

Tonight’s opening act Halestorm take the stage. It’s just one woman’s voice that pierces the night air before the full band join in. I’ll tell you this, not since the days of watching Heart/Lita Ford/Pat Benatar in the eighties have I seen and heard pipes this good from a female, mixed with melodic, hard hitting riff-friendly songs. The more the set runs, the better it gets, there’s even a drum solo mixed in with a percussion gun-run and the crowd react like they are seeing old friends not a brand new first time in the UK rock act. By the end I’m hooked and want the album… And I have to tell you I don’t

like female-fronted bands since Vixen kinda killed it for us all. But this is great rock music, played so well, by a band that just happens to have a female singer, name of Lzzy Hale. If you don’t know the difference, go watch this band and learn something… Halestorm already feel bigger and better than any support slot. We last saw them opening up for ‘Theory Of A Deadman’ and they have come on leaps and bounds, they even hang out at the merch stall to chat for the next couple of hours, and it’s been a while since I saw that… Jj

Halestorm unleashes a turbulent torrent of infectious hard rock on their self-titled Atlantic debut. The band-guitarist Joe Hottinger, bassist Josh Smith, drummer Arejay Hale and singer/guitarist Lzzy Hale-churn out uncompromising rock n’ roll anthems. Drawing from an arsenal of songs that she’s penned since she was 13, Lzzy examines love and life on the edge. Lzzy and her brother Arejay formed Halestorm in 1998 while in middle school. They immediately began playing local shows and garnered a following across Pennsylvania. The band line-up was solidified with the addition of Joe and Josh. Further honing their sound, Halestorm began showcasing for labels in 2005. Lzzy explains, “We were doing a show at Don Hill’s in

In 2008, Halestorm entered a Los Angeles studio to record their debut album with Grammy-nominated producer Howard Benson (Three Days Grace, Flyleaf, My Chemical Romance) and mixer Chris LordAlge (Underoath, AFI, Green Day). The album’s a fiery flurry, and Lzzy describes the band?s sound best: “It’s powerful rock’n'roll. We have a lot of classic rock influences, but the music never feels dated. It’s got an old school feeling with a modern edge.” The record’s first single, “I Get Off,” blends a sexy hook with a rough and tumble groove. “On that song,” says Lzzy, “I reach outside of myself and explore sexuality. It also has this crazy metaphor of me getting off on the crowd getting off on me.” Lzzy casts a hypnotic spell on stage. Drawing from influences as diverse as Pat Benatar, Janis Joplin, and Metallica, she has a dark sensuality that’s undeniable. Her sultry side comes through on the moody “Familiar Taste of Poison.” “That track is an amazing journey for me,” she explains. “It’s very low key, but it’s a bit of a performance piece. It shows a different side of this band.”

Lzzy’s dynamic voice cuts across genre boundaries. “I approach my timing and singing like a blues singer,” she says. “I’m very influenced by blues and soul. For me, it’s always about making sure I have feeling in my voice.” The soaring standout, “Bet U Wish U Had Me Back,” highlights Lzzy’s range as her voice oscillates from a sultry croon to a massive hook. She exudes that feeling on stage and in the studio, because she’s not afraid to be herself. She laughs, “As a kid, when a lot of my friends were into Backstreet Boys, I attached myself to Alice Cooper, Cinderella, and Van Halen. I want to give the audience a ride and connect with them.” Ultimately that connection will be tangible,

because Lzzy and co. were meant to be in a rock band. “My brother and I were very fortunate to know what we wanted to do at an early age. When I was 13 and he was 10, we got together and wrote five songs. We wanted to be in a band together, we wanted to make music, and that was it. Everything came second to that.” In the end, that philosophy will ensure Halestorm’s longevity. “This album has been a long time coming,” says Lzzy. “There’s been a lot of dirty work that went into making it. Creatively, we went to rock’n'roll college through the experience. It was crazy, raw, down and dirty. Our blood, sweat, and tears went into this thing.”

Buckcherry Buckcherry are a band that always seem to be looking for a good time, their intro tape mix of James Brown/ Aerosmith sets the scene. They are a rock ‘n’ roll band in the old school style, with swagger and sway that swings high and reaches low. They also have a punk attitude that oozes through their seams, with tracks such as ‘Lit Up’ and ‘All Night Long’ really setting the venue on fire - they are better live than on record. Many bands that have been around this long lose their fire but no such thing is happening with the ‘cherry, if anything they seem ready to move up a gear and perhaps take their place at the head table.Tclose with ‘Crazy Bitch’ and the crowd can only do one thing… Bounce! All Night Long — the fifth album from Buckcherry — is the vital sound of rock and roll endurance at its very best. It’s not just rock, it’s rock and roll. More than a decade after first establishing its good name with the popular eponymous 1999 debut effort, Buckcherry has created the band’s most eclectic and impressive effort yet. All Night Long is a thoroughly rocking song cycle in the grand tradition of classic albums by the group’s forefathers and now friends Aerosmith, AC/DC and Kiss.

“We set out to make a great rock record from beginning to end,” says lead vocalist Josh Todd. “That’s always been our quest. When I listen back to All Night Long, I think that this is definitely one of our strongest efforts to date and has a really definitive overall vibe. Now I can’t wait to sing these songs live for people and let everyone hear the results for themselves.” All Night Long finds the band returning to its roots with original independent label Eleven Seven Music, thus giving Buckcherry the freedom over the creative process that the band has always desired. As Buckcherry cofounder and guitarist Keith Nelson explains, Buckcherry is by design a real rock band that’s built to last. “I think we endure and evolve because we genuinely do this for the love of the music,” says Nelson. “All the by-products of loving the music — being rock stars, having nice cars and lots of toys — are pretty cool too, but that’s not the motivating factor for us. The motivating factor for Buckcherry is that we all truly love being in a rock and roll band — specifically, in this rock and roll band —and that’s the passion that drives everything else that we do.” Today, Buckcherry — Todd, Nelson, guitarist Stevie D., bassist Jimmy Ashhurst and drummer Xavier Muriel — is clearly a band fired up and ready to bring All Night Long alive on a stage near you. “Buckcherry is not a party without the five of us,” explains Keith Nelson. “Though the majority of what you hear starts off with Josh and I, the whole thing only takes on a life of its own when the five of us get together and get rolling. Each one of the guys in the band now is vital to our sound. Stevie is incredibly great to play guitar with, and with the rhythm section, Xavier is the rock and Jimmy is the roll. That’s just the way it is.

Throughout their already illustrious history, Buckcherry has never been a group to chase trends or fashions. “There’s always a void open for a rock band like us to fill,” says Josh Todd. “I don’t think anyone else does quite what we do. Hey, it’s not that we’re re-inventing the wheel, but we’ve been doing this for over a decade now and part of what makes it work is our chemistry as a band.

We don’t sound like anyone else. We sound like Buckcherry. We also don’t put a lot of bells and whistles and samples in our music, and so what you see is what you get.” Still, it’s been an intense journey for Buckcherry to get to this point and kick off their second decade as a recording and touring rock band. The group first formed as Sparrow back in the mid-Nineties in Southern California, eventually choosing a new name inspired by an early transvestite fan and a great Chuck Berry quote. They hit hard right out of the box with their first album (1999’s Buckcherry) that featured such notable rock hits as “Lit Up,” “For The Movies” and “Check Your Head.” 2001’s Time Bomb would prove less successful, and soon early original band members left Buckcherry. Josh Todd and Keith Nelson soldiered on for a time, but in 2002, Todd decided to leave the band, suggesting that Buckcherry was done. Then in 2005, Todd and Nelson decided to revive Buckcherry with a new lineup and together staged a truly remarkable second coming. Released in April, 2006, the band’s acclaimed,

platinum album 15 contained its biggest rock hit yet in “Crazy Bitch,” as well as Buckcherry’s first ever Top 10 hit “Sorry.” 15 went on to spend an impressive 98 weeks on the Billboard’s Top 200. The band’s 2008 follow-up Black Butterfly debuted at #8 on Billboard and became a #1 rock album. All Night Long was produced by Keith Nelson with Marti Frederiksen, who’s served as a valued collaborator for Buckcherry since 15. “Marti is a great outside party to have involved,” says Nelson. “I try to take off my band member hat and put on the producer hat, and it helps to have Marti there to bounce things off of. He’s really invaluable, like a sixth member.” As Nelson explains, recording All Night Long was about Buckcherry showing up at his home studio and working, literally, all night long “without anybody looking at the clock. The process was long by our standards — three months, but it was a totally different approach. The longer we do this, the more we’re inclined to keep rewriting and re-

examining what works in a song. But I’m a lifelong believer in the art form of making records. That’s a part of my old school can’t-let-it-die mentality, and we’re going to keep fucking making records.” Expect the solid diversity for which Buckcherry has come to be known on All Night Long - from the classic arena-sized rock and roll party of the album’s title track to the straight ahead rock of “Our World,” which was rewritten to include lyrics specific to the oil spill disaster in the Gulf of Mexico, to help draw attention to the cause.

The main support act tonight is Papa Roach who have been around for ten years. They really did come out hitting the ground running with that debut album, followed by ego’s and demons that followed and a loss of direction. Their last studio album ‘Metamorphasis’ really stepped the band up a gear, and the recent ‘Live-Studio’ album brought home how great a live band Papa Roach are and tonight it’s time to see and hear them in the flesh. Tracks such as ‘Lifeline’ and ’Getting Away With Murder’ mix effortlessly with ‘Kicked In The Teeth’ and ‘Burn’. The band in 2010 are better than ever, they have grown up for sure, yet they have lost none of the fun, irreverent, full force riot that garnered all the fans in the first place. They end with ‘Angels’ and ‘Last Resort’ and leave the crowd wanting more with the feeling that they could (and maybe should) be headlining tonight. I hope we see them back here sooner rather than later… Jj After signing with DreamWorks Records in October 1999, they immediately hit the studio to record their debut major label album titled Infest which was released on April 25, 2000, and sold 30,000 copies in its first week of release. With their debut album released, and the music video for “Last Resort” recorded, they hit the Vans Warped Tour and numerous other large tours. The song “Blood Brothers” was also featured on the majorly popular video game Tony Hawk’s Pro Skater 2. After enormous amounts of touring worldwide, most notably in the United States, United Kingdom and Japan, the band hit the studio again to record their second major-label album which was to be titled Born to Rock, but was re-named to Lovehatetragedy. The album was released in the United States on June 18, 2002, and though it didn’t outsell Infest, it managed to chart higher in both the United States and United Kingdom album charts. The album has sold over 500,000 copies and has been certified Gold. The album marked a change in sound, morphing from nu metal to rock, except on the album’s first single, “She Loves Me Not”. In late 2003, Papa Roach wrote and recorded their third major-label album with the working title Dancing In the Ashes, but released as Getting Away with Murder. The band worked with well-

recognized producer Howard Benson. Getting Away with Murder outsold Lovehatetragedy, mainly due to the enormous popularity of the album’s second single, “Scars”. Currently, the album has sold more than 1 million copies and has been certified Platinum On September 12, 2006 Papa Roach released their fourth major-label album The Paramour Sessions. The band chose the title in respect to the recording location, the Paramour Mansion. The band was given the idea of doing an album in a mansion, while they were recording Getting Away with Murder, by Slipknot, who were recording their Vol. 3: (The Subliminal Verses) album in the Houdini Mansion and told the band it was “the only way to make an album”. Jacoby Shaddix stated on a fan board that the album was likely to be titled Days of war, Nights of Love, which is a lyrical quote from the song “No More Secrets” on the album, as well as an anarchic book published by CrimethInc. in 2000. Other tentative titles for the album were “Redemption” and “Forever”, the title of the album’s second single. However, “…To Be Loved” ended up being the first single for the album, and was the official theme song for WWE Raw from 2006 to 2009. The album marked a more alternative rockbased sound compared to earlier efforts but still contained the softer ballads akin to Getting Away with Murder. The album debuted at #16 on the Billboard 200 Charts.

On January 28, 2008 Jacoby announced on Papa Roach’s MySpace that Dave Buckner would officially be parting ways with Papa Roach for good. He stated that Dave was still trying to get his life back together. Jacoby also mentioned that the band would be going back to the Paramour Mansion for the next month to begin work on their fifth studio album. Tony Palermo would continue drumming with the band for their upcoming album and for their tour in support of the album. In an interview in February 2008 with 99.7 The Blitz, a rock radio station in Columbus, Ohio, Jacoby Shaddix stated that the band was currently working on their new album, which, like The Paramour Sessions, was to be titled Days of War, Nights of Love, which is a lyrical quote from the song “No More Secrets” However, the album was renamed to Metamorphosis to mark the band’s ten years since their signing with DreamWorks Records in 1999 and to mark all of the changes the band has gone through in the past ten years. On October 26, Papa Roach released the music video for the song, “Hollywood Whore”, and was released as an EP in Canada on October 28. According to the band, the video was just something for the fans while they waited for Metamorphosis,

and was not intended to be a single. The album’s first official single, “Lifeline”, was released on the band’s MySpace profile on January 9, 2009. The band also went on tour with Buckcherry, Avenged Sevenfold, and Burn Halo in early 2009. On June 29, the band’s former label, Geffen Records, released a greatest hits compilation of the band’s biggest hits, titled …To Be Loved: The Best of Papa Roach. The band, however, told fans not to buy it, saying that the band was making no money off of the album’s sales and that the label released the album against the band’s will. Masters and/or copyrights by Papa Roach are represented by Downtown Music Publishing. The band no longer owns the rights to their songs, but can still play the songs live. On August 1, the song “No Matter What” was leaked onto the internet. Four days later, the rest of the Time for Annihilation album was leaked. Time for Annihilation was released on August 31. The band announced that the next singles from the album would be “Burn” and “No Matter What”. In October, Papa Roach began the “Monsters of Annihilation” tour with Skillet. From November 15th to December 13th, The band toured with Disturbed, Buckcherry and Halestorm on the Taste of Chaos tour.

Tonight’s headline act also celebrate ten years since their breakthrough debut album ‘Disturbed’. David Draiman - Vocals Dan Donegan Guitars/Electronics Mike Wengren - Drums John Moyer - Bass. They are one of rock’s outcasts who divide opinion. Yet they became the first band ever this year to have four #1 albums in America, (new album, Asylum was released August 31st via Reprise Records) which shows the level which this band has achieved. They open with ‘Asylum’ from their latest album and over the next hour they race through ‘Prayer’, ‘Stupify’, ‘10,000 Fists’ and a great version of ‘Land of Confusion’. I have to say that it all starts to sound the same after a while and the band seem ‘disconnected’ from the crowd, yet by the time they encore with ‘Down With The Sickness’ there are 10,000 fists in the air and once again Disturbed have triumphed… Jj

Disturbed released their breakout debut The Sickness in 2000 and immediately began infecting heavy metal with hit singles like “Stupify” and “Down with the Sickness.” Their follow-up, Believe (2002) debuted at Number One on Billboard’s Top 200 chart. Current bassist John Moyer joined the band in 2003 and their next two releases, Ten Thousand Fists (2005) and Indestructible (2008) each also debuted at Number One, making Disturbed one of only six rock bands in history to have three consecutive releases debut at Number One. That trend continued when Asylum also hit #1 in 2010. The band has sold in excess of 11 million records worldwide and had eight No.1 singles at Active Rock Radio. Smash hit “Inside the Fire” garnered the band their first Grammy nomination for Best Metal Performance in 2009. All these accomplishments have set the stage for Disturbed to open their Asylum. Disturbed began building Asylum as soon as they got off the road in the summer of 2009. Officially entering Groovemaster Studios in February 2010, the band set about self-producing the album, as they did with Indestructible. Draiman declares, “This record shows a certain degree of maturation and enhanced complexity. Asylum is still identifiably Disturbed, but the evolution is clear. It preserves the elements of what we do but at a more advanced level.” “We took our signature foundation, and we tried to build on that,” adds Donegan. “For every album, we’ve pushed ourselves even more than in the past. Asylum is no exception.” There’s a duality to the title that encapsulates a thematic thread for Draiman. “The immediate connotation of the word Asylum is the image of a mental hospital or sanitarium, but it’s also meant to be a haven or a safe place,” says the singer. “The dual meaning of the word pushed things over the edge for me. The title track itself deals with the memory of a lost love driving you. You’re not able to let go of that memory and it brings you to the point of insanity. At the same time, that memory is a safe place for you; it’s a haven you go to when times are tough. Overall, this record is a reflection of that.” First single “Another Way to Die” is classic Disturbed, blending a syncopated riff with a hypnotic hook. Donegan reveals, “Thematically, the song’s about global warming and how the choices we make affect the planet. It’s a new topic for us, and

it’ll hopefully raise a little awareness.” Storytelling remains a central component of Asylum. About “Animal,” Draiman states, “That song is huge. It’s written about someone who is an actual werewolf, and it’s inspired by films like Underworld and Wolfman. It’s about someone who enjoys the power and lives for the transformation.”At points, the lyrics become nearly cinematic in scope. Draiman goes on, “All of the songs deal with dramatic elements such as pain, loss, suffering and remorse. There are no flowery subjects here. The lyrics on this record are a lot less cryptic than they’ve been in the past. They’re far more direct. I felt it was time for me to write like that. Some of these subjects required that approach, and these songs tell stories.” Not only did the band tread new territory lyrically on Asylum but also musically. Their first instrumental track “Remnants” ignites the album intensely. Donegan divulges, “We’ve never done a pure instrumental piece before. Our plan was to start the album that way and build anticipation with something fresh. The vibe sets everything up perfectly.” Then there’s “The Infection,” which will no doubt be a crowd favorite. From its percussive stomp to the wah-pedal solo, the song feels like it could derail, but it’s forged together by Disturbed’s focused fire. “It’s one of those tracks that makes you feel like getting in the car and going over 100 mph,” laughs Donegan. “It’s got a cool driving groove and an extended lead.” “This is a statement for us,” says Draiman. “We’ve never strayed from our identity. Disturbed records are always going to be rhythmic and powerful. They’re always going to deal with the darker side of things. They’re always going to be records you can take with you for a little bit of inspiration. That will forever be a common theme with every one of our records.” The frontman concludes, “We want fans to walk away from this record with strength and release. That’s exactly what Asylum’s supposed to be. Hopefully, this is an album for people to deal with the insanity of today’s times; it’s another piece of music to help get you through the chaos and madness of the world in which we live.” I’m hoping that over the next few years we see more tours like this; great acts who compliment each other; and all for a great ticket price. Tonight’s show ends 2010 on such a high with a ‘Great Four’ followed by the news that in 2011 ‘The Big Four’ will grace the UK… Metal may be struggling like every other business, but with great artists and more nights like tonight, the future is still bright… Words: Jj Live Shots: Danni 2010

Focus Wales: Llangollen 2011

Welsh music to be celebrated at new conference and festival

A major new event that will be showcasing Welsh musicians and bands is to be launched in Llangollen. Focus Wales 2011 will put the spotlight on the nationâ&#x20AC;&#x2122;s music industry at a unique conference and festival at Llangollen Pavilion in North Wales this May. The weekend event will bring together musicians, bands and music industry insiders to discuss the challenges and opportunities of the business.

Focus Wales organiser, Wrexham based Neal Thompson, said: “Focus Wales is a unique opportunity for Welsh music. ”No other cultural event brings together all aspects of the best music of Welsh origin, on a platform where the eyes of the world industry can see, We aim to create a sustainable annual music industry showcase event, a music expo, with the emphasis on composers, songwriters, record producers, studio bosses and music related businesses from Wales.” Focus Wales will be a mix of live music, talks, workshops and discussion forums. It will include performances from a collection of the best in Welsh music, including special guest headliners. Internationally respected music industry experts will give key-note talks and chair discussions, tackling the most relevant topics and challenges facing the Welsh music industry today. Neal added: “The conference element of Focus Wales is aimed at those working at

any level within the industry. We’ll be looking at the state of play within crucial areas such as live, recording, marketing, on line and the export of Welsh music. On Saturday, we’ll be offering an entirely indoor festival experience, with a full day of music across two stages, as well as stalls and workshops.” Focus Wales was officially launched at a special reception at Llangollen Pavilion on Thursday 20th January, compèred by the Welsh musician, author and newspaper columnist, Rhys Mwyn. It featured live music from Wrexham based Andy Hickie and Cardiff’s “The Gentle Good.” both of whom put in impressive performances and hope to return for the event in May. Focus Wales will take place at Llangollen Pavilion on 27/28 May 2011 and follows substantial improvements to the venue as part of a £1.6 million refurbishment. It is part of a programme of events supported by a £24,600 grant from Cadwyn Clwyd, funding for which has come from the Rural Development Plan for Wales 2007-2013, financed by the Welsh Assembly Government and European Agricultural Fund for Rural Development. The venue itself is nothing short of stunning and it’s location is second to none and with the adition of this Music conference/festival it will become the jewel in Wales live entertainment crown… Check the links below for reviews from Llangollen in 2010… Full details about Focus Wales 2011 can be found at http://www.focuswales.com.

Liverpool Sound City 2011: Bigger, Better, More! But don’t just take our word for it. You can get a sneak peek of what’s in store by getting your festival feet marching in the direction of Liverpool’s own Rascal and Puppeteer, Miles Kane, as he performs at the Liverpool Sound City launch party on Friday Feb 25th 2011 in , again at The Kazimier, ahead of his debut album launch in the Spring. You must be busy you say? You don’t know the half of it. We can announce our first keynote of 2011. In keeping with this year’s theme of celebrating the innovators, the creators, the forward thinkers and the just plain clever we’re delighted to announce Mr Simon Raymonde, head honcho of Bella Union, mentor and guide to some of the finest bands around and man of impeccable taste in all things in conversation with Eric Pulido, shining light of Midlake - one of the crown jewels of the Bella Union roster guitarist, vocalist, producer, manager and fair trade coffee mogul in waiting. Together, Simon and Eric will be discussing the working mechanics and dynamics of band and label and all the ensuing trials and tribulations that can ensue. We’re also pleased to release that future sure-to-be stadium filling Liverpool indie rockers Sound of Guns are part of our first wave of announcements for Liverpool Sound City 2011. They will be bringing their anthemic, majestic, insanely catchy brand of genuine rock and roll to the sumptuous St George’s Hall. Fresh from the success of their summer debut album, What Came From Fire, and having already dazzled LSC Dubai, they are set to rock the 25th anniversary of SXSW next spring as their burgeoning reputation grows.

Mersey Beat Returns for 50th Anniversary: As part of the daytime conference for 2011, Liverpool Sound City have also announced they will be working with the historic publication Mersey Beat to celebrate it’s 50th anniversary. Founding Editor Bill Harry created the seminal newspaper in the early 60s which helped launch The Beatles to the world. The reputation of this iconic music bible remains hugely popular, with issue 13 recently selling for £25,000 at auction, indicative of its huge cultural and artistic reach. The 50th anniversary publication of Mersey Beat will reflect back on the publication’s importance whilst focusing on the new generation of talent playing at Liverpool Sound City in May 2011. Bill will also be bringing his experience, wit and keen ear to the daytime event, speaking for us on one of our panels. LSC Label Parties: Liverpool Sound City has had a long-standing tradition working with influential and key record labels, festivals and international websites. In the past we have seen Domino, Moshi Moshi, Deltasonic, Wall of Sound, XFM, Clash Magazine, Filter Magazine and Eat Your Own Ears present live events at the festival. In 2011 we continue this fine tradition with a series of showcases, late night sessions and parties across the city.

Make sure you are ahead of the game and book your Live Festival Wristband or the Full Delegate Pass now for three full days and nights of the Liverpool Sound City Free Band Applications Open Now: We are happy to announce that all unsigned band applications will be open from Friday (22nd October). We are looking for acts from all walks and musical genres. It could be any genre from Rock, Pop, Electronica, Hip Hop, Country, Math Rock, Alternative, Avant-Garde to Tropical Punk!! Any band that is looking to play at Sound City 2011 now is your chance to apply. All you have to do is follow the instructions on the Sound City website.

http://www.liverpoolsoundcity.co.uk / We need your contact information including; Band Name, Contact Email Address, Contact Name, Contact Mobile Number, Country, State/Region, City/Town, and some links to your music. We expect a huge amount of applicants from all over the world and will give every entry a fair listen and individual feedback. Applicants for the Sound City unsigned guide have always been at the highest professional level. We have seen huge success stories in the last few years. Picturebook have been snapped up by Seymour Stein and Richard Gottehrer. The two men who set up Sire Records and signed worldwide artists like Echo & The Bunnymen, The Ramones, Talking Heads, Blondie, The Cure and of course Madonna. Another success story is in Luke Fenlon. Luke has signed a big $ deal with LA based Pangaea Entertainment that will see him heading West over the coming months to record his debut album. We all expect big things from them both and more to come out of our boutique festival. Sound City 2010 saw Liverpool raise the bar for ‘City Festivals’ and in 2011 once again exciting new developments and events are being planned… Check out the ‘You Tube-Sound City’ page for some highlights: http://www.youtube.com/user/LiverpoolSound City Darkhollow & MPL will be hosting their 1st ever festival series of events by taking over one of the cities #1 alternative venues and clubs and hosting live online broadcasts, exclusive radio sessions and even more exclusive club nights, get in touch for more info… Or just stay tuned to Shake…

Strummerville No Ordinary Joe! I met Joe Strummer three times in my life, each time he gave me meaning and light, never wanting anything in return… The first time was in a place called Shotton in North Wales, most famous for two things: its Steelworks and the Deeside Leisure Centre. It was at the latter early in 1980 where The Clash played, and was a defining moment in my life. I had waited so long to see The Clash live; this was a band that mattered, this wasn’t music, this was a lifestyle… After watching the band play myself with some friends hung outside the venue hoping to catch a glimpse of our heroes.

I was the kid with the ‘boombox’ a cassette tape/radio combo that sounded oh so good loud, and boy did we push the level to the max. It was in the freezing cold night when a door opened after around twenty minutes and a voice shouted ‘What’s that you are listening to?’ it happened to be a tape called ‘NY Beats’ which included a 7 minute ‘Adventures Of Grandmaster Flash’ all recorded from 12″ Vinyl that someone had brought me back from New York City. That voice was Joe Strummer who preceeded to invite me and my friends inside the inner sanctum of the leisure centre where we played the entire tape from start to finish and Joe just loved it. He signed my vinyl, he signed my t-shirt and he said that I should never let that boombox go! We left after around an hour with the satisfaction that not only had we just seen our heroes live, and then met them, but they were everything and more that we belived they would be. The long walk home consisted of disbelief and hope, and for weeks, even months, we told everyone that would listen. And today 30 years later on the anniversary of the death of Joe Strummer it remains a landmark moment in my life… The second time I met Joe was during the one and only time I went to Glastonbury. I was walking through the middle of the

field and standing right in front of me playing his guitar was Joe. I listened and was reminded how great a talent he really was. I introduced myself, told him what I did in life, he said, “Round here, we are all the same, just doing what we do, playing and listening to music.” I stayed around where they were camped for the entire festival, watched some bands, drank some beer, smoked some dope, sat around the campfire. During the late evening on the last night of the stay at the festival I got out that boombox and was playing a compilation tape of dub, punk, new wave and rock which happened by chance to include ‘Radio Clash’. It was at this point a voice shouted “Turn that up, I haven’t heard it sound that good in years.” Once again it was Joe, so I brought out the box and he recognised it, and then remembered where we had met once before, he asked me about the ‘Beats’ tape and I had it in the car. I played it once again only this time sitting with the man, listening to his New York tales, I felt at home, I felt like this was what festivals were about. I never returned to Glastonbuty because I never felt I could ever replicate the moment or better it, therefore once would always be enough, and to this day it has been…

The third time I met Joe was at Liverpool university during a tour with The Mescaleros. I was astounded at how many people tried to go to watch Joe that night and how many said ‘Who?’. I was even more shocked at the amount of people I told over the weeks that I had seen him and they said ‘So What?’. By this time I had been ensconsed in becoming a live music promoter, writer and DJ, so this time I had guest tickets and was a ‘face’ in the crowd, in my mind I mattered. I had become something or somebody who deserved to get into gigs for free, yet during the show it became evident that next to the

likes of Joe I meant nothing. I had achieved little if anything and had become someone who ten years earlier I would have not liked or even wanted to speak to. It was a revelation to me and a realisation that what we do defines us, who we are reminds us of where we have come from and where we are going. You should never believe the hype. Meeting Joe post-show, his kindness, sharp wit and sheer bloody belief in what he was doing once again inspired me. He asked me if I still had the ‘box’ I said yes, and his reply was ‘good’. Here was a man who was now spoken of as a legend yet here was a man who would help anyone if he

could, wanting nothing in return, for no other reason than ‘He wanted to’. It was something that stuck with me, and I hope still does today. It took him to die to become the true legend in the eyes of the general public, but Joe was never there for them, he was here to do exactly what he did do, and after his death he continues to inspire, to create and to influence a whole new audience for his music and for artists to create their own… That’s a true legacy… Oh yeah, by the way… I still have that boombox, it still works and that ‘Beats’ tape never sounded better… Jj: Dec 2010

Strummerville is a registered charity that aims to create new opportunities for aspiring musicians. Set up by the friends and family of Joe Strummer in the year after his death, the charity seeks to reflect Joe’s unique contribution to the music world by offering support, resources and performance opportunities to artists who would not normally have access to them. December 2010 marks the eighth anniversary of The Clash’s Joe Strummer’s death, and the Joe Strummer Foundation for New Music has been doing an incredible job promoting new music in his honour. Strummerville, established shortly after the musician’s death in 2002, was founded by his wife Lucinda in order to provide rehearsal space and studio time to musicians who lack the funding to do so on their own. Strummerville started out by supplying a rehearsal space at the Roundhouse in London, charging £1 an hour. Eight years later the charity has become a force of nature, with numerous rehearsal spaces available for that same price, including two in Belfast. This year (2010), it has helped put more than 40 bands in the studio (EMI Music Publishing and Metropolis donate studio time). To give bands the chance to hone their live performances and gain exposure, it organises “campfire sessions” at festivals such as Glastonbury, where they can perform. The organisation has brought bands over to the SXSW music conference in Austin, Texas – and even has a Strummerville tour bus they can borrow. The charity is run by Trish Whelan, who once worked for Island Records. “We used to have a real culture of developing acts at Island,” she says. “Managers and labels used to be happy to take a chance on acts. They can’t afford to any more.” This is how bands such as Pulp were able to develop, she says, adding that she believes it afforded them greater dignity. “I believe in DIY, but I also realise that’s not enough.” Strummerville provides practical help, as even smaller costs can be debilitating when you’re trying to carve out a career in music while working for minimum wage. “When we went to SXSW, much of the attention seemed to focus on the tech part of the conference. They were all talking about creating apps,” says Whelan. “The guys I deal with don’t even have money for pay as you go.” She says the charity tries to help everybody. “We don’t judge. We give them the freedom and support to do what they want.” They also support Billy Bragg’s charity Jail Guitar Doors, which takes its name from the B-side of the Clash’s 1978

single, Clash City Rockers. It provides instruments for inmates, helping them use music as a means of rehabilitation – and also functions as a platform when they get out of prison, with a number of former prisoners playing at their SXSW gig. The Strummerville website has a DIY section where bands can post free MP3s, with a top 10 list of the most downloaded ones. When Mumford & Sons started out, one of their tracks became the site’s second most popular download. Now the band often get Strummerville artists to open for them. “There’s a sense of family among the bands,” says Whelan. Meanwhile the list of projects the charity is involved in keeps getting longer. It has helped put together an anti-knife crime record for murder and manslaughter support organisation SAMM, and recently started a project in Detroit turning derelict buildings into rehearsal spaces. It has built a music centre in an orphanage in Malawi. The lead singers of two Strummerville bands are about to visit the space and to hold songwriting workshops for 40 orphans living there. The charity has also provided a full kit and rig for the country’s Abatonga Vibes band. So how does Strummerville fund these projects? Its biggest donor is the artist Damian Hirst, who was a friend of Strummer’s. Hirst says that if it wasn’t for the Clash frontman he wouldn’t be an artist in the first place, and he has auctioned a number of pieces to raise money for the organisation. There are frequent fundraising concerts around the world, as well as a donation page on the site. 2010 sees the eighth anniversary of Strummer’s passing on 22 December 2002. If he was still alive today, I bet Strummer would be doing exactly what his foundation does: reaching out to people in need and giving them the tools to fulfil their dreams through music. Strummerville is proof of how one man’s passion can live on long after his own untimely death. http://www.strummerville.com/diy-index/ is a platform for new bands to showcase their music for free, and the Top 20 playlist is updated every Monday to reflect the most downloaded tracks. With a recent redesign, the platform has seen more than 250 bands involved - it even featured Mumford & Sons before they hit the big-time. Strummerville took London five-piecer Rum Shebeen on tour across the UK earlier this year, while experimental-pop duo The Welcome Committee have had their tunes spun on the likes of BBC Radio 1 and XFM and Swagga’s combination of ska and hip-hop has received more than 24,500 plays on MySpace.

Tattoo Freeze: Telford: Jan 2011:

Music and ink, Tattoo and sounds seem in the modern age inseperable! However it hasn’t always been this way… For me growing up through the late 60’s into the 70’s I was not really that aware of tattoo’s, except for my ol’ man who had ‘Love-Hate’ on his hands, which I always though was cool, tough and really ‘rock n’ roll’ yet music never really embraced tatttoo’s, and if they did, many were hidden away, it as seen as the ‘mark’ of a biker or a criminal. In fact I can’t remember one band or artist that I ever thought ‘Wow, what’s that on his arm, that’s cool’ not even in rock circles, it was about long hair, even longer guitar solo’s and getting drunk (and laid) The later two thankfully remain! It was for me the early 80’s that really changed things, really opened the door for music and body art, it was an American thing! More precise… California…

They had the sunshine, the beach, the birds.. And they had a whole new generation of emerging rock stars that were weened on british glam (Sweet, Bolan, Bowie) british Metal (Priest, UFO, Motorhead) and american FM radio rock (Van Halen, Kiss, Journey) they took the best elements of it all, repackaged it and added… Tattoo’s.. The name of this band… Motley Crue… The ‘Crue’ had the looks, the leather, the songs, the sound, they also seemed to have all the drugs, all the booze and all the women… They were the cruedest, loudest, sexiest gang in town, and every young boy wanted to be a member. But while you could buy the clothes, drink, fuck and party all night it all looked tame without that added ingredient… A Tattoo… Suddenly everyone wanted a ‘Tat’ it was the in thing and those who rocked, got inked, those who were just along for the ride, never did, the line was drawn, the inner circle was formed, you were either inked or stinked! Yet by 87 a new ‘gang’ was in town, they also brought the sunshine from cali, they had an album that would shape rock music for the next 25 years, they looked like Aerosmith and the Rolling Stones, they sounded like neither yet in their frontman W.Axl.Rose stood a man who had his heart tattooed on his sleeve, he loved it and he lived it and everyone wanted to be in Guns And Roses…

By the 90’s the door was well and truly kicked open, it seemed like every rock band had at least one member with ink, and every rock fan was following suit, even the girls! As we moved into the 21st Century the relationship between music and tattoo’s seemed to somhow interwine and as I moved deeped into the culture with movies, wrestling, clubs the scene became one of non seperation, the tattoo artists became more famous than their subjects and here in the next decade, dead century! art imitating life and visa versa is a new way of life. Every city, every town now has not just one but several tattoo parlours and every rock club has customers who all look like they could be in a band… the bands also now are taking it all one step further, the two most notable examples would be Olly Sykes (Bring Me The Horizon) and Corey Taylor (Stone Sour) and expect to see them featured in the pages of ‘Tattoo Magazines’ sooner rather than later as that line between music and tattoo’s starts to completly disapear…

Tattoo Freeze 2010: The ‘freeze’ is the brainchild of Jazz publishing and it’s flagship publication ‘Skin Deep’ the magazine rolls around and has become a definitive force in the tattoo world over the last months of 2010, with a new editor on board and a redefining of the whole tatttoo genre, Skin Deep and it’s publishers have moved the goalposts so far that the competition has not got a chance to catch it’s breath let alone catch up… Telford isn’t exactly the rock n’ roll capital of the world, having said that driving in and it’s bigger than i expected and feels more like a city than a town, we drive past the ice rink and into the conference centre, the venue for the 2nd ‘Tattoo Freeze’ which because it’s only the second weekend of 2011 is the 1st Tattoo Convention of the year, and this year it’s stepped up it’s game

As soon as you walk in your greeted by huge ‘murals’ on the walls that are simply huge, the venue is having a bit of a re-furb and the hordings have been granted ‘graffiti’ by some of the top people in that game, and you have to say it’s nothing short of stunning, i was thinking of getting these guys to come and do my studio, their work is art of the highest quality and the term ‘graffiti’ even in this age is still tarnished by all the wrong brushes, these guys have real talent… There is also a custom car and bike show, quite amazing looking vehicles that defy gravity and make you wish you had enough money to turn up to an event lke this either astride one or inside the other, again it’s an area that’s exploded this side of the atlantic over the last eighteen months, stunning…

We breathe out and grab a bite to eat and a beverage inside the Tattoo Lounge, bean bags galore, we chill for half an hour, and then it’s back up and at them…. Rollergirls!!!! i don’t quite get why or whatever the fuck they are doing… they just seem to go round and round like a record but with no ending… i can see that it’s a popular sport (is it sport?) but either way it adds to the weekends entertainment, as do the bmx boys… gives something extra, especially for the kids… We get into the main arena, where we find a whole raft of stalls that are selling everything from New Rocks (boots) to books, clothes, paintings (all wrapped around tattoo themes) all that you could need to enhance your new ink… There is plenty of that ‘ink’ beng laid

down all around the hall by some seriously talented artists, and when you see the work of these artists up close and live it’s nothing short of stunning, the talent that is now out there has over the last twenty years become nothing short of phenominal, the sheer depth and work involved is staggering, yet the most impressive of all their skills is the speed… They just seem to roll though the customers, without missing a beat, without no compromise to the end result, they have honed their craft to a point where the needle just becomes another finger and thumb, it’s an extension to their arm, like a great artist will paint on paper or canvas, they do it on skin, but their is no difference in the quality of the work…

I’m staggered in the modern age how many walks of life now have tattoo’s, it’s certainly become mainstream with many people here today having serious jobs in serious business (mind you with the cost of some tattoo’s, you need that) but even perhaps ten years ago their would not be this breath of people having undertaken the desire to have ink on their body. The ‘Lifestyle’ element has not been lost on the organisers of this event, even having a small stage with artists playin some acoustic based set’s to break up the day… The end of the event rolls around and a crowd gathers to judge a raft of tattoo’s from arms, leg’s, back, and the best moment comes when a chap comes on stage with

a huge tattoo featuring Boris Karloff, Dracula and more while ‘Monster’ by The Automatic plays over he sound system, the irony is certainly not lost… They have a best of Sunday comp too, then everyone who has won an individual prize returns to be whittled down to the ‘best’ of convention, and at this moment the display of flesh on the stage takes your breath way with the diversity and quality of work, it’s really hard for any one of these finalists to pick up overall best, because of that quality of work… Evening rolls around and it’s light’s out Telford, we head off knowing that the 2nd Freeze and 1st big convention has been a raging success, sure their is room for improvement (their always should be) but this is fast becoming a serious showcase for both new and established artists, and next year it will be even better, so we look forward to the autumn and the ‘Tattoo Jam’ with it’s ‘Seven Seas’ theme over at the Racecourse in Doncaster, and that’s somethig not to be missed as the 2011 ‘ Jam’ is going to be something unforgettable… Freeze Rocks… Jj: 2011

‘Tattoo Freeze’ was Brought to you by the organisers of ‘Tattoo Jam’ which has become the premier Tattoo event in the UK and this summer will return to take the Tattoo revolution beyond bounderies, they had an ‘additional’ 3,500 square meters of floor space to play with at the Telford International Centre, and in response to feedback; it has also been extended to a two day event. The basics of the show saw no change with an array of incredible tattoo artists invited from the world over, and once again the show played host to some of the world’s best custom vehicle displays and their artists. an art gallery, shopping stalls galore. Shelley Bond, of Jazz Publishing (Skin Deep Magazine) and ‘Freeze’ event manager says, “We were overwhelmed with the success of Tattoo Freeze 2010 and took the decision to expand and grow much earlier due to this. I received a lot of interest from people wanting to be part of it, so we had a great deal more going on. We filled all three halls of the International Centre so this means that there is even more value for money, and being a show for the whole family – this is a very important factor of Tattoo Freeze. We had an incredible 6500 visitors to our very first outing, running out of wristbands in 2 hours!! Word has travelled fast and there is a massive buzz about it. We were so excited about the event and about returning to Telford. Tattoo Freeze 2011: www.tattoofreeze.com

Thin Lizzy : The Boys Are Back…

Thin Lizzy… What do those two words mean to me? They mean these five words ‘Do Anything You Wanna Do’. Lizzy were one of THE great rock bands, and while Zeppelin, Queen, Sabbath are others also spring to mind, I still have those hazy visions of Philip Paris Lynott ‘Dancing In The Moonlight’ with those sexy Hot Gossip girls on The Kenny Everett Video Show’s of the late 70’s and early 80’s. Lizzy was the gang you wanted to be in, and Phil was the leader, it was almost like the rock version of West Side Story… I saw the band several times between 80-85 and they were never short of stunning live, then in ‘86 Phil passed away, and I still remember sitting all day listening to his records; you can always hear the ‘Kings Call’. As we enter 2011 I’m invited to drive up the coast a while and see Thin Lizzy!!!! Brian Downey is still kicking up dust (and what dust), Scott Gorham is trading licks for kicks, and Darren Wharton is tinkling those keyboards like friends. They also have Marco Mendoza playing the bass (no easy task as Phil Lynott was one hell of a

player) and Vivian Cambell who has let the Leppard off the leash to trade up with Scott… But who’s handling the vocals? Who shall deliver the words, the wisdom, the wit and the sheer bloody poetry of the departed? Step up Ricky Warwick fresh from solo success and with the Almighty still ringing in his ears! We arrive early and catch ten minutes pre-show with Ricky and it’s obvious that like me he is a fan; he grew up listening and watching Lizzy just like i did. He bought the albums, he sang every word louder than hell, only difference is tonight he will step onto the stage and deliver those songs with that famous backdrop behind him. I shall do what I’ve always done, just sit and watch…

Supersuckers open up tonight’s show, and they are really good funtime rock ‘n’ roll, get off yer arse and have a bop till u drop kinda vibe, I like it… 9pm and we get the intro rolling and in a flash ‘Are You Ready’ is screaming for vengeance, the band fireing on all cylinders, with that lit up Lizzy sign making it all seem so real. The stage set up is so 1979, the lights are mostly par cans, the only real addition to the modern world are cameras at the front projecting images to screens each side of the logo… It’s a one, two, three slap in the face wtih ‘Waiting For An Alibi’, ‘Jailbreak’ and ‘Do Anything You Want to’ (complete with front of stage side drums) all rolling out like thunder, and you know what? It works. Sound wise, that classic twin attack guitar sound is right on the money, the bass is deep, upfront and leading the pack, and Ricky pulls it all off, his vocal is sublime, sure you know it’s him, but the guy knows he songs so well, that he’s singing them like he’s in the shower listening to the albums, the phrasing is spot on. It would have been so easy for them to just get some Lynott clone from a tribute band and throw this together, but this ain’t NO tribute band… This is a Tribute To Philip Paris Lynott’s memory and great songs, and boy does it sound good…

Something else Ricky told me was that each member was asked to choose 25 of their favourite Lizzy songs which were all brought to the table, and then whittled down to some kind of set list (Ricky admited he loved them all, so was happy with playing and singing whatever came out) but it’s this fact which becomes a trump card tonight. It would have been so easy just to do a ‘best of’ set list, and because they didn’t you get ‘Angel Of Death’, ‘Massacre’ and ‘Black Rose’ all thrown into the mix in-between the obvious ‘Whisky In The Jar’ and ‘Boys Are Back In Town’, each song blending into the other so seamlessly. After around an hour and three quarters they finish off with ‘The Rocker’ and depart… There will be many detractors and cynics, you will read as much ‘bad’ as ‘good’ about this incarnation of Thin Lizzy. I still get people saying shite like ‘DC ain’t DC without Bon.’ Tell that to Mr Johnson and the millions of DC fans who are Back in Black! I urge you to get out there and watch this band and make up your own mind. For me it was a great night out, with great sounds, top tunes with some that will live forever. When those detractors come by ‘Don’t Believe A Word’ and remember above all else… People that despise you will analyse then criticise you. They’ll scandalise and tell lies until they realize, You are someone they should have apologised to, Don’t let these people compromise you, Be wise too. You can do anything you want to do, It’s not wrong what I sing it’s true, You can do anything you want to do, Do what you want to… Just Like I do’ Jj:2011

Philip Parris “Phil” Lynott (20 August 1949 – 4 January 1986) was an Irish musician who first came to prominence as a founding member, principal songwriter, and frontman of the critically acclaimed Irish rock band Thin Lizzy. As leader of the band, Lynott’s vocals and bass guitar were a key element in the commercial success of thirteen albums, in addition to a string of hit songs. Lynott also embarked upon a solo career, published two books of poetry, and after Thin Lizzy disbanded, he assembled and fronted the band Grand Slam, right up until his death of at the age of 36. Thin Lizzy are an Irish hard rock band who formed in Dublin, Ireland, in 1969. The two founding members, drummer Brian Downey and bass guitarist/vocalist Phil Lynott met each other while still in school. Lynott, with an engaging and charismatic personality, took up the role of frontman and speaker for the band and led them throughout their recording career of thirteen studio albums. Thin Lizzy are best known for their songs “Whiskey in the Jar”, “Jailbreak” and “The Boys Are Back in Town”, all major international hits still played regularly on hard rock and classic rock radio stations. After Lynott died, various incarnations of the band have emerged over the years culminating in the most stable line-up based around guitarists Scott Gorham and John Sykes, however Sykes left the band in June 2009. Thin Lizzy’s leader, Lynott was composer or co-composer of almost all their songs. He was one of the few black men to achieve commercial success in hard rock, and was the first black Irishman to do so. As well as being multiracial, the band drew their members not only from both sides of the Irish border but also from both the Catholic and Protestant communities. Their music reflects a wide range of influences, including country music, psychedelic rock, Irish music and traditional Irish folk music, but is generally classified as hard rock[3] or sometimes heavy metal. Rolling

Stone magazine describes the band as distinctly hard rock, “far apart from the braying mid-70s metal pack”. Critic for Allmusic John Dougan has written that “As the band’s creative force, Lynott was a more insightful and intelligent writer than many of his ilk, preferring slice-of-life working-class dramas of love and hate influenced by Bob Dylan, Van Morrison, Bruce Springsteen, and virtually all of the Irish literary tradition.” Van Morrison, Jeff Beck and Jimi Hendrix were major influences during the early days of the band, and later influences included American artists Little Feat and Bob Seger. Lynott was born in Hallam Hospital (now Sandwell General Hospital) in West Bromwich (then in Staffordshire), England, and christened at St. Edwards Church in Selly Park, Birmingham. His mother, Philomena (or Phyllis) Lynott, was Irish, and his father was Cecil Parris, an Afro-South American. Some news and fan-site sources more specifically said that he was an AfricanBrazilian, but in an August 2009 interview Parris’s wife said that he was from Georgetown, British Guiana. This was confirmed by Philomena Lynott in July 2010. Lynott’s mother met Parris in Birmingham in 1948, and they saw each other for a few months until Parris was transferred to London. Shortly afterwards Philomena found she was pregnant, and after Philip was born she moved with her baby to a home for unmarried mothers in Selly Oak, Birmingham. When Parris learned of Philip’s birth, he returned to Birmingham and arranged accommodation for Philomena and Philip in the Blackheath area of the city. Philomena’s relationship with Parris lasted two more years although he was still working in London and they did not live together. Philomena subsequently moved to Manchester but stayed in touch with Parris, and although she turned down a marriage proposal from him, he agreed to pay towards his son’s support.

Parris’s wife stated in 2009 that Philomena also had a daughter and a second son with Parris, both of whom were given up for adoption. Philomena finally spoke of these children in July 2010, nearly twentyfive years after Philip’s death, when the Irish Mail on Sunday and Irish Daily Mail ran a twelve page interview with her over three days. She revealed that her three children all had different fathers, and that her daughter was white. She had met her now-grown children, but they had never met their brother Philip. He knew he had a sister, but never knew he had a brother. Lynott did not see his father again until the late 1970s.When he was four years old, Philip went to live with his grandmother, Sarah Lynott, in Crumlin, Dublin; his mother stayed in Manchester In the mid 1960s, Lynott began singing in his first band, the Black Eagles. Around this time, he befriended Brian Downey, who was later persuaded to join the band from the ‘Liffey Beats’. Before long the Black Eagles broke up and Lynott joined ‘Kama Sutra’ before singing in Skid Row (not to be confused with an American band of the same name), a band that featured guitarist Gary Moore, bassist Brendan ‘Brush’ Shiels and drummer Noel Bridgeman. Lynott was let go by Skid Row follow-

ing a temporary absence to have his tonsils removed. He acquired a bass guitar and Shiels gave him some lessons to help him on his way. Lynott and Downey quickly put together a new band called ‘Orphanage’, with guitarist John Stanton and bassist Pat Quigley. At the end of 2006 a number of Skid Row and Orphanage demo tapes featuring Phil Lynott were discovered. These were his earliest recordings and had been presumed lost for decades. In 1969, Lynott and Downey quit Orphanage to form Thin Lizzy with guitarist Eric Bell and keyboard player Eric Wrixon (both ex-Them, but from different lineups). Lynott was the main songwriter for Thin Lizzy, as well as the lead singer and bassist. Their first top ten hit was in 1973, with a rock version of the traditional Irish song “Whiskey in the Jar”, featuring a cover by Irish artist and friend, Jim Fitzpatrick. Their biggest international hit, the 1976 song “The Boys are Back in Town”, featured Lynott’s lead vocals. The song reached the top 10 in the UK, Ireland and Canada, and peaked at #12 in the US. In 1978, he was featured in Jeff Wayne’s Musical Version of The War of the Worlds, singing and speaking the role of The Parson. In 1979, under the name “The Greedies” (originally “The Greedy Bastards”, but shortened for obvious rea-

sons), he recorded a Christmas single, “A Merry Jingle,” featuring other members of Thin Lizzy as well as Steve Jones and Paul Cook of the Sex Pistols. The previous year he had performed alongside Jones and Cook on Johnny Thunders’ solo album “So Alone”. In 1980, though Thin Lizzy were still enjoying considerable success, Phil Lynott launched a solo career with the album, Solo in Soho: this was a Top 30 UK album and yielded two hit singles that year, “Dear Miss Lonelyhearts” and “King’s Call”. The latter was a tribute to Elvis Presley, and featured Mark Knopfler on guitar. His second solo venture, The Philip Lynott Album was a chart flop, despite the presence of the single “Old Town”. The song “Yellow Pearl” (1982), was a #14 hit in the UK and became the theme tune to Top Of The Pops. Lynott married Caroline Crowther, the daughter of British comedian Leslie Crowther. They had two children Sarah, for whom the 1979 song was written, and Cathleen. Lynott also had a son, born in 1968, who had been put up for adoption. In 2003 Macdaragh Lambe learned that Lynott was his biological father, and this was confirmed by Philomena Lynott in a newspaper interview in July 2010.

In 1983, Thin Lizzy disbanded. Later that year, Lynott recorded a rock’n'roll medley single, “We Are The Boys (Who Make All The Noise)” with Roy Wood, Chas Hodges, and John Coghlan. Phil regularly collaborated with former bandmate blues/rock guitarist Gary Moore on a number of tracks including the singles “Out in the Fields” (No. 5 hit in 1985), his highest-charting single ever, “Parisienne Walkways” (No. 8 hit in 1978), “Back On The Streets” and “Spanish Guitar” in 1979. In 1984, he formed a new band, Grand Slam - with Doish Nagle, Laurence Archer, Robbie Brennan, and Mark Stanway. Sometime (most likely) around 1984 and 1985, Phil Lynott co-wrote an unknown number of songs with british R&B artist Junior Giscombe. The songs were never officially released. Most remain as demos, but one of the songs, “Lady Loves to Dance”, was mastered and nearly released before being pulled by the record company. Some of the songs –like “What’s the Matter Baby” (Giscombe provides backing vocals) and “Time (and Again)” (Giscombe shares vocals with Lynott)– are available on YouTube. His last single, “Nineteen”, released a few weeks before his death, was produced by Paul Hardcastle. It bore no relation to the producer’s chart-topping single of the same title some months earlier. He also recorded some material with Archer, Huey Lewis, and members of Lewis’s band the News in 1985, which was not release Lynott’s last years were dogged by drug and alcohol dependency leading to his collapse on the night of 25 December 1985 at his home in Kew. After his estranged wife Caroline drove him to a drug clinic in East Knoyle, near Warminster, he was taken to Salisbury Infirmary where he was

diagnosed as suffering from a kidney and liver infection. He died of heart failure and pneumonia in the hospital’s intensive care unit on 4 January 1986 aged 36. In 2005, a life-size bronze statue of Phil Lynott was unveiled on Harry Street, off Grafton Street in Dublin. The ceremony was attended by former band members Eric Bell, Gary Moore, Brian Robertson, Brian Downey, and Scott Gorham, and by Lynott’s mother. The attending Thin Lizzy members paid tribute with a live performance. Many Dublin statues have nicknames, not all of them flattering; Lynott’s is known as “The Ace with the Bass”. His grave in St. Fintan’s cemetery in Sutton, northeast Dublin, is regularly visited by family, friends, and fans. Before the end of 1983, Phil Lynott formed a new band called Grand Slam, but they were never able to secure a contract with a record company and split by the beginning of 1985. Sykes and Downey initially agreed to be a part of the band, but Sykes joined Whitesnake and Downey also changed his mind. Lynott began to focus more on his solo career and enjoyed a no. 5 hit single “Out in the Fields” with Gary Moore in May 1985. The song, composed by Moore, was taken from his solo album Run for Cover featuring various contributions from Lynott. Lynott’s solo efforts did not fare so well, and his last single, “Nineteen”, only reached no. 76 in the UK. He was planning a third solo album but died on 4 January 1986, aged 36. Before his death, Lynott had spoken to Downey about a possible reformation of Thin Lizzy around March 1986, with Gorham and Sykes, and had booked studio time for January of that year.

On 17 May, Thin Lizzy reformed for the Self Aid concert, with a line-up of Gary Moore, Downey, Gorham, Wharton and Bob Daisley on bass. Bob Geldof and Moore handled most lead vocals, though various singers got onstage for “Whiskey In The Jar”. A compilation album, Soldier of Fortune, was released in 1987, and also that year, the “Vibe for Philo” tribute concert in Lynott’s memory was organised by Dublin DJ and promoter Smiley Bolger, which continues on an annual basis on the anniversary of Lynott’s death. The remaining members of Thin Lizzy did not work together until the recording of the single “Dedication” in October 1990, when a rough demo of Lynott’s was worked into a finished song to commemorate the fifth anniversary of his death. The song dated from the Grand Slam days and had been originally written with guitarist Laurence Archer. Modern recording techniques were used to replace the guitar and drum tracks with new work by Downey and Gorham. Gary Moore had agreed to participate as well, but ultimately did not do so. The song charted in the UK at no. 35 during early 1991, and featured on another greatest hits compilation album, Dedication: The Very Best of Thin Lizzy, released in February of that year, which reached no. 8. Following this, numerous small reunion projects began to appear. In 1991, a lineup featuring Robertson and Downey performed with Bobby Tench on lead vocals, ex-Grand Slam member Doish Nagle on guitar and Doug Brockie on bass. They toured Ireland briefly with a series of “An Evening of Thin Lizzy” concerts. In August 1994, Downey, Bell, Robertson and Wharton held a tribute concert in Wolverhampton, together with tribute bands Limehouse Lizzy, Ain’t Lizzy and Bad Habitz. Another version of Thin Lizzy was formed later that year by John Sykes (now also performing lead vocals) with Downey, Gorham and Wharton, and with bass parts played by Marco Mendoza, who had played with Sykes in Blue Murder from 1991-1993. The tour was advertised as a tribute to Phil Lynott. This line-up also played at the Vibe for Philo gig on 4 January 1996, with a number of other notable musicians including Eric Bell, Midge Ure, Henry Rollins, Therapy? and Joe Elliott and Rick Savage from Def Leppard. In 1996 John Sykes decided to reactivate Thin Lizzy, presenting the band as a tribute to Phil Lynott’s life and work. He decided to take on the role of lead vocals himself in the absence of Lynott, and persuaded Scott Gorham, Brian Downey and

Darren Wharton to return to the fold. To complete the lineup, Marco Mendoza continued in Lynott’s role as bass player. They received criticism for using the Thin Lizzy name without Lynott being present, but the band only played hits from Thin Lizzy’s back catalogue, and did not compose any new material. Wharton later stated that Thin Lizzy would have been better suited to playing fewer concerts, in bigger venues. He also felt that Brian Robertson should have been invited to take part. Sykes has said that all the previous Thin Lizzy members are welcome to play with Thin Lizzy at any time. Sykes has stated that the current Thin Lizzy is “more of a tribute thing” and that it would be wrong to record new material under that name. He added that while the existing band members might record together, it would not be as Thin Lizzy. In 2007, Gorham said that Lynott still receives the biggest cheer of the night at concerts, and that the current Thin Lizzy is not active simply for money. “We’d stop if we thought we were just going through the motions… I think that has a lot to do with the songs - if they were inferior, then maybe we would have got tired of it all. But they’re not and we haven’t,” he said. It had been announced that Thin Lizzy, along with The Answer, were to support AC/DC at stadium shows in England, Ireland and Scotland at the end of June 2009. In a statement, Scott Gorham said, “It’s been a very tough time of late for myself and the band, firstly with drummer Tommy Aldridge’s injury and now the subsequent decision for John and the rest of the group to go their separate ways. I can only apologize to everyone who has supported us over the years, but we will be back up to full speed soon.” In May 2010 a new line-up was announced. Joining Scott Gorham would be original drummer Brian Downey, long-standing keyboardist Darren Wharton, Def Leppard guitarist Vivian Campbell, former Whitesnake bassist Marco Mendoza and singer Ricky Warwick from The Almighty. In addition to a full UK tour in January 2011 this lineup has announced a gig at Dublin’s O2 Arena on 4 January…

Oh how in this the 1st year of the next decade of the new century we have seen Brands shift their focus from being what they are and what they do to where they want to go! No more is that true than at Topman where they have embraced modern culture and especially music and artists to showcase their clothing range, and it makes perfect sense to me, artists wear clothes, they play gigs in clothes! Topman sells clothes, has a radio station in it’s stores… Next move… Join it together… Do it Live… So on a freezing Tuesday night we head into Liverpool to a cool underground venue called ‘The Shipping Forcast’ which is packed so tight it could go on holiday… First up Liverpool band ‘Hot Club De Paris’ with their juxtaposed sound and funtime lyrics and in-between song banter such as “I’m going to stay in bed and wank all day on benefits…. Hold on, No I want to be a rich wanker.” All good fun and with their ‘Scouse’ sense of humour both delivered and taken in equal measure, their songs are short, sharp and concise, like a poke in the eye with a stick. They can be often difficult to listen to because of their off-kilter approach, none of this however makes them any less engaging or essential, and an impressive live performance from an ever improving Liverpool band. Second order of the day comes from ‘press darlings’ Frankie & The Heartstrings who play tonight following a 2-page NME feature from the week before, and I have to say that the hype is justified. They certainly fall into the ‘retro-now’ sphere, with an 80s kick-back done by sons of Britpop, so imagine Duran Duran playing Smiths songs with Pulp but in this century… I know you can’t, which is why you have to see this band as they are - infectious to the core - with songs that not only live in your head for hours after, but their image, delivery and the sheer bloody heart attack of their live show leaves you wanting more and essentially needing to own an album by them. I hope to be able to do both sooner rather than later!

Headlining tonights ‘CTRL’ are The Futureheads, not sure when they last played a room this small, but I have to say I’m glad they did. The jam-packed crowd jumped, swayed and sang along to every word, with the band themselves on fine form. They have a recent album that seems to have slipped through the cracks, and that’s a shame because they don’t play a bad song tonight. Opening with ‘Chaos’ closing wth ‘Jupiter’ they bookend a frantic set that includes both old faves and future classics. I was suprised I have to admit, like many, I had thought of the band as ‘past their sell by date’ when in fact nothing could be further from the truth. I saw the band tonight in a new light, but also as fresh, vibrant and having much to offer in the years ahead… So overall tonight a great package with good sound in a good venue. Praise is due to everyone from the girl on the door to the bar staff, and here’s hoping that not only do we see and hear more from ‘CTRL’ but that they can move to bigger venues in the city, and take this idea from backstreets to mainstreet… Topman… Top Night Out… Jj 2010…

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