Tag Archive: NME


MANCUNIAN MADNESS

Today was a day for Mancunians who, in the immortal words of Vic Reeves, “wouldn’t let it lie”.

First there was the announcement of The Stone Roses’ third coming with the announcement of gigs and a ‘possible’ new album.

The ‘Madchester’ days are long gone and to reform now may please retromaniacs but I can’t summon up any enthusiasm for the prospect of the hype and hyperbole that will undoubtedly surround these shows.

Morrissey is another who should learn to let bygones be bygones. His decision to renew his feud with the NME over accusations of racism looks to be a PR gaff of the first order.

Hasn’t he got any mates who could advise him against this course of action?

I don’t believe that he harbours strong racist views but when his ‘big mouth strikes again’ words are printed in black and white (excuse the pun) it is not surprising that he is portrayed in these terms. Also how does he realistically intend to prove that he is not? Quotable lines can also be thrown at him from songs like Bengali In Platforms, Asian Rut and National Front Disco and I can’t think of one track where he offers a positive view on immigration.

BACKTRACKING #9 : VANILLA FUDGE

Bite-sized posts about 7″ singles I own – shameless nostalgia from the days of vinyl.

Vanilla Fudge – You Keep Me Hangin’ On b/w Take Me For A Little While (Atco Records, 1967)

Not too sure how this one landed in my single’s box. It was probably nabbed from my elder brother although it doesn’t sound like his usual taste.

He was a fan of Motown though so maybe he was swayed by the fact that the A side is a slowed down and metalized version of the hit by The Supremes. He probably threw it out after hearing what they did to the original.

The B-side it more melodramatic fluff with false histrionics as Mark Stein dwells on lines like “I need you – it ain’t funny”, which it decidedly ain’t.

Both are produced by Shadow Morton famous for introducing the world to The Shangri-Las. Continue reading

WHAT I HATE ABOUT MUSIC MAGAZINES

Last week, a colleague at work left me a couple of back issues of Mojo and Uncut – “I’m done with these – you may be interested”.

One time, I used to read both regularly, I even briefly took out a subscription with Mojo. In pre-Mojo days I would buy Q every week.

Way before that (in the late 1970s to be precise) I would devour NME every week and was grateful for articles explaining how bands like MC5, The Doors, The Stooges and The Velvet Underground had paved the way for the ‘overnight sensation’ of Punk rock.

So what is it about all these titles that I now find so depressing.

Here are some of the main reasons:

  • They unearth meaningless trivia about rock ‘icons’ and ‘classic’ albums .  Pink Floyd, The Beatles, The Rolling Stones, Bob Dylan, Nirvana, REM  etc. etc.
  • High profile imitators like The Libertines or Oasis are routinely treated as innovators and elevated to ‘classic band’ status.
  • They run articles about rock history as if they were writing exam pass notes.
  • They run retrospective articles with celebrity endorsements – like we need to know which ‘stars’ are into a band to make us feel we are cool.
  • They make endless lists of best and/or life changing albums.
  • They constantly reminisce about ‘memorable’ gigs from a time when many of their readers were still in nappies  (e.g. Uncut  September issue 2010 : Alexander Palace 1964, Isle of Wight Festival 1970,  Rick Wakeman’s King Arthur on Ice 1975)
  • They run more features on artists who are dead or dying than those who are alive and kicking.  (e.g. Mojo  March issue 2010 : in-depth pieces on Charlotte Gainsbourg, Sly Stone, Dr Feelgood Captain Beefheart and Syd Barrett and none on current performers).
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nick-kent-apathy-for-devilNick Kent was the “Zeitgeist-surfing dark prince of seventies rock journalism”.  This is how he describes himself with only the vaguest of self mockery in his memoir of the decade entitled Apathy For The Devil.

The title is taken from a quip by Bob Dylan after being asked his opinion of a lacklustre Rolling Stones concert. It’s a highly quotable line but not a great book title and the cheapskate cover image by Jon Stevens for the Faber & Faber edition is pretty crap too.

Don’t let either of these details put you off though as this is a fantastic book.

Like many of my generation (I was born in 1958), I grew up reading NME cover to cover and Kent’s pieces stood out as writing that was both passionate and committed.  He has always maintained that to write meaningfully about music it is not enough just to listen to the records and analyse the lyrics. He approached rock journalism in the same way a war correspondent covers conflicts, by braving the heat of the battle  or what he calls entering “the belly of the beast”. This involved him being a kind of rock writer in residence on tour with bands like The Stones, Led Zeppelin, The Faces and Jethro Tull. Unfortunately, part of this full immersion into the rock star lifestyle meant he emulated his heroes to the point of being stoned out of his skull for most of his waking hours. He snorted heroin for the first time at the tail end of 1973 aged 22, opening the door to  a “world of hurt”. The fact that he was able to produce good copy in this state is as miraculous  as the fact that he has lived to tell the tale now.

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The delicate charm of Rob St John’s ‘Tipping In’ EP shows that inspiration of New Weird America is far from being just a stateside phenomenon.This is a magical record which I had no hesitation in giving a 10 star rating in my Whisperin’ & Hollerin’ review.

Three tracks and less than 15 minutes left me wanting to hear more and also made me curious to find out more about the man behind the sound.

Rob very kindly agreed to answer some questions.

So if you want to know why Jack Johnson sucks, how musical dots can connect Godspeed You Black Emperor with Bert Jansch or simply need a hearty veggie meal in Edinburgh, read on …….

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