Tag Archive: Punk Rock


Tom Verlaine was my kind of guitar hero. Not for him the power chords or false histrionics of heavy metal riff-makers. At a time when anyone playing more than three chords for more than three minutes could be accused of selling out, the title track to Television’s debut album in 1977 came like a bolt from the blue. This was punk rock elevated to a whole new level.

I first heard the track ‘Marquee Moon’ on the John Peel show while driving home late at night and had to pull over to give it my full attention. That solo guitar was like nothing I had heard before and the opening lyrics drew me into a world where poetry and rock’n’roll merged beautifully: “I remember how the darkness doubled, I recall lightning struck itself.”  

‘Marquee Moon’ is as pivotal a record as Patti Smith’s ‘Horses’ which came out two years earlier. Smith and Verlaine briefly dated and must have been the coolest couple in New York City.

Television’s debut is so perfect that it was perhaps inevitable that their second album and eponymously titled 1992 release fail to reach the same heights.

I would have liked to see Television live at their peak in a small sweaty club; – CBGB’s for example! As it was, I finally caught them in a half empty Birmingham Odeon in 1979 , a venue hardly suited to such a vogueish band.  

In the late 1980s, I saw Verlaine play a solo show at Bloomsbury Theatre, London looking so immaculately wasted that he seemed at death’s door even then. But his beaufifully chiselled featured and skinny physique have always held a special fascination for me. This was what a garret room poet ought to look like. I had no idea what his politics were or, indeed, much at all about his background, but that’s fine. He was a blank slate that I could built all my bohemian hopes and dreams upon.  

Now he has finally fallen into the arms of Venus de Milo, the world is a poorer place.

Tom Verlaine (December 13, 1949 – January 28, 2023)

‘I Wanna Be Yours’ a memoir  by John Cooper Clarke (Picador, 2020)

John Cooper Clarke is now officially viewed in the UK as a national treasure by virtue of staying alive against all odds and by being a consummate, albeit erratic,  entertainer for the good part of half a century.

For the majority of his life he has been a heroin addict and this fact inevitably dominates this autobiography.  You won’t learn much on how to write or perform poetry but you will find out how he managed to smuggle drugs through customs in the days before sniffer dogs and terrorist level security.

JCC admits that getting a daily fix has always been a necessity rather than a leisure activity and openly declares that “My entire life was more or less taken up with the junkie routine.”  There is no hint of self-pity in this admission and he takes no moral line. In other words, he’s not one of those addicts who wants to warn others of the dangers of drugs; on the contrary he seems to believe that he would have become so successful without this artificial stimulus.

However, from an objective perspective it is obvious that his dependency has had  a negative impact on his ability to write consistently over the years. After bursting triumphantly onto the scene during the British punk explosion,  the first flush of success proved impossible to maintain. He recognizes that  “Enslavement ain’t too big a word for opiate addiction”.

He only got clean in his early 50s at the insistence of his second wife, Evie.  If it hadn’t been for her, you imagine he’d be living an arm to syringe existence somewhere or else pushing up daisies.  He has already ‘died’ three times and been fortunate enough to have someone around to resuscitate him. In the title poem from his latest collection – The Luckiest Man Alive – there an acknowledgement that the fates are on his side: “I’m the luckiest guy alive/ I got a facial tattoo saying please revive.”

A lot of details he relates in his memoir are fairly squalid and become repetitive. Of poetry he has nothing truly insightful to impart beyond saying banalities like: “The main consideration is what a poem sounds like. If it doesn’t sound any good, it’s because it isn’t any good.”

He sums up his distinctive appearance by referring to “the perilous post-tubercular state of my physique”  and judges others as much on how they dress as on their actions. There’s a long check list of famous people he has met or encountered including un-alternative comedian Bernard Manning, Joy Division producer Martin Hammett, Chet Atkins, Chuck Berry, The Fall’s Mark E Smith, Richard Hell, DJ Mark Radcliffe and Nico. There’s anecdotal stuff about each of these but it’s all on a fairly superficial level. He is not settling any scores in the pages of this book so, for instance, we don’t find out who the blistering diatribe of the poem ‘Twat’ is dedicated to. Pity!

For someone who initially set his sights quite low he has done pretty well. A thick vein of Northern pragmatism has evidently stood him in good stead : “I quickly learned that the pursuit of happiness is largely pointless, happiness being the only target one merely has to aim at in order to miss.”  What has driven him over the years is a desire to be on the receiving end of “carefully considered adulation” and the likeability factor is in no way harmed by this self-indulgent but highly readable version of his life so far. 

A NEW DAY YESTERDAY by Mike Barnes (Omnibus Press, 2020)

book cover

The decision to undertake a full survey of Progressive Rock music in the UK up to the mid-1970s is as bold and bonkers a project as a band embarking on a triple concept album. Yet, it works for me.

Progressive (Prog) Rock evolved in the late 1960s and early 1970s as part of what Wiki defines as a “mostly British attempt to elevate rock music to new levels of artistic credibility”

Mike Barnes challenges the common prejudices surrounding this much maligned genre.

In setting the record straight, he immediately dispels the myth that Prog songs were mostly about wizards, elves and hobbits. He also shows that, contrary to common belief, bands were not universally trying to bridge the divide between classical music and rock. Rather, jazz, blues and psychedelia were key influences. Continue reading

Happenings 52 Years Time Ago

1966 – The Year The Decade Exploded by Jon Savage (Faber & Faber, 2015)

1966“It’s pretty obvious that contemporary music reflects contemporary life. And vice versa” wrote Tony Hall in Record Mirror in 1966. What is taken for granted now needed to be spelled out then.

Nevertheless, there are still precious few writers who able to contextualize music as expertly as Jon Savage.

When writing about Punk in 2004’s ‘England’s Dreaming’, Savage was able to draw directly from his own experiences but, as he was just 13 years old in the Summer of 1966, he is not able to rely solely on first-hand knowledge for this book. The 55 pages of source references illustrate the substantial research that lies behind this authoritative and illuminating study.

I was just 8 years old in that year so I remember even less than he does but I do recall the impact of some TV shows (e.g. Batman, The Monkees, Time Tunnel etc.) and music like The Beatles, the Motown acts and Dusty Springfield. But as far as historical events go, only England winning the soccer world cup sticks in the memory.

Most articles about the sixties paint a superficial and idealised portrait of swinging London, sexual liberation and the birth of the Woodstock generation. Savage goes deeper and reveals the darker aspects of this era and shows that it has definite parallels with the world we inhabit today.

Far from being a time of hedonism and freedom, this was a year lived under the shadow of the atom bomb and the cold war. In addition, the black civil rights movement, growing opposition to the Vietnam war, the demand for women’s liberation and the struggle for gay rights were just some of the causes that led to politicization of the youth both in America and in the UK. Add LSD to this heady cocktail and it’s easy to understand why this year was so musically explosive and accounts for how “1966 began in pop and ended with rock”. Continue reading

M TRAIN by Patti Smith (Bloomsbury , 2015)
smith

If you have lived in a cave for the past four decades or spent too much time listening exclusively to crappy chart pop you wouldn’t know that Patti Smith is a Rock’n’Roll star.

You wouldn’t necessarily be any the wiser from reading her second autobiographical work either since there are practically no references to music making.

What you do learn from this collection of short loosely connected essays is that she is addicted to coffee, hates housework, loves visiting the graves of dead poets, likes taking black and white photos with a Polaroid camera and spends a good chunk of her free time binge-viewing TV shows (The Killing is a particular favourite). Continue reading