Another Green World – A Real Kavoom – 1984 / The Mob – Arnheim – June 1979 / Misty In Roots – People Unite Records & Black Slate – Slate Records – 1978 – Flux Of Pink Indians – Hartham Common – May 1983 / Rising Free compilation – Androidia Flux – 1984 / Vagina Dentata Organ – World Satanic Network Systems – 1984

Another Green World, a band named after the seminal Eno album from 1975, were Paul Chousmer and Dan Carpenter.

This duo were also members of Webcore, at the same time. In Webcore, Paul was on the keyboards, and Dan was the saxophone player.

Based in Cornwall, Another Green World and Webcore were at the start of a new generation of younger individuals who were interested in psychedelia, free festivals, spiritualism, magic mushrooms, body piercings, dreadlocks and travelling around on converted buses.

This movement eventually got tagged as New Age Travelers in the press, or as the Peace Convoy by the actual participants themselves.

Another Green World originally formed to perform the early morning chill outs at a regular Ozric Tentacles / Webcore venue Alice In Wonderland based underground at Gossips in W1 in 1983.

The duo headlined the opening night at Molly’s Cafe, the squatted City Limits building on Upper Street, Islington. They performed in an outside courtyard, all candle lit with the audience sitting down.

Another Green World and Webcore were both regulars at the early Club Dog events. The first Club Dog venue was based in Wood Green, but a year or so later, Club Dog found it’s spiritual home at the Sir George Robey in Finsbury Park, and the ‘trip’ continued there for several years.

Other than the Club Dog nights, I saw Another Green World (and Webcore) perform several times in various squats and venues around the city. The Mankind Club (Kerouacs) above Hackney Central station, the Jungle Records building (at that point squatted) in Islington, and the 121 Club and Bookshop in Brixton, another squat, being three of the more memorable occasions.

The cassette tape uploaded tonight on YouTube is the first Another Green World release, and is ambient and quite soothing. The duo went on to release several records and C.D’s, and the duo performed throughout the latter part of the ’80’s and through the ’90’s, notably at Whirl-Y-Gig psychedelic events based in Kings Cross.

The Real Kavoom cassette tape imprint, that this Another Green World album was released on, was also known for the first two cassette tape albums by Webcore, released in 1984 and 1985. Jungle Records released two further Webcore albums on vinyl and a 12″ single a couple of years later in 1987 and 1988.

Phil Pickering, the bassist of Webcore and Vane, was the man behind A Real Kavoom. He was also a member of Goat, a band that had the first cassette tape, and the only record released on A Real Kavoom in 1982. The vinyl released with the support of Fresh Records.

Goat were an electronica band, similar to Cabaret Voltaire in parts, that had some connection with Cuddly Toys. I think Sean Purcell was writing and recording with the band.

Three members of Webcore, the bassist (Phil Pickering), drummer and the keyboard player (Paul Chousmer) were also in a Chelmsford based band Vane.

Vane were active from 1979 to 1982.

Vane were named after the vocalist James Vane who had entered the music world in 1976 as lead singer of a cover band called The Void. He later played with unrecorded punk group, The Straights, and with Powerpop combo The Gents.

James Vane managed to get two records released on Island records ‘Judy’s Come Down’ produced by Mike Oldfield no less, and ‘Glamorous Boys’, but alas I do not own either of these artifacts.

A cassette tape by Vane was posthumously released by A Real Kavoom that I do own. Five tracks of funky bass backing up flanged guitar lines, trippy keyboards, with vocals reminiscent of Peter Murphy of Bauhaus crossed with David Sylvian of Japan.

To compliment the Another Green World audio, I have placed up photographs from the collections of Jen Wilson, Robere Du Bilge Ratte, Janet Henbane and a couple from my collection.

There are black and white photographs of Brougham Road and the squatted bus garage (which was based very near to Brougham Road) in Hackney.

There are some colour photographs of members of the Peace Convoy and their vehicles on sites across England.

Thanks to those folks in advance.

A mixing desk cassette tape of a performance by The Mob and a good example of the set list at that time in 1979.

The mini European tour that this gig was included on, was with Here And Now and a bus load of other support acts, including Zounds.

I have a mixing desk cassette tape of The Mob in Amsterdam recorded on the 5th June 1979 that may be listened to below.

The songs performed at this gig in Arnheim were written way before the ‘peace punk’ tag that The Mob carried around until the end of 1983, and that the band are better known for.

These songs will surprise many listeners. Some of these songs did end up being recorded cheaply and placed onto various compilation cassette tapes, released on Jonathan Barnett’s ‘Weird Tales’ cassette imprint.

Jonathan Barnett was a one time roadie for Here And Now, Zounds and several other ‘free festival’ bands of that era. He was also in charge of Genius Records, a record label that were responsible (in part) for releasing the debut Astronauts album ‘Peter Pan Hits The Suburbs’.

Many of the songs performed are raw and basic, although a few of the songs in the early set, did make it through until the end of 1983. Namely ‘What’s Going On?’, ‘Youth’, and ‘The Mirror Breaks’. Of course those songs are still included in The Mob’s set in the 2000’s.

Most songs performed at this gig, and throughout this era, were jettisoned in favour of the newer songs that were being written, eventually ending up on the album, ‘Let The Tribe Increase’ and of course’ No Doves Fly Here’.

Grant Showbiz, from Street Level studios, can be heard on the mixing desk mic. Mark, an able guitarist, Curtis a solid bassist and one shit hot drummer in Graham Fallows, who also sings a few of the tracks.

Enjoy the audio on this YouTube post, but, be wary, if you are hoping for the songs that later ended up on the ‘Let The Tribe Increase’ album, then prepare to be disappointed!

I have placed my copy of the first All The Madmen fanzine, the pages that seemed to have been cut off from scanning are not cut off by the scanning, that’s how my copy was printed, so not my fault!!!

The original artwork painted by Wilf for The Mob is from Joanne’s collection.

Also Andy Tuck supplied the stencil of The Mob.

The two debut 12″ singles from two heavyweights of the U.K roots scene. Misty In Roots and Black Slate.

These two 12″ singles find both bands on top of their game, all four tracks are massive, massive, massive. If you missed that, I’ll repeat it for you. Massive. Decent Sound System fodder.

Which reminds me. Myself and Kevin (ex Conflict) had a little Thursday roots reggae evening residency at the White Hart in Clapton, a pub next door to the old Dougies (later on known as Pegasus) night club. A night club of some danger in it’s time. A number of stabbings and shootings there, along the top of what was dubbed ‘Murder mile’. I was spinning a track off of the Black Slate album of dub mixes released on Top Ranking records (released in 1982) and a man came over from the bar and started chanting on the microphone, which we barely used. The man was quite good. We asked him who he was after his little chanting. He said he was a member of Black Slate when the record was recorded. Anthony Brightly. Myself and Kevin were a little bit in awe at that point, but carried on regardless after picking up our jaws from the floor.

Misty In Roots have played together for the past twenty years, first coming together in 1975 and working as a backing band for the late, great Nicky Thomas – one of Jamaica’s all time greats who had achieved national chart success with songs such as “Living In The Land Of The Common People”.

Nicky Thomas was the inspiration from which Misty developed.

By 1978 Misty In Roots began to develop their own orthodox roots reggae sound. Their powerful lyrics inspired by the economic decline, a growing awareness of their African culture and a spiritual awakening inspired tracks as “Ghetto Of The City”, “Sodom And Gomorrah” and “Mankind” all off which can be found on the band’s first album “Live At The Counter Eurovision”.

During the period 1977/78 the political situation in the U.K. was a breaking point. Black consciousness was at its peak and racism roamed the streets of London. Unemployment was affecting both black and white youths and through this depression a new musical alliance was born, young white youths totally fed up with the status-quo turned to playing punk music whilst at the same time identifying strongly with the British reggae acts as Misty In Roots, Steel Pulse, Black Slate and Aswad. With the coming of the ‘Rock against Racism’ movement the musical fight-back had begun and for the first time black and white musicians were playing together on the same platform bringing about a totally new concept in musical awareness.

Misty In Roots, one of the most powerful live reggae acts to have come out of London and noted for their powerful roots reggae sound and uncompromising lyrical vibrations, became the major force in Rock Against Racism, playing more concerts than any other band in the movement. This opened up a whole new audience for the band who quickly developed a very strong cross over audience, playing with acts such as Tom Robinson, The Ruts and Elvis Costello.

Despite Misty In Roots huge success as a live act the band did not release their first album until 1979. The album “Live At The Counter Eurovision”, which was recorded live in Belgium during the band’s 1978 tour, is today still proclaimed by many critics as the best live reggae album of all time.

Black Slate was formed in 1974, and included musicians from England, Jamaica, and Anguilla. They were backing band for Delroy Wilson and Ken Boothe on their UK appearances.

The band had their first reggae-chart hit themselves in 1976, with the anti-mugging song “Sticks Man”.

The band also lined up with Disco Reggae Band under Disco Reggae Band & Black Slate. The record hit the Dutch and Flemish charts as well, after being an underground hit in Antwerp discothèques.

The band toured the UK for the first time in 1978, and formed their own TCD label, having a minor hit with “Mind Your Motion”.

The band also backed Dennis Brown when he played live in the UK, and in 1980 their Rastafarian rallying call, “Amigo”, was picked up by Ensign Records, and broke into the UK Singles Chart.

The follow-up, “Boom Boom” was also a hit, though less successful.

An album, Sirens In The City, followed on Ensign the following year.

A NOTE: The first four minutes of this audio is taken up by National Front members having a ‘debate’ with members of Flux Of Pink Indians on the stage. Flux do start performing four minutes in, although it is worth listening to the ‘debate’!

A great afternoon out in a Hertford park for a peace festival organised by Hertford and Ware C.N.D.

Plenty of bearded folk bands playing forever and ever, so long in fact that my younger brother’s band at the time, Necro, and another punk band, Strontium 90, were told that they could not be fitted onto the bill after all.

So a little disappointed and clutching unused guitars and drum sticks, we all settled down to witness D&V perform a short set in a truck being used as the ‘stage’.

Then up stepped Flux Of Pink Indians to perform in the very same truck witnessed by about forty or fifty people.
Some were into the performance. Some wanted to cause trouble during the performance. Some were just half interested in the performance.

There were about fifteen school boy ‘punks’, friends of Necro and Strontium 90.
There were about fifteen National Front members from Harlow and Hertford.
There were about fifteen random members of the general public, who wandered to the ‘stage’, and then wandered away, due to Flux not being Wham, or whichever band was popular with some of the youth in those days.

A couple of the ‘Fronters’ were amazingly allowed (amazing due to supposed time limitations that was the excuse for my younger brothers band not performing!) to debate the pros and cons of nuclear weapons at the start of this set… All with the ‘permission’ of Colonel Blimp (Derek Birkett) who looked on bewildered, while adding some wiser words to the ‘debate’!

The recording quality is not that great – a bit of chatter during some of the tracks – sorry, and sadly I seem to have recorded over the B-side of the cassette tape so a few tracks are missing from the recording of this performance.

My younger brothers band mate, drummer Tim Voss recorded the performance on the day. Hopefully he has the full recording.

Tim’s memories:

“I organised the music for this festival.The ‘stage’ was a lorry blagged from the lorry park near the old Hertford cinema by an enterprising member of C.N.D (there was a crate of beer in it for the driver).

I believe the festival had been targeted by the National Front who had previously organised annual marches in nearby Harlow and had a scary presence at a number of local punk gigs. If you remember the boneheads dropped a chair onto Rob’s (my younger brother) head at an Adicts gig in Stevenage Bowes Lyon House.

The National Front also stopped a Conflict gig in Hoddesdon, another gig that Necro should have performed at!

Quite a few of the local ‘Fronters’ did end up doing time at her Majesty’s pleasure, although not for Nazi related activity, usually just being bad thieves and moronically violent.

I also found out that a wedding in the church at the top of hill in Bengeo had to be stopped during the service due to the noise of this gig”.

More on this day, and this gig, and the small local scene may be viewed on this KYPP post here along with downloads of the three local bands HERE

Well worth a read and a listen.

The images that accompany the audio are from my collection, and the local newspaper cutouts from (I think) Bill’s collection.

Bill is the guy photographed at the front of the march in one of the newspaper photographs holding the ‘HER’ banner. HER-tford C.N.D. The other newspaper photograph is some bonehead on the ‘stage’.

The last few seconds of the audio has an image of my younger brother and myself circa 1982. I have the black and white mohair jumper and white jeans on…

This rare cassette tape, is from the same VISA / ??? Flux label as the KUKL cassette tape that I recently uploaded onto YouTube.

This cassette tape is on Androidia / Flux and KUKL was on Rebel Flux both subsidiaries of VISA.

This cassette tape features live concert performances, I assume from the same live concert in Paris, by D&V, Bérurier Noir, Faction and Subhumans.

I know about D&V, I know about Faction. I also know about Subhumans. I knew less than nothing about Bérurier Noir until two minutes ago, after an internet search.

This description of the band is worthy of placing up on the limit character limit allowed on YouTube.

Bérurier Noir is a French punk band formed in Paris in 1981 by Laurent “Loran” Katrakazos (guitar), François Guillemot (vocals) and Dédé (drum machine). They called themselves “noir” (black) for the color of mourning (because their first concert was planned to be also their last) and for anarchy and “Bérurier” after the character from the novels of Frédéric Dard. Instead of being an end, the success of their first show inspired them to continue. A cult band, Bérurier Noir were loved by a generation of youth and feared by concert organisers for the riots that followed their shows.

On the one hand, Bérurier Noir’s music was clearly derived from British punk rock as far as music and lyrics were concerned. Most of their songs were short, aggressive and usually based on a couple of basic power chords. Their lyrics reflected the typical concerns of punks such as the rejection of consumerism, politics and traditional social order and the anger felt by disaffected youth, tramps and outsiders in general. On the other, they added some interesting innovations. Their rhythm section consisted of a cheap (but still more reliable than a drummer) drum machine, which became an essential and arguably endearing part of their sound. The frequent use of a saxophone as of the mid-1980s also set them apart from most other punk rock bands.

They would regularly appear on record sleeves and on stage wearing clown outfits, mock police uniforms or pig masks. Their shows were a unique and highly festive cross between a punk rock concert, a grotesque circus and an anarchist rally.

AND:

In the early 1980’s, the punk movement lived its second life, and that was also true in France, where an early and intense first wave had failed to garner attention. A couple of bands, most of which survived for a long time, made this second movement truly exciting, and Bérurier Noir remains the most famous and respected of those. Fists and red-and-black flags raised, this gang of anarchist clowns was the perfect example of independence and social conscience.

Musically, even though band members were numerous on-stage, they took on the guitar/beat box formula initiated by Metal Urbain, simply adding saxophone riffs now and then, leaving plenty of space for their political and social slogans.

Their career began in 1981, but they truly gained massive recognition with the release of a first studio album, 1984’s Macadam Massacre. It was followed by two other albums, Concerto Pour Detraques (1985) and Abracadabraboum (1987), plus a bunch of EPs. But it’s safe to say that Béru (as they are often called), was much more a live act than anything else. Their concert tickets were as cheap as possible, and each member had his own day job to enable complete independence for their musical venture. In 1988, some of the band members were suspected of a terrorist related activity, and even though they were quickly found innocent, the band’s career had received a severe frontal shock. After the release of Souvent Fauche in 1989, Béru called it a day.

If you know Bérurier Noir, but in the unlikely event, know nothing of D&V, Faction or Subhumans then feel free to follow my lead, and look them up on the internet.

Another plus side to internet searches is ending up on Discogs.

This cassette tape and the KUKL one I placed up recently command high prices, especially with all the booklets and inserts.

As both mine have, from purchase in the early – mid 1980’s.

Kerr-ching.

Calanda is a small remote village in the Teruel province (situated in the center of the region of Aragon) where once a year, one of the most beautiful pagan festivals in the western world is celebrated.

Anyone can participate in “La Rompida De La Hora” in Calanda. The festival attracts thousands of people, the population of the village, and many hundreds of visitors from across Spain and the world.

For the public to participate in the festival, they must wear ornamental purple robes and hoods.

The robe and hood is similar in style to the Klu Klux Klan outfits that are worn by Klans-men in the southern states of America. Some participants to the festival have Carbine muskets attached to their persons, for show, not for use.

Elderly and young men and woman and children of all ages interpret the different rhythms when beating the drums.The groups gather around the local church, take up their drums, form bands spontaneously, and start producing more or less arbitrary rhythms.

This ritual jamming takes off at noon on Good Friday and ends exactly one day later on Easter Saturday. For twenty four hours and without pauses or orchestrated compositions, bands of drummers dwell through the streets of Calanda.

When one band meets another band, they start dueling, until all drummers find themselves in agreement with a certain rhythm. After their encounter and mutual jamming, the bands move on and prepare themselves for the next battle.

A masterful description of the deep experience of hearing and beating the drums at Calanda had been given by the film maker Luis Bunuel.

“Toward noon on Good Friday the drummers gather in the main square opposite the church and wait there in total silence. When the first bell in the church tower begins to toll, a burst of sound, like a terrific thunderclap, electrifies the whole village. All the drums explode at the same instant. A sort of wild drunkenness breaks out among the players; they beat for two hours until the procession forms, then it leaves the square. When two groups beating two different tempos meet at one of the village crosses, they engage in a duel which may last as long as an hour – or until the weaker group relents and keep the victor’s rhythm. By the early hours of Saturday morning, the skin of the drums is stained with blood, through the beating hands belonging to villagers, and visitors. As the bell tolls the noon hour, the drums suddenly fall silent, but even after the rhythms of the daily life have been re-established, some villagers still speak in an oddly halting manner, an involuntary echo of the beating drums…”

Jordi Vall’s World Satanic Network Systems have released other recordings on vinyl which are all extremely rare:

I: VAGINA DENTATA ORGAN PRESENTS : MUSIC FOR THE HASHISHINS, IN MEMORIAM OF HASSAN-I-SABBAH. (TRAINED TO KILL/SEXUAL).

All you hear on both sides of this album is the wild growl of a real dog trained to kill. It’s violent and cruel. A passionate, and desperate appeal to murder. I call it poetry without rhetoric.

In 1984, Spanish TV invited Derek Jarman, Psychic TV and Vagina Dentata Organ to perform on a live TV programme in Madrid called ‘La Eldad De Oro’.

We all had live interviews. Derek showed his short films, Psychic TV played a long live set together with monumental videos on magick occultism.

At the end of the two hours I (Vagina Dentata Organ) closed the night performing ‘Music For Hashishins’, on an emulator, with sixteen real, very nervous Alsatian dogs tied on a leash to the stage. At the same time I destroyed three large paintings by Casademont – a well-known Catalan artist – with a market value of 6,000 pesos.

I slashed the paintings with with two long iron scimitars with great effect, because hidden behind each canvas we hanged small plastic blood-bags that got splattered all over the place.

Pandemonium broke loose. It was the end of this arts TV programme.

Next day there was an outcry on the Spanish national press. We were accused of violence and obscenity.

Right-wing politicians put pressure on the state run Spanish TV, and ‘La Eldad De Oro’ was closed down for ever.

II: THE LAST SUPPER, THE REVEREND JIM JONES IN PERSON.

I got the tapes through Monte Cazzaza in California, and Genesis P-Orridge in London. It’s the live recordings of the last moments of life while they are drinking poison and dying at the Peoples Temple in Jonestown, Guyana. Over nine hundred men, women and children died. It’s a picture-disc with graphic photos of dead bodies from the massacre. For sure, this is the greatest rock and roll record ever made.

III: VAGINA DENTATA ORGAN WITH THE PAGAN DRUMS OF CALANDA. (THE TRIUMPH OF THE FLESH).

We recorded the live sound and made this unique picture-disc. As a personal tribute to Calanda’s blood scented nights. About thirty copies only of this picture disc album, contain encapsulated freeze-dried, sterilised human bloodstains, from my (Vagina Dentata Organ) ripped flesh.

KUKL – VISA – Rebel Flux – 1984 / MARS – Infidelity Records – 1980 / Chalwa Dub – Chalwa Records – 1978 / Dormannu – Illuminated Records – 1983 / Zos Kia – Temple Records – 1985 / Danny Ray & Mexicano – 1977

A very rare cassette tape by KUKL featuring future Sugarcube and now respected solo artist Bjork.

This KUKL performance was recorded in September 1984 somewhere in Paris and was released on VISA / Rebel Flux cassettes in 1985.

KUKL were an Icelandic group created in Reykjavik in August 1983 with Einar Örn Benediktsson (vocals, earlier in Purrkurr Pillnikk); Björk Guðmundsdottir (vocals, earlier in Tappi Tikarrass); Guðlaugur Kristinn Ottarsson (guitar, earlier in PEYR); Birger Mogensen (bass, earlier in Killing Joke) ; Einar Melax (keyboards, earlier in Van Houtens Koko) and Sigtryggur Baldursson (drums, earlier in PEYR).

Originally the group was a project based on an idea by among others, Asmundur Jonsson from Gramm Records in Reykjavik.

They debuted live on Icelandic radio and performed at the “We demand the future” festival in Reykjavik in 1983 with Crass and a host of other Icelandic bands.

In 1984 they performed with Psychic TV in Reykjavik and then travelled to England to perform with Flux of Pink Indians and other anarcho bands.

KUKL recorded at Southern Studios in London during January 1984. The tracks were engineered by John Loder and produced by Penny ‘Lapsang’ Rimbaud of Crass. Later the same year they played at concerts in several European countries including this performance in Paris.

In June 1985 the band performed at the Roskilde Festival in Denmark and later the same year at some concerts in Iceland where they played with Megas, the ‘grand old man’ of Icelandic rock.

At the turn of the year 1986 they released the two albums that had been recorded previously at Southern Studios on Crass Records.

KUKL’s music is complex and rhythmic, and a mixture of punk, rock, jazz, and more experimental music, with the lyrics sometimes in English, and sometimes in Icelandic.

KUKL were a powerful and personal band combining qualities from three important groups in Icelandic rock from the beginning of the eighties.

Here is the KYPP post that has the audio of KUKL’s debut performance at the ‘We Demand The Future’ festival, along with the audio of the other bands that performed on the night including Crass HERE

The visuals for this YouTube post include the scan of the sixteen page booklet that accompanied the cassette tape.

KUKL’s debut 7″ single may be listened to on this KYPP post HERE

A right racket masquerading as art, this 12″ extended play record by MARS has few redeeming features, save the amount it could fetch on Discogs.***

For best results invite a friend round, give him or her a microdot, put this on loud, then wait around for a bit.

The tracks included on this record were recorded in 1978 but released in 1980 a little while after Brian Eno took an interest in the No Wave scene in New York.

Eno was interested enough to produce the ‘No New York’ album which contained tracks by The Contortions, Teenage Jesus And The Jerks and D.N.A as well as MARS.

That release is the only decent starting point for an introduction to this scene for anyone who gives a rat’s arse…The scene was small, did not last more that a year or two but gave a fair amount of inspiration to artists later on down the line, like Jim Foetus and Nice Cave.

*** The tracks on this record are not that bad if you can handle SPK, Whitehouse or Throbbing Gristle which thankfully I CAN!

Some history:

Sumner Crane grew up in Queens, New York and studied painting at the Art Students League of New York, under abstract expressionist Milton Resnick, together with Nancy Arlen, who studied sculpting. Nancy Arlen was from upstate New York or Pennsylvania. Nancy and Sumner were about the same age. Constance -Connie- Burg grew up in Ohio and studied at Eckerd College in St. Petersburg, Florida.

School: “I (Mark Cunningham) grew up in the New Jersey suburbs and spent my teenage late sixties years tripping out in the Village (N.Y.C) at the Electric Circus and the Fillmore East. From September 1970 to 1974 I went to college at a freak school, Eckerd College in St. Petersburg, Florida that was probably like a lot of other arty type schools of the time. My first day there I met Arto Lindsay (later DNA), this strange kinda nerdy looking kid from Virginia who had grown up in Brazil. We immediately conspired to get rid of our assigned roommates and roomed together for the following four years and soon hooked up with other like minded music and word freaks and started jamming. We had no technique and no rules, worshipped the beats and Miles, Warhol and the Velvets… Later additions to the scene were Mark Pauline (later Survival Research Laboratories) Connie Burg (later known as China Burg), Gordon Stevenson (later Teenage Jesus), Mirielle Cervenka (Exene´s sister), and Liz and Bobby Swope (later Beirut Slump)…”

Move to New York: “In 1974 several of us (Cunningham, Burg, Lindsay) decided to head for N.Y.C (East Village, on Avenue B and Tenth Street), like so many other college grads and dropouts of the time. We knew something had to be happening there. It didn’t take us long to find C.B.G.B’s. We hit it for one of the first Television shows and it blew us away. We became regulars and saw the beginning of that whole generation of bands. In 1974 and 1975 it was really just a local underground scene but as Talking Heads and Patti Smith, The Ramones and Television released albums it started to get a lot more popular and the bands lost some of their original energy going for whatever formula they felt they had found. So at this point we all started thinking we could give that new blast that the scene needed. Then on the one hand you had the burgeoning punk scene which included a lot of boring rock bands and on the other this new bunch of very amateur groups looking for any sound that was different and cool. MARS (at that point in time named China) started in December 1975 really but we spent a year playing in a loft before we went public as China”.

Mark Cunningham – interviewed by Weasel Walter.

Uploaded tonight is an extremely rare album entitled ‘Calling 1000 Dreadlocks’ on the very short lived Chalwa record label from Kingston, Jamaica.

Involved in the recording sessions were Lloyd Parks studio band, Skin Flesh And Bones, alongside Augustus Pablo with his melodica and flute, Dave Barker and Dennis Alcapone on vocals and dub-chatter.

King Tubby was mixing, Clem Bushay was producing and supposedly Alton Ellis was overlooking everything generally.

There is no sleeve artwork for my copy of this album, it never appeared with any artwork for the original release as far as I know, just a thick white sleeve complete with a sticker with a little more information upon it. This release was limited to only five hundred copies from it’s release date in the 1970’s.

Some history.

Lloyd Parks performed with the Invincibles band (whose members also included Ansell Collins, Sly Dunbar and Ranchie McLean) before teaming up with Wentworth Vernal in The Termites.

In 1967, they recorded their first single, ‘Have Mercy Mr. Percy’, and then an album ‘Do the Rocksteady’ for Coxsone Dodd’s Studio One label.

After recording ‘Rub Up Push Up’ for the Dampa label, Parks and Vernal split up.

Parks then briefly joined The Techniques as a replacement for Pat Kelly, recording tracks such as ‘Say You Love Me’, before embarking on a solo career and later starting his own label, Parks. His second single was the classic ‘Slaving’, a moving song about the struggles of a working man.

In 1974, he founded the We the People Band.

As a solo artist, he recorded a number of songs for Prince Tony Robinson, including ‘Trench Town Girl’ and ‘You Don’t Care’. Some of his best known solo hits include ‘Officially’, ‘Mafia’ (both 1974), ‘Girl In The Morning’ and ‘Baby Hang Up The Phone’ (both 1975).

Parks was a studio bass player, backing many of the reggae artists, including Justin Hinds on Duke Reid’s Treasure Isle label. He was a member of Skin Flesh and Bones, along with Ansell Collins on keyboards, Tarzan on keyboards, and Ranchie MacLean on guitar. This group backed Al Brown on his hit ‘Here I am Baby’, and many other artists.

When Skin Flesh and Bones started backing up artists for Channel One Studios, Parks renamed the band The Revolutionaries.
Parks was also a member of Joe Gibbs’ house band, The Professionals, performing hits such as Althea & Donna’s ‘Up Town Top Ranking’, also backing artists including Dennis Brown, The Abyssinians, The Itals, The Gladiators, Culture and Prince Far I.

Based in the Squats of Brixton, south London and mates of Sex Gang Children, Danse Society and the Skeletal Family, this bunch could certainly out-funk most of the goths, unfortunately it left the band with a slight identity crisis. The goths of the day not knowing whether to dance to the percussion led beat, a la Adam And The Ants, or to stand around posing.

Dormannu had several line up changes, notably the vocalist of the band for this record, Chicken Mike, who was elbowed out for his continued use of the subject matter described quite well on the A-side, ‘Powdered Lover’. Heroin.

Some of the original Dormannu members put the effort into a new band, Lets Wreck Mother, who were a regular band at Gossips in the central London, for a while the home of the Batcave club. Maybe I will whack that Lets Wreck Mother 12″single up soon.

Following after this 7″ single, a 12″single, ‘Dread’ was released, and a couple of years later, an album, ‘Return To Quebec’. Then Dormannu disappeared.

Illuminated Records was a fine record label around the time of Dormannu (the record label released all of the Dormannu records). On the label’s roster were artists and bands as diverse as; 400 Blows, Sex Gang Children, Throbbing Gristle, Car Crash International, 23 Skidoo, Poison Girls, D.A.F, Television Personalities, The Destructors and many many more.

“I was half of Illuminated Records at the time of ‘Powdered Lover’. Kid Jensen played it on release with a truly great build-up. It sounded fantastic, just a shame the lyrics of a debut single and their best tune, were so overtly a hard-drug paean – that should come after the band is tortured by success.
They had a lot going for them, looks, funk, proto-rap. They should have stayed more close to the ‘cult with no name’ than the goths. At least they were more likely to forgive shambolic gigs as a statement, although Dormannu did support Danse Society on a tour, quite good gigs. I remember the old Dominion, Tottenham Court Road.
I remember the squat in Brixton. Keith and I had to pick the band’s gear up from somewhere the day after a gig. No-one home so (possibly for the only recorded instance) we had to break into a squat via a window to return property”.

Pat.

Zos Kia’s essential second vinyl release, and the first to be released on the Temple record label run by Genesis P-Orridge of Psychic T.V.

This clear vinyl copy was given to me from a box that he had stashed away for mail order customers in his Beck Road base in Hackney.

This record was played to death at the time. The track ‘Be Like Me’ being a real foot stomper with a funky overtone and a guitar line reminiscent of ‘Public Image’, the debut single from Public Image Limited.

The foot stomping starts after a couple of minutes of pleasant piano introduction, the piece that continues throughout the song, hidden under the percussive instruments, funky bass line and general noise.

The lyrics, almost line for line, are courtesy of the Reverend Jim Jones, the infamous leader of the San Francisco’s Peoples Temple.

The followers of the San Francisco’s Peoples Temple, as well as the Reverend Jim Jones himself, met a sudden and violent end in November 1978. More than 900 Temple members committed suicide by drinking poisoned juice, the followers that did not want to go through with the sacrifice were shot (along with the killings of five other people at a nearby airstrip) by the Temples ‘guards’ in the jungle clearing of ‘Jonestown’, Guyana.

The San Francisco’s Peoples Temple was at that point based on that continent after leaving San Francisco under intense F.B.I scrutiny.

The lines making up ‘Be Like Me’ was part of a Reverend Jim Jones speech that was made during the mass suicide.

The B-side, ‘Ten Miles High’, is a short noise festival which I guess is, ahem, very loosely based on ‘Eight Miles High’ by The Byrds. Save a snippet of a guitar sound lifted from that famous song from the 1960’s, there is nothing to compare the two songs.

Zos Kia are verging towards Lou Reed’s ‘Metal Machine Music’ era rather than the flower power of the late 1960’s Los Angeles.

The repetitive loop at the end of ‘Ten Miles High’ is exactly that. A loop that continues until you lift up the stylus on the turntable.

I cut it short of course.

Play this record at maximum volume and then some…

The George Best photographs on either side of the sleeve artwork, I have no clue about, unless it is to entice the purchaser to ‘be like’ him, a hidden visual message to camouflage the Reverend Jim Jones speech. I might have just made that up, but it would have been in line with some visual and audio hidden meanings in Psychic T.V and their allies published books, pamphlets or record releases.

More Zos Kia posts may be listened to and viewed below.

The word ‘enjoy’, might not be right term to use for Zos Kia, but whatever…

The Clash were extremely inspirational to me growing up, and whatever you might think about the band, one thing that cannot be denied is the band’s real love of Black music and culture, reggae music was no exception.

If it was not for The Clash promoting authentic reggae via name-drops in the media or some lyrics, or on original compositions like ‘Bank Robber / Rockers Galore’ or covering some of the songs of the day, thousands of people, like me, might not have been touched by this music.

Sure there were other bands around that time including the odd reggae based song into their repertoire, Stiff Little Fingers for example. The Clash did attempt ‘Police And Thieves’ and ‘Pressure Drop’ in a more punked up style, a couple of years prior to me going out and buying records. But when it came to 1979, The Clash found out that they were far from just a ‘punk’ band. With Mickey Gallagher and other musicians and artists in tow, the band recorded the sessions that would result in the formidable ‘London Calling’ album, deep down in Highbury, North London.

On the ‘London Calling’ album, one of the highlights (for me anyway) was the band’s version of Danny Ray’s ‘Revolution Rock’.

In 1977, a record was released in Jamaica on High Note Records and in the U.K on Golden Age Records (the record label run by members of the, during that time U.K based, Pioneers). This record released was ‘Git Up’ (sic) voiced by the old Jamaican legend Jackie Edwards. Jackie Edwards had been around since the 1950’s, and had helped Chris Blackwell organise Island Records at a time when Blackwell was selling records out of the back of his Austin Mini Seven.

Hope he got his cut further on down the line for helping to build an musical empire that is still a massive presence today…Probably not.

A much younger vocalist (and less well known in Roots than his favoured U.K. Lovers Rock circles) Danny Ray voiced this rhythm in the same year, released in Jamaica on High Note Records and on the Doctor label in the U.K, a subsidiary of Golden Age Records.

This cut was ‘Revolution Rock’. This is the version that The Clash covered.

Eddy Grant’s brother, Mexicano was taken into Coach House studios in Stoke Newington, to voice the D.J cut, again on the same rhythm and released on Pioneer Records.

This is ‘Dub Rock’.

Sadly I only have the Jackie Edwards version of this rhythm ‘Git Up’ on Golden Age 7″, and I wanted to keep this post specifically for ‘Revolution Rock / Rock Dub’. Those tracks were both ripped off of the Danny Ray and Mexicano albums, the images are of the sleeves of each…

The Apostles & The Mob – London Musicians Collective – January 1983 / The Cravats – Southern Studio original mixes – 1981 / Augustus Pablo – Atra Records – 1980 / Zos Kia – All The Madmen Records – 1984 / The Mob – Amsterdam – June 1979 / The Turdburglers – 1981 / 1982

First there was a cassette.

The Apostles and The Mob recorded on a cassette recorder from the audience.

The cassette was available in 1983 via Larry Peterson’s Cause For Concern cassette tape label. This cassette tape label generally veered towards industrial experimental music, more so than punk or anarcho punk. Throbbing Gristle, Nocturnal Emissions and others.

This was an era when Andee Martian had an interest in the kind of music Larry Peterson was involved with releasing.

They both shared an appreciation of Whitehouse as well.

Andee Martian was helping to organise bi-monthly concerts at the L.M.C in Camden. Andee Martian recalls:

“The LMC, Camden, London NWI: September 1982 – February 1983

Organized by The Apostles and East London Workers Against Racism, this was more an alternative venue than a club. The organization here was minimal and suffered from a lack of PA equipment, an abundance of people who shouldn’t really have existed in a society that had long ago discovered penicillin and a financial situation strictly from Mickey Mouse. The bands who played here were, though, committed and varied: The Replaceable Headz, The Mob, Four Minute Warning, Zounds, Rack, Cold War, Twelve Cubic Feet, The Apostles, Flux Of Pink Indians, The Good Missionaries, Youth In Asia, Fallout, New 7th Music and a variety of poets and performance artists plus many other punk bands. Music events were the only things on offer here as bills had to be paid and the hall had to be hired. People have a tendency not to rush out to Camden from Gravesend and pay £1.50 to debate the politics of determinism versus free will… a pity really”.

Andee organised a concert with his band, The Apostles, and The Mob.

J.C who was the Treasurer of the Brougham Road Housing Co-Operative, where members of The Mob and Zounds were, or had been housed, also had a rickety P.A for hire.

On this night, J.C turned down Andee’s vocals during the song ‘Pigs For Slaughter’ which was towards the end of The Apostles set. Whether this was pressure from some audience members, or a decision by J.C himself I have no clue. A line was drawn in the sand and the P.A was on the ‘side’ of pacifism and not direct action. Whatever the reason, The Apostles cut short their set, and The Mob took over the stage.

This censorship issue was worthy enough in the minds of Andee and Dave Fanning (the bassist, sometime writer, artist and vocalist) that a small paragraph about it ended up on the cover of the first 7″ single from The Apostles released in 1983 credited to Dave.

It read as a rant against fake anarchists, pacifists and petty minded P.A operators… and so forth. Interestingly there was also a rant about Tony D (again credited to Dave), and the threat of violence towards him, for ‘not paying Little A printers for the costs of publishing KYPP 6 (or 5?)’. The bill to Little A printers was settled prior to The Apostles first 7″ single being available, so that paragraph on the sleeve, due to the delay was somewhat out of date! Thankfully Tony D was relieved to have kept all of his fingers, a main bullet point of the threat on the record sleeve!

Larry Peterson went to work on duplicating his original recording of the concert onto cassettes with a sleeve that folk could purchase by mail order or at concerts. Tellingly the cassette sleeve states: Pacifist PA Promotions!

The audio is extremely rough, but the listener can get a idea of the concert.

Secondly there was an album.

1984 and Larry Peterson released a Throbbing Gristle album on vinyl, in 1985 (or 1986?), he released his second vinyl for the Cause For Concern label.

This second vinyl released was a better sounding version of that old cassette originally released in 1983, due to the mastering needed for the metal stampers. I think there were 900 copies manufactured.

I knew J.C during the mid 1980’s while he was living at Brougham Road, and he had shrugged his shoulders, and sniggered slightly while discussing the L.M.C incident.

Andee I knew at this point as well, another Brougham Road resident at this point. I cannot remember discussing this issue with him, but I might have.

Larry Peterson I had never met, but when I did, and it was just the once, he mentioned that J.C had ‘loaned’ him a bus to go to Europe (Spain?) picking fruit one summer, and the bus ended up breaking down. Larry then left it on the roadside and eventually found an alternative route back when he needed to return to London!

I understood that J.C was not best pleased!

The audio for this YouTube post has been ripped off of my vinyl version, as the quality is better, but I have scanned in the original cassette sleeve, and the original cassette. Obviously I have also added the sleeve, ahem, design…

For what it’s worth!

The Cravats fourth release for the Small Wonder record label, was the result of the band hooking up with Penny Rimbaud, the drummer with Crass and was recorded at Southern Studios in Wood Green, North London…

Penny managed to capture a darker sound for the band culminating in the tracks.’You’re Driving Me / I Am The Dreg’ which became The Cravats fourth attempt to tentatively stick its head above the parapet.

Although the eventual 7″ single, didn’t fare very well on release in March 1981, it was the start of a more cohesive sound for the band that seemed to be finding it’s feet in the studio.

These versions of ‘Dregs’ and ‘You’re Driving Me’ are on a cassette tape from Southern Studios labelled ‘Original Mixes’ and are different to the official 7″ single release.

The photographs of the actual recording session at Southern Studios that are featured in the middle of this YouTube post are from the collection of The Cravats.

One brilliant compilation album focusing on the Santic record label. Horace Andy’s, ‘Children Of Israel’ and ‘Problems’ are worth the price of admission by themselves. One side concentrated ‘Pablo’, second side, various artists.

Snippet of an interview with Leonard ‘Santic’ Chin:

When I came in the business men like Bunny Lee and them were much older people than me, that’s what I thought, he was a bigger man in the business. I was just a youth getting in there. It’s not really about everybody liking you but, with most of them, I was alright… they’d let me feel like I belonged. Maybe, as a youth, I was likeable. At the time I was the youngest producer coming out of Jamaica after Gussie Clarke. The other day Bunny was saying to me “Santic you’re a legend, you know!” and I said “Come on Bunny! What are you talking about?” He said “Within that short space of time you were producing records in Jamaica you produced more hits than most of us! And you never had no big company like Dynamics behind you to help you either. One youth man making hit after hit! ‘Pablo In Dub’, ‘Children Of Israel’, ‘Lovers Mood’, ‘Problems’ ‘Late Hour’ with I Roy, ‘I’m A Free Man’ with Freddie McKay…”

Before even ‘Pablo In Dub’ I was recording a deejay named Jah Mojo. The first track I did with him was a tune named ‘Nitty Gritty’ and Bongo Herman was playing the drums. After that one I did a next tune with him named ‘Yankee Conkee’ and then I made this rhythm that I later used for ‘Pablo In Dub’, ‘Children Of Israel’ and ‘Down Santic Way’. Jah Mojo did a thing on it called ‘Jacamma Rock’ and it sold about a thousand and fifty copies. The rhythm was good… Aston ‘Family Man’ Barrett played the bass on it and his brother Carlton played the drums and there was a guy named ‘Snapping’ who played the piano…

Like I said when I went in the studio I was Sixteen. So I was just working with those guys, but I didn’t know their history… as the years went by I got to understand more and, being in the business, I learnt more and more. A lot of people my age in Jamaica wouldn’t know those things so that’s how I get to know. Anyway, he played the piano. The organ player was Ossie Hibbert. I did a mix for the Jah Mojo record and everybody loved the rhythm. One time Leroy Sibbles and some other people were standing up in Randy’s and Leroy said “This rhythm a bad! It’s like the bass carry the melody by itself” and then I decided to do a next mix of it.Eventually… things just happen sometimes when they’re supposed to happen.

I went up to Randy’s and mixed the tune… and for some reason Pablo just walked into the studio that evening and said “That rhythm there sound good!” So I said “Blow a thing on it now then, man!” I was into Pablo from ‘Java’ and was always asking him to do a tune for me and he used to smile and say I couldn’t afford to pay him and all those things there. He said “You’ll have to ask my manager Paul” and his manager said “Alright… do you have any weed?” My brethren, Carl Prehay, was there and he said “Yeah man… we have the boom!” And we bought a few Red Stripe beers, took the next two hours in the studio, set up the tape and he just blew through the tune a couple of times. The next one was a take and I said “This is ‘Pablo In Dub'”.

After ‘Pablo In Dub’ got on the Top Five it went to Number One for a week and then dropped back to Number Two and I asked Horace Andy if he could sing a tune on it for me. He loved the rhythm from time too… the Pablo version was so popular! Horace just came in the studio… it was a Friday morning. The day before I’d got Leroy Sibbles to put in the rhythm guitar because ‘Pablo In Dub’ never had a rhythm guitar in it. So it was Leroy Sibbles who actually chopped the rhythm guitar in it and then, the following day, I got Horace to sing on the rhythm. We played the rhythm track and Horace ad libbed and said “Errol!’ Rewind back the tape there” and he sang ‘Children of Israel…’ and went through it once, wrote some more lyrics, went through it again and half way through he said “Now run the tape Errol. And take it too!” We did ‘Children Of Israel’ and ‘Problems’ both at the same time. We didn’t spend two hours to do all that! The lyrics were written and voiced at that moment. There and then.

The ultimate Santic Records compilation released by Pressure Sounds is well worth getting hold of; HERE Please do so… All the songs are pure magic.

Zos Kia ‘Rape / Thank You’.

Originally released as a 7″ single on the All The Madmen record label in 1984. Alistair, who was running All The Madmen Records throughout that year, was for several years, also involved with the Kill Your Pet Puppy fanzine. That fanzine’s last issue (number six) was published in the Autumn of 1983.

Alistair had also created his own fanzine during 1983, Encyclopedia Of Ecstasy, a fanzine that lasted for three issues.

All The Madmen Records released many important records throughout, inspiring to many, including myself.

This record, specifically the song ‘Rape’, was by far the most difficult to listen to, both musically and lyrically.

A very brave move from Alistair to have backed this project. And, it must be added, a very brave testament to Min, sharing this extremely harrowing experience to those that heard the song.

In-between The Mob, Flowers In The Dustbin, The Astronauts, Blyth Power and Thatcher On Acid, this record by Zos Kia was out there on their own.

Literally.

Standing alone as an industrial record from an industrial band within the All The Madmen roster, rather than guitar based records from guitar based bands.

Zos Kia still holds that niche position in the All The Madmen catalogue.

The release of the Clair Obscur album ‘The Pilgrims Progress’ in 1986, came close to siding with Zos Kia. But never quite close enough.

Zos Kia / Thank You / Black Action / The Absolute

The re-release was organised by the new man in charge of All The Madmen Records from 1985, Rob Challice.

Due to the many letters received via Wot Distribution inquiring about purchasing the 7″ single which had been out of circulation since the first pressing of the record, Rob, in collaboration with John Gosling, decided on a re-release.

In 1986, the original two tracks from the 7″ single, were placed onto a 12″ extended play single with two new unreleased Zos Kia tracks that were recorded in 1985 added. This 12″ extended play single quickly sold out, and as far as I remember was never re-pressed. Making both formats of this record collectors items!

Min, a Kill Your Pet Puppy Collective member was the vocalist for Zos Kia on ‘Rape’, a true account of her feelings during an attack that she had suffered in Australia.

An extremely harrowing and brave performance from Min on this track, not easy listening whatsoever.

John Gosling is on the vocal duties for ‘Thank You’ and ‘Black Action’.

Alex Ferguson and Genesis P-Orridge, both Psychic TV members at that time were involved in the recording and the engineering of the two tracks, ‘Rape’ and ‘Thank You’, that were originally released on the 7″ single in 1984.

John Gosling also begun to work within the Temple Of Psychic Youth organisation, and from 1984 to 1986, performing live and in the studio with Psychic TV.

Zos Kia released a couple more 12″ singles on Psychic TV’s Temple Records, one was released in 1985 and one in 1987.

Thank you to Min, for supplying me with the photographs of Zos Kia performing at the Berlin Atonal Festival in 1984, that I have used for this YouTube post.

All the other bits are from my collection.

The cassette of Zos Kia at the Berlin Atonal festival is below.

A mixing desk cassette tape of a performance by The Mob and a good example of the set list at that time in 1979.

The mini European tour that this gig was included on, was with Here And Now and a bus load of other support acts, including Zounds.

I have a mixing desk cassette tape of The Mob in Arnhem (also in Holland) recorded on the 2nd June 1979 and that may be listened to HERE 

The songs performed at this gig in Amsterdam were written way before the ‘peace punk’ tag that The Mob carried around until the end of 1983, and that the band are better known for.

These songs will surprise many listeners. Some of these songs did end up being recorded cheaply and placed onto various compilation cassette tapes, generally released on Jonathan Barnett’s ‘Weird Tales’ cassette imprint. Jonathan Barnett was a one time roadie for Here And Now, Zounds and several other ‘free festival’ bands of that era. He was also in charge of Genius Records, a record label that were responsible (in part) for releasing the debut Astronauts album ‘Peter Pan Hits The Suburbs’.

Many of the songs performed are raw and basic, although a few of the songs in the early set, did make it through until the end of 1983. Namely ‘What’s Going On?’, ‘Youth’, and ‘The Mirror Breaks’. Of course those songs are still included in The Mob’s set in the 2000’s.

Most songs performed at this gig, and throughout this era, were jettisoned in favour of the newer songs that were being written, eventually ending up on the album, ‘Let The Tribe Increase’ and of course’ No Doves Fly Here’.

Grant Showbiz, from Street Level studios, can be heard on the mixing desk mic. Mark, an able guitarist, suffering from several guitar string breakages on the night, a very angry bassist, and one shit hot drummer in Graham Fallows, who also sings a few of the tracks.

There are two cover versions performed by The Mob during this gig in Amsterdam.

‘It’s A Rip Off’ by T Rex and ‘Louie Louie’ originally by the Kingsmen of course.

Enjoy the audio on this YouTube post, but, be wary, if you are hoping for the songs that later ended up on the ‘Let The Tribe Increase’ album, then prepare to be disappointed!

Images are from the collections of:

Mark Mob
Andy Tuck
Nick Godwin
Joanne Childs

Thanks to those folk.

There is a cassette tape fault on this audio around the seventeen minute mark for ten seconds or so.

The only time that I read about The Turdburglars was a page or two in Kill Your Puppy fanzine issue 5 in 1982. I did not know the band, or what the band sounded like, or for that matter, the persons involved in the band.

The only piece of information I ever received first hand on The Turdburglars was from Andee Martian of The Apostles in the mid 1980’s, who spoke of an incident in which he described a face off between the band and himself. He claimed that The Turdburglars had written some unflattering songs about The Apostles, directed at himself specifically. The people that told Andee Martian this information were either incorrect themselves, or on a wind up. Andee went along to the band’s squat to confront. Andee supposedly had a rant and a push around and left the squat red faced when he realised that the claims that he was told were incorrect in the first place*.

* Actually Mick Lugworm has confirmed that The Turdburglars did have a song (not on this cassette tape) about Andee Martian; “Andee kept threatening to throw people down the stairs so I wanted to cover ‘Help me Mummy’ by Rubella Ballet as ‘Help Me Andee – Help Me Down The Stairs'”.

The Turdburglars did not release any records but these recordings do exist, for better or worse. Some might argue the latter! The material on this cassette contain a practise session at the squat in Bayston Road, Stoke Newington. After that there is a live performance at the Wapping Autonomy Centre from December 1981. All recorded in glorious lo-fi.

The Turdburgars were made up of Mick Lugworm, Mark Ripper, Richard Scarecrow, and a Boiled Egg, Duncan Jack. All of whom were orbiting around that whole North London squatting scene of that time in the early 1980’s, that bands like The Apostles, The Mob and Blood And Roses existed within. All of those worlds colliding in imperfect harmony with the Kill Your Pet Puppy Collective, passing Wapping Autonomy Centre on Westbourne Park Centro Ibrico on their outer-worldly orbital route. Drugs might have been taken, to keep the tribulations of the world outside the shabby squat doors and broken windows at bay.

Indebted to Richard Scarecrow for supplying the audio for this YouTube post.

Both of the written out sheets, which were the base for The Turdburglars piece in Kill Your Pet Puppy issue 5 are from Tony D’s collection. Followed by the actual pages of that Kill Your Pet Puppy fanzine.

Following those printed images there are dozens of period photographs in no particular order, of places and people that would have been circling The Turdburglers around that time in the early 1980’s.

These photographs are from the collections of:

Mick Lugworm
Jon From Bromley
Tony D
Tod Hanson
Richard Scarecrow
Martin Black

Thanks to those kindly folk.

The Mob – Doncaster – November – 1983 / Pete Fender And The Four Formulas – Xntrix Records – 1980 / Andy Stratton – All The Madmen Records – 1980 / The Review – All The Madmen Records – 1980 / Tea House Camp – Real Men Records – 1985 / Chron Gen – Gargoyle Records – 1981

The Mob’s last performance with the Mark, Curtis and Josef line up, recorded off of the sound desk at Doncaster Co-Op on the 19th November 1983.

The Mob were supported for the night by Chumbawumba, Passion Killers, a band that included a Chumbawumba member, and Benjamin Zephaniah.

This is a wonderful, powerful and intense performance by The Mob bowing out.

There are two oddities on this recording.

Firstly, kicking off the recording we have a Josef Porta penned song, ‘Hurling Time’ soon enough to be a stable of the Blyth Power set a couple of months later at the dawn of 1984.

Another song that I feel most interested in (around the forty ninth minute mark) is ‘Lights’, a song that has never been recorded and was performed rarely.

‘Lights’ is one of my favorite songs from The Mob.

Straight after ‘Lights’ is a blinding version of ‘Mirror Breaks’…

The songs that were performed after ‘Lights’ and ‘Mirror Breaks’ were, ‘Never Understood’ and ‘I Wish’.

And that, they say, was that.

The end of The Mob.

Curtis and Josef went onto form Blyth Power, with Neil ex of Faction, and Mark left music to one side, concentrating on other ventures, and leaving London.

The two photographs of The Mob performing live are from Min’s collection.

Original typed reviews relevant to The Mob are from Tony D’s collection.

Magazine articles and the black and white photograph at the start of this YouTube post are from ‘Penguin’s’ collection.

Four Formulas (for the eradication of the microbes)

Four Pete Fenders performed on this extended play 7″ single, go on count them. They are all pictured on the record sleeve!

One Pete Fender on guitar and vocals, one more on the guitar, one on the bass and yet another on the drums creating one of the best 7” singles that I own, and furthermore a reference point to me personally of how wonderful an independently recorded, independently released, and independently distributed 7” single can be.

As with all the very best songs on any 7” singles that were released during that late 1970’s and early 1980’s era, the four songs presented on this Pete Fender record crash in, and crash out, at two and a half minutes or less.

Over three minutes you are the UK Subs, over four minutes you are a progressive rock band!

None of those examples regarding song length on 7” singles during that era are strictly true; in fact I made them up.

The point is that this record contains some of the best two and a half minutes of bitter sweet songs with 100% pop sensibilities, wrestling with the major label Buzzcocks in the ring, and almost succeeding in a knockdown, deserve to be less than two and a half minutes. Short and sweet, no flab. Any longer would have been an extravagance.

Pete is better known in, ahem, anarcho – punk circles. Oh I wish someone would invent another term for that scene. I can’t be bothered, so I will leave it to someone else. I will not hold my breath!

Pete was first known from being in the fresh faced punk baby booming band, The Fatal Microbes in 1978, a band that included Pete’s sister Gem Stone on the drums, Scotty Boy Barker on the bass, and Honey Bane as the vocalist. The Fatal Microbes released one record, a 7” single, the tracks of which also ended up on a 12” extended play showcase with the Poison Girls on the other side.

Both records were released at different times on the Small Wonder record label, and credit is due to both Pete Stennett and the people at XNTRIX for getting this first 12” extended play showcase out, catalogue number XN2001 / WEENY 3.

Vi Subversa, the vocalist and guitarist from the Poison Girls was Pete’s mother, (and also the mother of Gem Stone). Poison Girls, and family friends, Crass, strategically based in the near locality at that time, also released 45 rpm (extremely) extended play 12″ records on the Small Wonder record label.

Next up in Pete’s cannon was the forming of the embryonic Rubella Ballet.

Rubella Ballet were formed in 1979. Pete Fender on guitar, Gem Stone and ‘It’ (Quentin North) both on bass, and were then joined by the drummer Sid Ation (who would shortly be moonlighting by drumming with Flux Of Pink Indians for a while) and vocalists Annie Anxiety and Womble.

Incidentally, ‘It’ from Rubella Ballet helped compose ‘Lonely Homicide’, the second track on the A – side of the Four Formulas 7” single.

In 1980 Pete left Rubella Ballet to record these four (well there might have been more) wonderful songs that appeared on this extended play 7″ single. All songs were recorded in West London at the infamous Street Level recording studio.

Street Level studio was better known for recording (rather rough recordings it must be stated) absolutely wonderful quirky ramshackle bands, seemingly all of the bands from the nearby squatted Freestonia area, and bands from the small free festival scene, throwing in a few Alternative T.V sessions towards the end of the 1970’s.

The recording of these tracks prove to me that even the most humble, ganga heavy studio can get a hard pop sound, a hard pop sound that would have been rather better known for being recorded at the tiny Pathway Studio in Kentish Town.

Pete re-joins Rubella Ballet with Zillah Minx as the vocalist, alongside original members Gem Stone and Sid, and then leaves Rubella Ballet again sometime in 1982.

Not one to rest on his laurels Pete connects with Omega Tribe, undoubtedly one of the brightest lights of punk pop protest bands that released one of the best albums of 1983 ‘No Love Lost’ on Corpus Christi Records. Corpus Christi Records, owned and operated via Southern Studios with the executive ears of Penny Rimbaud of Crass.

Pete had, and still has, a heavyweight musical legacy earned during the late 1970’s and the early 1980’s, performing in a musical scene that he was, by a manner of speaking, born into, and for the involvement in those fine bands that are still remembered with fondness today.

Pete is still performing songs over thirty five years later, sensitive lyrics backed up with a single acoustic guitar and only a microphone to hide behind.

Going back to this Pete Fender extended play 7” single.

Play bastard loud, and jump around your bedroom.

You’ll feel much better.

Dedicated with love to Pete Fender.

Another early gem from All The Madmen Records long distant past.

1980 was a productive year for records released on All The Madmen Records.

The ‘Englands Glory / The Greatest Show’ 7″ single by The Review, carrying the catalogue number REV001

Hear The Review’s 7″ single here: https://www.youtube.com/watch?v=0zXE2vtvfEA

The ‘Crying Again / Youth’ 7″ single by The Mob, carrying the catalogue number MAD001.

The ‘Witch Hunt / Shuffling Souls’ 7″ single, again by The Mob, carrying the catalogue number MAD002.

And this 7″ single by Andy Stratton, carrying the catalogue number MAD003.

This single by Andy Stratton ‘I Don’t Know / Evil Minds’ 7″ was recorded at Spaceward Studios in Cambridge (the same studio where The Mob recorded ‘Witch Hunt’ and later on ‘Let The Tribe Increase’) and it was released in 1980.

Andy Stratton was a sixteen year old from Somerset who hung out with The Mob. The drummer on this single was Graham Fallows, who was still a member of The Mob at the time these two songs were recorded.

As far as I know, Andy never played out under his own name as a solo artist, but The Mob and Andy’s band, Null And Void toured England in a converted bus until it broke down in 1981 around Brougham Road, Hackney in London.

Andy and members of The Mob stayed on in London, embracing the squat scene as best they could considering the hardships of that lifestyle. Graham from The Mob did not stay on in London, so a search was on for a replacement drummer for The Mob.

Adie from Null And Void temporarily stepped in, as did Tim from Zounds, but finally Josef, also from Zounds, took a more permanent role in the band.

The Mob, Null And Void and Zounds all performed together many times in the UK and in Europe.

This single, released on All The Madmen records, is an excellent punk power pop affair, a similar sound and feel to the Pete Fender and The Four Formulas 7″ single called ‘Promises’ which was released on the Poison Girl’s record label Xntrix around the same time.

Interestingly, Pete Fender went on to record Andy Stratton’s band Null And Void at Xntrix Studio later on in 1982.

Hear the Null And Void demo HERE

In 1980 All The Madmen Records released the debut 7″ single by The Mob, ‘Crying Again / Youth’ on catalogue number MAD001. Also in 1980 All The Madmen Records released another 7″ single, by a Clevedon mod band, The Review, ‘England’s Glory / Greatest Show’ on catalogue number REV001.

The Review were a band that had started up, like The Mob, around 1977.

A year later in 1978, the beginnings of a revived mod scene begun to bubble under the surface, exploding into mainstream conciseness in 1979 with bands like The Chords, Purple Hearts and Secret Affair getting in the UK singles chart.

The Jam had already known UK chart success from 1977 of course.

The Review embraced the mod revival scene and recorded this one 7″ single for All The Madmen Records, cheaply recorded like many other ‘indie’ mod revival bands of the year, The Circles etc.

That said the band were still very punchy and these two tracks are very good indeed.

On the sleeve it name-checks The Mob, Wilf (the resident artist who supplied sleeve artwork for this record by The Review, and for all of the records released by The Mob), Christine and Debs (Goodge) from Bikini Mutants (Debs was to become a founding member of My Bloody Valentine in the mid 1980’s).

The Review performed with The Mob on occasion, and if you look carefully at two of the live photographs, you will see an original backdrop for The Mob behind the drummer of The Review.

A reddish skeleton backdrop.

The live photographs kindly supplied by Mike Eagle, the vocalist and guitarist of The Review.

Thanks to him for those.

Mike Eagle went onto form The Driscolls in the mid 1980’s, an guitar indie band that had a number of records released.

Martin Hutt, the drummer, joined up with Tea House Camp, also in the mid 1980’s, fronted by two Bradford born brothers, and veering to a more goth sound, releasing one record, that may be listened to below.

Phil (also known as Taf), the bassist, joined up with Disorder, hardcore punk squatters from Bristol, releasing hardcore punk records, and he remains as the only permanent member of that band since he joined.

Tea House Camp, a band that should have become much bigger than they actually got, had an All The Madmen records link.

Martin Hutt the drummer of Tea House Camp was formally the drummer for The Review from Clevedon near Bristol, a band along with The Mob shared the pleasure of having the first two 7″ singles released on the All The Madmen record label in the dawn of 1980. The Mob released ‘Crying Again’ as catalogue number MOB001 and The Review released ‘Englands Glory’ as catalogue number REV001. The Mob and The Review performed live together a few times in the early stages of both those bands careers.

That small fact aside, Tea House Camp for a while were destined for big things. Martin joined up with Brendan and Des, two brothers from Bradford who had got fed up with times in smalltown England. They both found themselves down south in London, for a while gaining employment at Rough Trade distribution which at that time was based in Collier Street in Kings Cross.

The band went for a slightly gothic Associates sound, more Martian Dance than Sex Gang Children, slightly less weird than the Virgin Prunes.

In 1984 Tea House Camp got to record a John Peel session and gained some favourable live reviews in several music papers along with a feature written by Mick Mercer in the monthly Zig Zag magazine.

Zig Zag magazine, at least from 1982 until its demise in 1986, had a strong Kill Your Pet Puppy association. Tony D and Al Puppy would regularly write articles for the magazine, along with KYPP cohort, fanzine editor and writer, Tom Vague. A brilliant magazine in it’s day with many non mainstream bands being featured and with the added bonus of the writings of Kris Needs and Mick Mercer.

I got to know Tea House Camp vaguely, via the band Kindergarten who at that time were based in Lansdowne Road in Tottenham. One of Tea House Camp lived in the same ramshackle house and the other members used to visit quite often.

Both Tea House Camp and Kindergarten would perform gigs together which ended up pretty jolly affairs in general. One gig with Lack Of Knowledge was a little moody I recall.

Brendan and Des had left Bradford in the early 1980’s but the brothers still had several friends in among that vibrant scene. Stories about the early performances of Southern Death Cult, New Model Army and Danse Society would be interesting talking points, well at least to me they were interesting…

Through Tea House Camp and Kindergarten I got to meet Nick the Frog, and Justin ‘Slade The Leveller’ along with Joolz. I did not know them that well, but I enjoyed their company at private parties in Stamford Hill where they were based at the time, and met that crowd at Tea House Camp and Kindergarten gigs they all went to.

Tea House Camp released one 7″ single, ‘To Kill Stab In Back’ and ‘Poor Tom’, the single that is uploaded onto this YouTube post.

The 7″ single is decent fare, and pretty rare nowadays.

The photographs I took of Tea House Camp were from a gig with The Folk Devils and Ausgang at the Richmond. Sorry about the quality of them. I did not own cameras back that often in the early and mid 1980’s, and the few that I did use were the cheapest possible!

I remember buying the debut 7″ single by Chron Gen, released on Gargoyle Records in 1981, from Startime Music situated along Post Office Walk in Harlow, and immediately loving it.

I remember that this record spun many hundreds of times on my cheap mono record player that I had acquired, a year or so prior, from a Summer school fete.

The band members were based around Hitchin and Stevenage.

Stevenage Bowes Lyon House was on the live punk circuit and many bands performed there at weekly punk nights.

Chron Gen were a ‘local’ band to where I was living at the time, although factoring in mileage, that is, and was, a rather tenuous claim!
Crass in Epping, Newtown Neurotics in Harlow, and Lack Of Knowledge in Enfield were probably nearer, well definitely nearer to where I lived at the time, but I still thought of Chron Gen as a ‘local’ band.

The band had a mid paced tempo to their brand of ’77 music and clear lyrics, to counter the speed of Discharge (a band not a condition) from around the same time.

Discharge were immense but every now and again you need a break.

The second single was released, again in 1981, on the very, very, excellent Step Forward record label; ‘Reality’ and ‘Subway Sadist’, two tracks of immense power, the A-side dealing in one of Chron Gen’s loves, acid, dope, and magic mushrooms.
This second 7″ single trumped the Gargoyle Records release, but not by much. Both 7″ singles rotating and rotating on that same little mono record player in my bedroom…

As an aside, I liked the fact that the drummer of Chron Gen, esp on the rear picture sleeve of ‘Realty’, looked and dressed very similar to the way I was looking and dressing as a thirteen, going on fourteen year old! I wore my original Chron Gen T- shirts with some pride. I really wish I did not put all my old original punk T-shirts on a fire in the early, or mid 1990’s!

Bushell rated Chron Gen, so what could go wrong?

For a while, when Bushell liked a band, the band seemed to end up on Larry Prior’s Secret Records, a pretty large record company masquerading as a small record label.

Chron Gen were no exception.

From that point, my beloved Chron Gen released some patchy records.

When you see a B-side of a 7″ single being ‘live’ tracks from some gig or other, you know the studio tracks have dried up.

This might be telling as Jon Thurlow (who ending up later on in the 1980’s selling scented candles, silver jewelry and trinkets at the door of the Stevenage Bowes Lyon House on gig nights) had actually left Chron Gen shortly after the Apocalypse Now tour.

Maybe that detail had a bearing on the ‘live’ track scenario, or maybe it didn’t.

Either way, when the long anticipated (by me at least) debut album was released on Secret Records in 1982, complete with (you guessed it) a live 7″ single slipped into the package, I took a deep breath, after spotting some more ‘live’ tracks credits on the album cover, and gave the record a spin on 33rpm.

‘Hounds Of The Night’ a favourite of mine kicked the album off in a decent enough way, already eight out of ten. From the ending of that track (in my opinion, which means sod all…but) the quality of the tracks on this album went south.

I felt strangely depressed.

The Newtown Neurotics (another ‘local’ band) released ‘Beggars Can Be Choosers’ in 1983 and that settled the battle of the ‘local’ bands debut albums (a riddle only occurring in my head) and the Newtown Neurotics won hands down.

Chron Gen did come back stronger with a final 7″ single release on Secret Records in 1983, ‘Outlaw’.

This single was a final bow out from Secret Records and for Chron Gen themselves.

A new look Chron Gen, with new guitarist and bassist, released another album in the mid 1980’s, nodding towards a more rockier sound.

Sadly that album did not pick up any further interest from me.

The promotional poster of ‘Puppets Of War’ is from my collection.

PS:

I am not known for ‘promoting’ myself in any way, but I took the liberty of adding a photograph of myself towards the very end of this YouTube post, as I looked (when not at school) around the time when Chron Gen were among my favourite bands. There are very, very few photographs of me from around twelve years old upwards, as I felt uncomfortable with having photographs taken, as I was painfully shy and withdrawn going through my teens… It’s a shame I have a scarf on (THFC by the way), as I might have been wearing an original Chron Gen T-shirt!

Also I cannot find my original Gargoyle blue label version of ‘Puppets Of War’, which I am actually pretty annoyed about, as I wanted to scan that record.

Luckily I also have in my collection, the Gargoyle white label version of the record.

The Cravats – Overground Records – 2016 – Penny Rimbaud Memories – 2016

Anyone who has had even a vague love of punk music over the last thirty five  years will know The Cravats or, at least, be aware of their existence.

Championed by John Peel with four sessions, releases on Small Wonder and Crass; the sax-riddled, bass-laden weirdness, the humour, the love of Dada and the infamous Redditch ‘Dustbin of Sound’.

Never mainstream, never hugely popular but always utterly unique they ploughed their own musical furrow in the peripheral vision of the music biz since forming in 1977, which was fine by them.

Those that loved them loved them to death, those that didn’t, didn’t.

They stopped in the mid-eighties for a cup of tea and it wasn’t until the 2006 release of ‘The Land of The Giants’ double CD compilation on Overground Records that many folk realised what they’d missed.

Co-founder The Shend and original sax-riddler Svor Naan, along with fellow Redditcharian Rampton Garstang on drums, resurrected a live version of the band in 2009 at the bequest of admirers old and new.

Steve Albini’s curated ATP, the final ‘Feeding of The 5000’ Steve Ignorant Crass show, a host of European festivals including four years at Rebellion Festival, a Marc Riley BBC6 session and a bunch of selective UK gigs followed to much critical acclaim.

But it is only since the addition, of Viscount Biscuits on guitar and Joe 91 on bass that they have finally decided the ingredients are right for new material and the Jingo Bells / Batter House single is the first offering of this burst of productivity.

With a second 7″ already recorded and an LP due for release by the end of 2016, plus a host of upcoming gigs The Cravats are well and truly back.

Still drenched in sax, obliquely angry, raucous and sounding like no other band in existence they have remained faithful to the sound that made them unique. Eccentrically frantic on stage, odd but on the ball on record and definitely not normal, the world needs bands like The Cravats.

For now though, it’ll have to settle for just the one.

Get the numbered limited edition 7″ single HERE

The Cravats – Small Wonder Records – Original Southern Studio mixes – 1981

The Cravats fourth release for the Small Wonder record label, was the result of the band hooking up with Penny Rimbaud, the drummer with Crass and was recorded at Southern Studios in Wood Green, North London…

Penny managed to capture a darker sound for the band culminating in the tracks.’You’re Driving Me / I Am The Dreg’ which became The Cravats fourth attempt to tentatively stick its head above the parapet.

Although the eventual 7″ single, didn’t fare very well on release in March 1981, it was the start of a more cohesive sound for the band that seemed to be finding it’s feet in the studio.

These versions of ‘Dregs’ and ‘You’re Driving Me’ are on a cassette tape from Southern Studios labelled ‘Original Mixes’ and are different to the official 7″ single release.

The photographs of the actual recording session at Southern Studios that are featured in the middle of this YouTube post are from the collection of The Cravats.

Penguin chats with Penny

I love The Cravats; and I thought I would spend a few minutes talking about the band with Penny Rimbaud of Crass.

Hi Penny, I wonder, can you remember how you met the Cravats?

I met them at Southern Studios when Pete Stennet, the proprietor of the Small Wonder record shop asked me to produce a single for The Cravats, to be released on his Small Wonder record label.  Pete had already heard records that I had produced and that John Loder had engineered. I produced ‘Hex’ by Poison Girls, and ‘Feeding’ by Crass, at Southern Studios both with John Loder engineering, both released on Small Wonder Records in 1979.

Can you remember whether The Cravats performed at the Small Wonder Records showcase at the Camden Music Machine in 1979?

No, I do not think so. Crass performed with The Wall, Patrik Fitzgerald headlined. I think The Cure performed.  Was it 1979 or 1978?

I think it was around the beginning of 1979. Tony D went, he might know. 

Sounds about right Pengy.

What was your interest in helping The Cravats to go to Southern Studios in 1981and produce their single on Small Wonder, had you heard the band’s music at all?

Well Pete asked, and I was always willing to help out if asked. I had never heard The Cravats prior to the studio sessions, and I liked them when I heard them. The bounciness, and a kind of cabaret sound. More of a Beefheart sound than Sex Pistols. The saxophone was always interesting, actually a sax was interesting in any band of that era! The name The Cravats interested me as well.  I used to wear cravats when I had modernist pretensions in the early 1960’s. At Dagenham college where I was going to during those years, there was a building department for builders, painters and decorators, plumbing and all those trades. Most of those apprentices were very sharply dressed, and when not in overalls were sporting all kinds of flash modernist clobber. Cravats included. Most listened to Jamaican bluebeat records.

The band recorded a 7” single for Crass Records a year later in 1982. ‘Rub Me Out’. I assume that you were eager to have the band onto the label. Was this generally seconded by the other members of Crass? In other words, did other members of Crass like the sound that The Cravats made and were other members of Crass involved in the decision making?

Well, to be honest Pengy, it was myself who more or less chose the bands and artists that were to record, and have records released on the Crass record label. Steve and Andy suggested some bands to record. I think Andy put up the idea of Lack Of Knowledge. Steve put up Conflict I think.

The other day Penny, some numbnut placed a comment up on social media about the Crass record label. It was a post about new punk music I think. Someone mentioned something, and I paraphrase; “All that stuff on Crass Records, all bands sounding the same”. This always annoys me, probably because I know the back catalogue rather more than that social media post person. Annie Anxiety, The Cravats, Zounds, D&V, Lack Of Knowledge, KUKL, Hit Parade, Rudimentary Peni, The Snipers etc.

Yes, sadly we get that a fair bit. Funny you mention The Snipers, and other members of Crass in your original question. No one from Crass liked that single. Everyone thought it was truly awful. I loved it! D.I.R.T and Alternative could possibly be compared to Crass. I doubt that those bands would like to be compared to Crass to be honest, as they were doing their own thing. It’s a little lazy to state that ‘Crass type bands’ that released records on the Crass record label are similar.

Indeed Penny. Jane Gregory sounded more like Conflict than Flux in my humble opinion.

Steady on Pengy. The other way around!

Can you remember the Southern Studios sessions for the Small Wonder and Crass recordings? Have you got any Cravats anecdotes?

Oh. No I don’t think that anything odd happened. The band seemed capable, they seemed to know what they were doing and caused no bother.

No stories similar to The Mob recording ‘No Doves Fly Here’ at Southern Studios where a gong was recorded dozens of times before you were happy with the sound?

Ha! Yes, I remember that. We hired a huge gong. And yes that gong was banged and recorded a lot of times. Another thing that I remember about that session was Mark from the band sounding quite asthmatic on the day he needed to lay down the vocal track. It was bad enough for him to sing one lyric at a time on the recording. The backing track reel was stopped at the exact moment for the next lyric to be recorded.

So none of that for sessions that The Cravats were involved with?

No, nothing like that.

Did The Cravats perform alongside Crass at all? The band did not perform at the Zig Zag all dayer for sure.

No, The Cravats were never on the same bill as Crass.

AROUND THIRTY FIVE YEARS LATER

How did you get involved as the bus driver on The Cravats video? Were you contacted via Shend or via Overground Records who released the record?

Shend contacted me. There was going to be a video and they needed a conductor. I was sold straight away and asked him to get me a hat. If you look carefully at the hat, there is a sign that looks like ‘Crass Tours’, as the video is filmed on a tourist bus driving around central London. The sign actually reads ‘Crass Touts’.

Are there any anecdotes to share about the filming on the bus? Did you enjoy the experience and seeing Shend again?

Well, for starters it was a lovely day for filming, bright and sunny in the winter. The bus just spun around London while we fucked around. The drums did not slip sideways every time the bus took a sharp turn thankfully. We filmed around Westminster, Parliament Square so personally I was surprised that we were not ushered away by heavily armed police persons, while driving around there, around and around. Actually we did drive near to 10 Downing Street, and the police were keeping an eye out, looking over at the bus.

Shend and I do communicate with, and is one of the few people from the bands the released records on Small Wonder or Crass that I have always been able to contact and vis versa. I last saw Shend, prior to the video shoot, at Steve Ignorants gig at Shepherds Bush a few years ago when The Cravats supported. Where you there?

Yes I was there. I don’t think I was ‘all there’ to be honest. The Mob and loads of other bands had put on a gig in Brixton the night before, and I was pretty exhausted after all that. Recording all the bands, taking photographs, staying up late. Going to Shepherds Bush after a self-organised and self-promoted gig with something like seven bands in two rooms in the same venue, seemed like a bit of a downer. People seemed to enjoy it, I thought it was fine. I didn’t buy a T-shirt. Or a coffee mug. Or anything else being punted out on the stalls. Steve was clearly emotional and gave 1000% so I think it was my mind-set rather than the performance, or any of the band members. I was on the huge video screen for a few seconds at the back of the stage, so who knows I might be on a YouTube video somewhere!

Did you know that I remixed the tracks on the ‘Cravats In Toytown’ album for Overground Records?

Yes, I knew of the release, but I was not aware you were involved, or if I was, I have forgotten that you were.

Yes, a few years ago now. Tony Barber and Harvey were involved as well. One side of a double C.D set.

Harvey? I haven’t seen him since seeing both of you at Southern Studios remixing Crass master reels. It was the same night as Tottenham beating Liverpool  4 -2 in the Carling Cup. I went to see the second half after leaving you both to it. Hope he is well.

Yes, I hope so too!

Was it fun remixing that old album? I have the original vinyl. I bought it from the Small Wonder shop in Walthamstow in the early 1980’s. It’s a great record.

Yes it was great listening to the master reels and doing some work on them. And yes it is a great record. We were very happy to be a part of this project. Hopefully the version on sale now from Overground Records will be appreciated by people as much as you appreciate your copy.

Thanks for this Penny. I’ll get all this written up.

Thanks Pengy darling.

The Cravats – ‘The Cravats In Toytown’ – Overground Records – 2012

The complete Small Wonder recordings: The Cravats In Toytown album and five singles, newly remastered, plus a bonus disc of In Toytown remixed from the original multi-track tapes by Penny Rimbaud.

John Peel: “I hate Toyah records and they all go whizzing into the charts, and I love The Cravats and play all their records and nobody buys them. Whenever I start to feel important I think, ‘Well, I never did much for The Cravats and I didn’t stop Toyah’…” – Smash Hits, 1982

The Cravats’ one, great musical handicap was that they were indescribable. Incisive, innovative musicianship was everywhere, yet the songs themselves defied comparison to anyone else’s. The lyrics, meanwhile, were uncommon, vivid, and forcefully-delivered, so reviewers (both friendly and hostile) focused on those. But the part that burrowed straight for the wee chunk of your brain marked “fight or flight” on the meat-cutters’ chart was the unsettling throb and lurch of the massively-amplified sax, guitars, bass, drums, and whatever other alien sound-forms and distortions The Cravats felt like heaving into the mix.

Their devoted record-company, Small Wonder, had no idea how to present them, either, but they kept on releasing Cravats records long after they’d bid adieu to the rest of their visionary catalog (among them The Cure, Patrik Fitzgerald, Crass, Poison Girls, Menace, Bauhaus, and Fatal Microbes). Peel played and played them, recording four Cravats Peel sessions 1979-82.

The Cravats formed after a Stranglers show in Birmingham in 1977: they borrowed £400 from Shend’s mum and self-released their debut 7” Gordon in July 1978. Small Wonder liked the single so much that they picked up 500 copies and booked the band into the studio with producer Bob Sargeant; the result was the Burning Bridges single, soon followed by Precinct. Next, the band relocated to Torquay for a full week in 1980 to record their first album – on an 8-track in a hotel basement: The Cravats In Toytown made it into the Top 20 in the independent charts. Two more Small Wonder 45s followed, You’re Driving Me and Off The Beach, sandwiched around their first project with Penny Rimbaud (who succeeded in making them even darker with ‘Rub Me Out’).

Despite their collectability, the Small Wonder records remained un-reissued until Penny Rimbaud obtained the recently discovered multi-track Toytown masters and re-interpreted and remixed them in his own unique, eccentric style, as Alice’s Adventures In Toytown.

The singles and the ‘original’ LP mix are fully remastered here as well.

Buy the C.D HERE

Thank you for supporting independent music from independent record labels. 

Tony D talks with Thurston Moore on B.B.C’s Artsnight programme – March 2016

M: Hey Tony, hello there. So is this the first issue of RT you did in 76?

D: Yeah, it’s the first one. Nov 76, it came out.

M: In Nov 76. So what… what made you do this? I mean, you obviously… How old were you in 1976, if you don’t me asking?

D: I was about 17 then, 17 or 18

M: What year were you born?

D: 1958

M: So was I. What month?

D: April

M: July – so you’re the old man here…

D: So what used to happen – I was living in Glasgow, reading the music press and avidly following music and they started writing about this punk rock experience. Punk rock’s happening in London. And I thought this sounds like my kind of thing and I’d get a bus from Glasgow – there’s a bus at 11 o clock on Friday night. I’d get back Monday morning to Glasgow at 8 o clock in the morning. I’d often be on the bus, leave work, leave the work I was doing, go to London, come back on the bus, go straight into work in the morning, having seen punk rock bands and what was happening on King’s Road, not what was happening compared to later on, but there was enough people hanging around in shabby clothes, with funny haircuts. I thought this was it.

M: And were you by yourself? Did you have a mate that you…?

D: A mate back in London, but he never got into this idea of going down and back. So I’d go down by myself, stay at people’s houses …

M: Do you remember the first bands that you had seen in 76?

D: I’m trying to remember if the Damned is the first time I actually saw a band in 76 – I’d go down there, but there weren’t any playing. I’d just go down there just to see what was going on.

M: Yeah.

D: Because London is a bigger place than you realise. Before you go to London, it’s this giant city.

M: Were you aware of Rough Trade which opened in 1976.

D: Yeah, they used to have stalls at gigs again – I found out at the Damned gig, they had a stall there. Again you’d go there; they didn’t have that much stuff. Rock and Roll off Carnaby Street was more a place to go – they had more Stooges, more punk garage selection. I remember going there and Metallic KO and Nuggets, and things like that…

M: To start a fanzine – was there any other fanzine that you saw at the time? That would have existed?

D: I suppose there was Sniffing Glue

M: That was the one?

D: And I found that on Kings Road, which again I’d read about that in the papers, the music papers – I knew it existed. I got hold of it and thought this is it – it doesn’t look very good. It’s just this columns, not much graphic style going on, and then when I met at the Damned gig, I met Mark, said to him ‘ Can I write about, can I write for Sniffin Glue’ cause I loved writing, as long as, the only thing I was good at at school was writing. I said to him ‘Can I write about this – I’m down from Glasgow – Down fro’ Glasgae – Cannae wrigh bout the Damned’ and he said ‘No, do one yourself, go back to Glasgow, and do one yourself’.

M: So you did!

D: And so I spoke to the band – cause the Damned at that stage went into the bar and said ‘I’m down from Glasgae tae see ye’ and went back and put it together really quickly, put it together with my mate, Skid Kid – I mean seeing the actual Damned, it blew my mind. Everything I thought was happening with Punk Rock… It was actually better. The reality of seeing the Damned, it was better than I could possibly imagine. So fast, I never believed the songs could actually be so fast – hypnotic almost. And so this was my kind of… I gotta do something, that was my reaction to this. All I can do is write, I can’t sing, I can’t play guitar. All I can do is write. And so I put this together.

M: Can Rich Stars Rock? (TM reads article)… That’s Rock and Roll

D: It’s poetry – pure poetry.

M: Were you, eh, so how much did you charge for this when you did this? So this is Nov 1976…

D: There’s no actual price for this. I didn’t know what to charge. Let me tell you a little bit of the backstory – when I did go back and created ten pages, there’s ten pages here. At the work, I managed to photocopy ten copies of each page, so I’d ten issues. I’d ten copies of it stapled together. What was I going to do with it? I think, almost in a sense that was it. I’d done ten issues, I was fine, I was replete, and my creative impulses were done. I’d sent a copy to Rough Trade and a copy to Compendium Record, bookshop in the days when people used to write. Rough Trade wrote back to me and said ‘Great, can we order 200 copies’ and the next day Compendium wrote to say ‘Great, can we have 200 copies’ and I would have had to photocopy 400 copies, that’s 4000 on this work photocopier, and I thought I can’t do that.

M: Stapling alone is a kind of…

D: But I managed to… it’s leapt to another level. So I had an order 400 copies, and again I hadn’t put a price on it at that point. They said How much are you charging for it – and so I think I only charged 20p or 25p, and I said it to the shops they’d buy it for 15p and then sell it for 20p, 25p, and then I had to go to another printer, and the level just rose suddenly, who said he could print it and he did. And I had to sit and staple it all, and post these bundles down to London.

M: One sided, what size?

D: A4

M: A4? Sorry, I’m an American, we don’t all these sizes – it’s 11 x 14. Those are our two standard sizes, so the A7, A4 thing is like… it’s like Fahrenheit and Celsius. Yeah, I’ll give you 50p for this one!

D: I think they go for hundreds of pounds now…

M: Well, all of these fanzines we have here – do you have recognise some of these? Were you a fanzine collector at all?

D: I do, yeah. People used to swop – you’d do a fanzine, you’d swop fanzines. Everyone would be at a gig, by the… a bit later on, you’d have seven or eight people at gigs. And everyone used to swop… You’d go back with more than you’d turn up with…

M: I recall… ‘Cause fanzines would always have addresses of other fanzines in their fanzines, so you’d…

D: Once you got one, you could find more….

M: You’d throw a note inside the letter and hopefully a fanzine would come. Usually it would…

D: I… what I used to get is requests to buy records. People would write to me, saying can you buy me this?

INTERRUPTION

M: How many copies of RT did you make?

D: I made 17 in the end, and then I passed it on to lady called Vermillion. She did the 18th. I moved on. I went abroad, and she was… the idea was that she was going to carry on through. There were 17 at that point. And it grew quite dramatically, graphic wise and design wise, probably writing wise, the bit you read out. The bit with less swearing in it.

M: A bit less swearing.

D: Sentences probably got longer as well. So, we moved from A4 single sided to A3 – we started having A3, started having colour on the cover. And you see more… more inventive lay-out style. Of course there are more bands to write about, so a new world was coming up. New bands discovering things. It got quite big towards the end; it was quite a big seller. Quite good alternative to the music press. As I was saying about it to somebody… when the music press was saying that punk rock’s dead, the music press was saying that punk rock was over, they certainly went on a whole music press agenda that punk rock… So fanzines became really important, because they’re the only ones writing about,  because we never questioned whether punk rock was dead or not, we just knew it was alive, just write about the bands as we were doing in 77, 76. And so it then became important… A lot of it was much localised as well in different cities, writing about their local bands.

M: Did you ever think that you’d want to be in a  band? Did you ever have any aspiration to have a punk band? As much as you love punk…?

D: If I would have had a band, a band round about the David Bowie era, when I first got into music, roundabout 72, 73, when I was listening to the Stooges, the Velvets, started… then you’re hearing that stuff. You don’t have to be an accomplished guitarist to play… I just couldn’t fathom it. I think I tried. I got an acoustic guitar… And I can’t sing, even to punk rock standards – I haven’t got the strength of lungs for it. I admire, I really admire people…

INTERRUPTION

D: I was very good at writing in school, my only skill was writing. So it was natural for me to think this was the way I was going to go. If I had formed a band, it would have been before punk rock, and unfortunately it didn’t happen. Also I didn’t know enough people who liked that type of music…

M: Living in Glasgow in 1976, discovering punk rock in that community there, did you have other friends who also were where you were or did you feel pretty much that you were on the margins?

D: The ones who liked Mott the Hoople, liked Roxy Music, liked short songs, were ready, were primed for this style of music, this look. Those of my friends who liked Yes, Deep Purple, Emerson, Lake and Palmer, Led Zeppelin, Led Zeppelin was huge in Glasgow – those people just didn’t get it all, and thought it was pop, punk… I remember playing Anarchy in the UK to some people and they said it’s just glam rock. And I thought, that’s probably why I like it.

M: I think in 76, a lot of people probably felt, hearing the Ramones or the Sex Pistols, that it was an extension of glam, but with leather jackets, jeans, and so it still had this kind of high concept in a way, but it was more into this street rock thing, which in a way, maybe you saw it a bit with Slade, or even Mud or these kind of bands. There was something a bit ‘street’ about it. Maybe…

D: In England we had the Bay City Rollers, who had the short trousers and scarves. And that look was taken off football hooligans. The short trousers maybe flared up to the calf.

M: They weren’t singing about anarchy or sniffing glue or…

D: And the spiky hair they had…

M: Or smashing things up. The…

D: Saturday night’s quite raucous.

M: Definitely. It’s alright for fighting. But, those sentiments needed to get real. And there was a certain sort of, EM, reality in what was being sung in the punk bands in 76 that sort of attracted us.

D: What I found was that I was going down to London and coming back was that London seemed more like my home and going back on the Monday, I was entering an alien land. I was entering more and more sort of seeing sort of friends. It was more my neighbourhood as it were, they were my people. Everything  back in Glasgow was just more and more alien and irrelevant. You know, I spent most of my time there, but I felt I was alive at that point.

M: So you relocated to London at some point?

D: At some point. I was still working at my job; where I did issues number 1 to 4. And by number 4 I actually put Glasgow’s Only Fanzine and straight in Tony Moves to London full sordid details. So you can see its right at the cross over point.

M: Did you have any foresight at the time about what was going to happen after 76, cause 77 everything explodes. Records, fanzines, everything sort of comes out. And more and more people are just like joining the league of punk. Did you feel that happening or did you just think it was going to be like this weird little thing? Cause in 76 it was a little bit transitional in a way…

D: I thought it was going to be a weird little thing, a little sub cult. I never thought of this explosion. Of course, Bill Grundy… the interview changed everything overnight.

M: And did you watch that?

D: It wasn’t on in Scotland. But every local, every paper, all the red tops, called the tabloids had it front page. It used to have… A tiny small TV show with a small interview on it, completely out of proportion. Because punk had all this filth and fury – the Pistols that was set up, was mostly cancelled, all the dates were cancelled. And that’s how it changed from being a little subculture – it could have just been loads of bands playing around. Small little groups of punks in different cities suddenly became them. Certainly punk exploded, a lot of people became punks after that. But really the first reason for being a punk – they became punks more for Sid Vicious and the Dead Boys. So it’s a shock thing now, rather than a lifestyle, an alternative lifestyle. I saw it as a lifestyle – a breakout of a boring reality. And people saw it as a shock, which then they kind of thought Saturday night’s all right for punking. Cause you have then to go back – they’re quite happy to work, and then the release.

M: Were bands coming up to Glasgow – did the Pistols come up there?

D: Well, the Pistols were cancelled – In RT 2; I’ve got the ticket stub in.

M: Oh, you’ve got the ticket stub in RT 2?

D: It was cancelled, because that was almost three days after Bill Grundy. The tour had started, when the Grundy issue had happened.

M: Oh, so that must have been really upsetting for you.

D: Yeah, it was… And I told so many people this is it – this is it. This is what I’m talking about. This is what I do on the weekends. It’s coming to Glasgow. No, it’s not coming to Glasgow. Then the Damned came supporting T Rex shortly after that.

M: Cause Marc Bolan was really pro-punk rock.

D: Because he had his TV show and he got bands on TV. So he got the Damned on TV. It was the first band to play a big venue – I think any band really. I think the Vibrators came up; Iggy Pop I think stopped at Newcastle wouldn’t come upwards! So as far as I know, the Damned supporting T Rex was the first London punk band to play Glasgow. We had the Runaways. The Runaways played that summer.

M: Did you go to see that?

D: Of course! It was huge!

M: Was that with Cherie Curry or was that?

D: Cherie was still singing then. The first album had just come out. That was actually – it sounds ridiculous – but that was the first time we saw people were interested in punk. We had people like Alex Ferguson, Sandy Robertson, SR went on to write for Sounds, and Alex Ferguson went on to write for ATV and Psychic TV. I met these people at gigs like that. And they had friends who became Orange Juice, Postcard Records. The Jesus and Mary Chain, they were at that gig. So all these kind of people you never really saw. This was the first time there. And unfortunately there was nothing again to really bring that side…

M: Was there a record store in Glasgow that people could socialise in?

D: Not really. The shops were very good – there were these independent shops that sold all this stuff. And had Anarchy in the window – the Damned, New Rose – promoting this stuff.

M: Which place was?

D: I can’t remember the names of the record shops. There were three really good independent shops. So Glasgow was really lucky… But there’s no… You went in there and you wouldn’t see another punk hanging around. It wasn’t like Rough Trade sort of ambience. There wasn’t a pub you’d go to with them.

M: Do you have a complete run of RTs?

D: Apart from Issue 4 – we have a 4 here from the LCC. They’ve actually got one of the last copies of RT4…

M: How much for this?

D: I think they’re selling it… a three figure sum I think it is. It’s not 1999.

M: Yeah, we’re looking at this catalogue – it comes out of the Netherlands and France, there are two dealers. And it’s rife with, eh, punk fanzines from 76 onwards…

D: And prices…

M: Well prices are extraordinary. There’s nothing hardly below €300.

D: So what’s this table worth do you reckon?

M: This table, I would imagine this table would be worth about maybe between ten and twenty thousand pounds.

D: We’re rich!

M: We’re rich in fanzines. But the thing is that we don’t want to sell our fanzines because money is for squares. We’ll take the fanzines to our grave.

D: That’s my problem. That’s why I never made it.

M: So in each of the RTs you had a chart which is not your chart, but is a chart from readers, they’d send in their favourite records.

D: That’s right. Send in your top ten favourite LPs and singles – a list of them. Not a list of them. If I’d been sent lists. I’d compile the charts – for RT1…

M: So RT1 must have just been you.

D: Me and the Skid Kid put it together. We had Ramones Number 1, Jonathan Richmond Modern Lovers album number 1.

M: And New Rose by Damned is number 2, eh. And did you own all these records? And how else would you hear them? Was much played on the radio at the time?

D: No, I think I put something in RT1 here about the BBC

M: The BBC? Did they have a clue?

D: John Peel did a sort of punk night one night. He took some stuff off Live at CBGBs, Kansas City…

M: That must have been pretty exciting to hear that.

D: It was a whole two hours I taped the whole show. I played that every day. And, em, I put on here ‘We Vibrate’ by the Vibrators was played on the Simon Bates show, which was a mainstream morning show.

M: THURSTON READS ARTICLE. What do you think?! 2016 – forty years later, you’re actually on BBC Two, talking about 1976 punk rock.

D: Unbelievable. I wrote that, I would never have thought it possible.

M: Well maybe you should do a new issue of RT, to serve, maybe… I take it all back [laughs]

D: The director’s cut of this one. What it really meant, and what happened afterwards.

M: After RT you did KYPP.

D: Yeah, I moved on to KYPP.

M: In ’80, I think it was?

D: Dec 79 I think. So the last RT I did was April 79 and KYPP came out in… December…. It was sold at an Ants NYE gig. So…

M: So Vermillion continues RT and you have a whole new…

D: I wanted to try something different. I went in a different direction.

M: And what was the aesthetic difference in a way? It looks a bit more… I don’t know, kind of wilder or something.

D: Yeah, I think the printer Joly. He had some… he sort of approached me about doing something. He had some new printing presses. He wanted to try something to experiment with.

M: So Jolly at Better Badges was really important to fanzine culture in the 70s wasn’t he?

D: He was, certainly in the 80s, around all the country at gigs with his Better Badges stall, and then he’d go back to London and go to Rough Trade…

M: He had a presence at the RT store where he would help fanzines be printed and assembled…

D: Well, he was working at Better Badges up the road. On Portobello itself. RT is on Kensington Park Rd. So you’ve got badges made elsewhere. He could start to print A4 fanzines. And then you had this idea of doing colour on colour. He did a lot of flyers for gigs at this time. This style of rainbow printing, it became his look, his way of doing things. And so he used to print a lot of fanzines, cornering the market really.

M: Do you keep in touch with Jolly?

D: He’s moved to NYC.

M: Yeah, I would see him all the time in my NYC years. He’s great; he’s still setting up all these… Sells some badges at gigs. And he’d ask and he has this long hair and smoking spliff and selling badges. And he was fabulous in the sense that that’s what he does and he does it perfectly. But the fact that he lends his knowledge of craft to anybody who wants to do something, and do it themselves. So he’s kind of the DIY king.

D: He didn’t go back into printing then? Cause he does a lot of audio stuff, doesn’t he?

M: I think so.

D: A lot of events and conferences.

M: He does. He’s a great archivist. Of his own accord obviously.

D: He used to help people, fanzine writers. If you wanted some spare cash, you’d go around to his over a weekend and make badges. So that means you’d have to pull the thing down. All these punk rockers would be in his basement churning out badges for £20 or £5 a day. So if you were stuck for cash, you’d go down to his dungeon.

INTERRUPTION

M: So were you into pit punk? Were you at the front of gigs pogo-ing? Gobbing?

D: Not gobbing. I think gobbing was a bit of a myth.

M: Really? Sometimes I read a lot of interviews about fanzines where they just talk about being gobbed on and how it’s a bit of a bummer.

D: It may have been outside London, but I’ve never seen it. In London, I saw pogo-ing friends. It wasn’t violent… We used to call it chicken dance later, because people used to swing their elbows out to scare people off. But the actual pogoing, jumping up and down, I think that was a bit of a myth as well. We used to dance kicking their legs together like that.

M: Like skank dancing!

D: Yeah! That sort of space but a bit more militaristic if you like. Clearing a space. But…

M: So what made you…? Did you feel you’d been led out of punk, or did you feel like punk was changing into different things?

D: I think it developed. To me, I think punk never died, it’s evolved and things have come out. And sometimes you have old school punk band like Flowers and the Dustbin. So I’m going to see a band in a small venue. But I think it just developed – people developed their own worlds really.

M: Did you continue to follow a lot of the music like PiL and going into bands of that era, going into My Bloody Valentine, Nirvana, the 90s – what was your trajectory of music listening?

D: I call it my gestalt  movement. When Crass appeared, 79 or 78 I first got the cassette. It was like this is what we were meant to be doing in the first place. I just got… This is it, and all the hard core anarchists writing and all the paraphernalia that went with Crass. It was a full on package of saying ‘In all your decadence people die’. Punk’s gone decadent – all the alternative lifestyle’s gone decadent. And that just like why – this is it. And Puppy and everything that came with it, after that is all there. Ants, Crass, Juno – that became the lifestyle. And the Ants at that point were still an unsigned band. Very very powerful music. But decadent. That’s the decadence, that’s the all your decadence people will die. So it’s combined – a lot of leather jackets would have Crass and Ants combined. There was no contradiction in liking both of them at all, which is all fanzine led information about them. And that became anarcho punk – and anarcho punk came out of that Crass chasm and ability to produce so much stuff. And quality stuff. After that, I think it became more interesting, all the psychobilly, and Goth stuff. All the Batcave stuff. Alien Sex Fiend. Taking the edges of the Ants world a bit further. On that side, I really liked the gun club, all that swampy, gothic, psychobilly stuff, and then you had the Crass stuff. My record collection… A bit like when new wave came out, and The Clash, Blondie, Pretenders, Elvis Costello.

M: At some point you stop publishing KYPP and you go off into your life, whatever you do.

D: Do you want to know what happened after? We went into festivals. The Stonehenge festival and things like that were starting to become punk infiltrated. There was a band called the Mob from the West Country. They knew all the festivals, they played them all and introduced bands to play the festivals. Poison Girls played the festivals. We started going to them. And at the festivals, they started fire=breathing, juggling, the Tibetan-Ukrainian… LIFE STORY.

VIEW THE WHOLE B.B.C ARTSNIGHT PROGRAMME ON THE YOUTUBE POST HERE

 

The Mob – Meanwhile Gardens – August 1983 / The Clefts – 1981 / Ritual – 1982 / Kindergartan – 1985 / Yabby You And The Prophets – 1975 / The Apostles – 1986

A KYPP catch up on recent You Tube posts that have been published recently.

The Mob – Meanwhile Gardens – August – 1983 part 1

The Mob – Meanwhile Gardens – August – 1983 part 2

Uploaded tonight is a wonderful performance from The Mob, recorded at Meanwhile Gardens near Westbourne Park in the summer of 1983.

The audio is a second generation copy of the cassette that Protag, who was looking after the vulnerable P.A system on the day, recorded via the mixing desk.

I will endeavor to upload some more performances from The Mob in the future.

For downloads of this performance go to this KYPP post HERE

All the photographs are from the collections of Mick Lugworm and Tony D.

A photograph was taken at the pub next to the canal opposite Meanwhile Gardens. Some photographs were taken at Meanwhile Gardens. Some photographs were taken of various people walking to the Centro Iberico, a short walk from Meanwhile Gardens.Some photographs were taken outside and inside the Centro Iberico.

The rough typed interviews with The Mob are written and typed by Tony D and also from his collection.

The best I could do was to supply the Wilf drawings at the beginning and end, which are from my collection.

Oh and the cassette tape, which I guess is quite important considering!

Dedicated to Naomi Okada – This will put the book into some kind of perspective.

Red White And Blue

Premature Burial / Black Death

Some years after The Clefts had split up, I got to know Clive, the ex guitarist, and his brother Frank, the ex vocalist.

Although from Letchworth Garden City, the brothers were seen inside the nearby Stevenage venue, the Bowes Lyon House for the weekly punk nights on a regular basis.

Clive and his brother produced screen printed T – shirts from their mothers home, and sold them via the back pages of the music weeklies, at gigs, and from word of mouth.

Anyone that you saw with a Rudimentary Peni, UK Decay, Subhumans or Flux Of Pink Indians T – shirt, back in the early – mid 1980’s, would have got them from Clive and Franks micro business. The brothers were not bootlegging, always getting permission to produce designs on behalf of the bands. There were too many bands to mention on here, but I had several, including my adored Chron Gen T – shirts.

A few years down the line, it was Clive that printed all of the King Penguin Distribution catalogues, that I would send out or give away at gigs. There were three catalogues in all. Thanks for that grafting Clive! King Penguin Distribution managed to sell many of the designs that were still available back in the 1980’s, lovingly screen printed by Clive and Frank.

Clive still has a hand in T – shirt manufacturing, and has an eBay store. Some selected shirts still remain from those glory years but not too many sadly…

HERE is the eBay store details for Clive’s screen printing business.

The Clefts were ‘formed’ in the summer of 1978, although this school boy band only had two Spanish guitars, a biscuit tin, and a cymbal half inched by Frank from the school.

By 1979, after actually owning some cheap instruments, The Clefts started to get a sound influenced, not by Sex Pistols, but by the Swell Maps and the Mekons, and started performing a few gigs. I understand that a ‘few’ means exactly that, not many at all.

The band supported Patrik Fitzgerald at the Bowes Lyon House in 1980, with a new drummer that had joined the night before. A friend of Jon Thurlow ex of Optional Extras, and soon to become the guitarist of Chron Gen. I think The Clefts were first support to Crisis when that band visited Letchworth Garden City.

This record recorded in 1981 shares a sound similar to Part 1, a band from Bletchley in Buckinghamshire that were active around the same time. This is probably down to coincidence rather than either band forcing the sound. It’s more than very unlikely that either band had heard of the other band.

From what I understand there were only 750 copies of this 7″ single produced, making it outsell any other Letchworth Garden City band by around 750 copies.

Songs For A Dead King side 1

Songs For A Dead King side 2

Some members of the band Ritual had started practicing and performing sporadically, in 1979 as General Confusion. Only settling line ups and the name Ritual in 1981.

Ritual were one of the first ‘positive’ punk bands but never got the same recognition as Sex Gang Children or Southern Death Cult did in and around 1981 / 82.

Many compare Ritual to Theatre of Hate as the band also had a sax player. There could be comparisons to many other bands in parts. U.K Decay being an obvious one. Lack Of Knowledge and Part 1 being less obvious.

Prior to the ‘Mind Disease’ 7″ single, Ritual released a six track demo tape.

They also recorded tracks for a cassette album called “Songs For A Dead King” which was released with a booklet.

The booklet is featured page by page on this YouTube video.

‘Songs For A Dead King’ has some decent demo quality songs within the thirteen songs on the cassette, but I feel is slightly let down by the addition of a few ‘live’ recordings.

This is just me. I am a little O.C.D when it comes to albums released on vinyl, cassette or even 7″ E.P’s.

Either record and release a studio session, whether that means less tracks (as studios were expensive, then and now) or record a full on ‘live’ album.

I’m fine with either, but not mixed together.

Classic studio albums and classic ‘live’ albums are in abundance.

Mix the two and you begin to end up with, in my opinion (as if that would matter) a rather more ‘desperate’ release.

Anyway carrying on.

In 1983, Ritual re-recorded ‘Brides’, a track from the first demo cassette tape, and from the ‘Songs For A Dead King’ cassette tape.

The song was released as part of the ‘Kangaroo Court ‘ 12″ single. By far Ritual’s best release, and sadly their last.

The band fell apart as drummer Ray Mondo and guitar player Jamie Stewart were asked to join Death Cult.

Ray Mondo later switched the Death Cult drummer seat with Nigel Preston (ex-Theatre of Hate) to be the drummer in the last line up of the (early) Sex Gang Children. Vocalist Errol Blythe and bass player Mark Bond joined Spon (ex-UK Decay) to form In Excelsis.

Both the Ritual singles, and the cassette tape ‘Songs For A Dead King’ can be downloaded on the KYPP post HERE.

Hope you like this post, and remember that the images accompanying the audio is the original booklet scanned in full.

World Turned Upside Down

Double Standards / Carbon

Kindergarten along with Lack Of Knowledge were one of the Enfield area bands, although by the time of this record being released some members of the band were holed up at Lansdowne Road in Tottenham, N17 within cheering distance of the football stadium there.

The band were connected to Tea House Camp not only by location (a member of Tea House Camp also lived at Lansdowne Road) but also by constantly performing together at various gigs around the North London area. Kindergarten were the heavier sounding of these two bands with a sound reminiscent of Killing Joke.

Tea House Camp were actually from Bradford, home of New Model Army and Southern Death Cult and were just temporarily based in London. Both brothers in that three piece band were actively employed by doing stints at Rough Trade Distribution, then based at Collier Street in Kings Cross, N1.

Kindergarten had quite a decent following at those North London gigs and I saw them a fair few times. A lot of Play Dead and New Model Army types used to come to the performances, including the infamous Nick The Frog. Joolz, the Bradford poetess and Justin from New Model Army would come along now and again and those two would also invite the band to there private parties in Stamford Hill which were fun. The couple that I went to were, in any case…

Gig highlights for me were performances at The Three Crowns in Stoke Newington on one of Jon Fat Beasts free entry gigs and The Boston Arms in Tufnell Park which was an all day gig with Brigandage, Rubella Ballet, Ausgang and Tea House Camp performing among a host of others.

The debut 7″ single, released on Diamond Records, ‘Warrior / Ha Ha Ha!’ had been released and sold out pretty fast, as far as I recall.

While an idea of recording the second single was in the air I was paying a visit to Lansdowne Road and it was discussed that the band wanted to place mugshots of various people onto the eventual artwork.

I went out to the nearest photo booth with Magnus who was quite an infamous character. He was a relatively well connected roadie and did a fair amount of regular work at the Clarendon in Hammersmith. The list of bands that he had worked for was quite vast including New Model Army, The Cult, Play Dead as well as Tea House Camp and Kindergarten.

We came away with four mugshots from Seven Sisters tube station and wondered back to Lansdowne Road where we placed them in a pile with other booth photographs already collated.

Around half a year later the record had been recorded and pressed and artwork ready to go to the printers and I was quite chuffed to see that three of the four photo booth photos that myself and Magnus had handed in, had been used. One of me, one of Magnus with his treasured (and seemingly always worn) eagle baseball cap, and one of the both of us together. Nick The Frog is one the sleeve twice although both the same booth photograph, but one of them has a sword drawn onto it! My younger brothers girlfriend of the time named Amy was also on the inside cover…

For the downloads of both singles released by Kindergarten go onto this KYPP post HERE.

Lovely.

Vivian Jackson and The Prophets side 1

Vivian Jackson and The Prophets side 2

This debut collection of recordings that were recorded by Vivian Jackson and The Prophets, included various 7″ single tracks dating from 1972 until 1974, on Jamaican record labels that were released in amazingly small quantities of no more than two hundred copies originally.

The album I have in my collection, credited to Vivian Jackon (sic) and his ‘Yabby You’ nickname, is the very first pressing on the Prophet records label, run by Vivian Jackson himself, that got distributed among the wave of militant roots reggae music that had became so popular in the large towns and cities of Jamaica in 1977. Some copies making there way to Europe, and specifically to the UK. Artists like Culture, Burning Spear and The Congos and many more helped pave the way for this music in the UK, with a large amount of help from late night radio DJ’s David Rodigen and John Peel.

The original pressing of this album was released in 1975 on the Micron record label, quickly followed in 1976 by the only UK version of the album to be released. ‘Conquering Lion’ was renamed ‘Ram A Dam’ for the UK market, and contained most of the tracks on the Micron Records pressing, although in a different running order. ‘Yabby U and The Prophets’ was the revised artist name and the album was released on the Lucky record label.

If you own a copy on either of the Micron or Lucky record labels then you have a real treasure. Look after it. They are worth hundreds and hundreds of dollars.

My heavy weight first pressing, with it’s heavyweight cardboard sleeve released on the Prophet record label, is rare enough, but willing to trade for a Micron issue!

Vivian Jackson was born in extreme poverty in Kingston and got seriously ill in his teens while working at a furnace facility. Thrown out of his employment, he had no choice but to became a beggar and hustler around the markets, in the tough ghetto’s of Kingston. Vivian being disabled and in such a ragged state, no one would employ him, added to this situation, he also had his share of knocks living on the street.

He eventually started to compose songs and, as normal with Jamaican artists, visited many recording studios and sung acapella style to the studio owners. Osbourne Ruddock AKA King Tubby told the artist to come back to the studio with the (ever so) important JA dollars, and they would cut a vocal and a dub.

Vivian had no money and had to wait quite some time to go back to the studio, this time with The Prophets (actually originally credited as Ralph Brothers on the final released record in 1972) to get ‘Conquering Lion’ down on dub-plate with a King Tubby’s dub on the reverse side.

This dub-plate, as usual in Jamaica, was played on the sound system that was affiliated with the studio the tracks were recorded in; King Tubby’s sound system in this case, and from the reaction from the crowd at the dances, a few hundred copies were pressed up on the NOW label. These copies sold out and gave Vivian his first steps in the industry, to build up a working relationship with Tubby that would last several years.

The ‘Conquering Lion’ album is filled with tracks that are sublimely beautiful, and without doubt some of the best roots music ever produced by any artist. Quite frankly, a cornerstone of the reggae genre. It is also one of my very favorite records, of any genre.

The original KYPP post HERE.

The Apostles Live At The Aktion Klub side 1

The Apostles Live At The Aktion Klub side 2

I knew Andy Martin and Dave Fanning of The Apostles reasonably well, when they both moved to 108 Brougham Road Hackney.

I was visiting Brougham Road several times a week, as I had nothing better to do with my time locally, so I was volunteering my time to All The Madmen records, a record label based at 96 Brougham Road.

I stayed over both houses on occasions, and even painted the inside of 108 Brougham Road once, much to the appreciation of Andy Martin and Dave!

Andy Martin was very kind to me in general, and in the case of painting his hallways, landings and other parts of the house, he gave me three cassettes.

One of which is uploaded onto this YouTube post today.

[I was happy for the cassettes – I was not expected to be paid as I wanted to be useful]

There were times when the Hackney Hell Crew were staying there and others would visit.

The Hackney Hell Crew members that I remember being in the house on a regular basis were Pus (Goatsbreath), Ollie, Simo and Martin Barabbas… Two of those Hackney Hell Crew members are no longer with us, and haven’t been for some decades now…

Ollie and Martin Barabbas were both in The Apostles in 1984 recording the 4th E.P ‘The Giving Of Love Costs Nothing’ (ironic title given the subject matter on this E.P) and the 5th E.P ‘Smash the Spectacle’ recorded in 1985.

Now and again, Andy and Dave would jam in the practice room at 108 Brougham Road aided and abetted by whoever was around the house at the time. I banged a drum on the odd occasion.

The ‘Aktion Klub’ was based at 108 Brougham Road, it wasn’t a club, there were no flyers to advertise, and there was not really an audience, save whoever was around the house at the time, there were no regular events.

The Apostles on this session respectably sound like their influences, Whitehouse / Come Organisation, Throbbing Gristle, ‘Vibing Up The Senile Man’ era Alternative T.V and Psychic T.V.

This recording can be hard to listen to, unless of course, you have an ear for this kind of thing.

The visuals that accompany the audio on this YouTube post are two scans of my original cassette tape given to me (as a set) from Andy Martin for painting large areas of the house, and with a nice touch, there is a picture he drew of me, the way I looked in 1985 and 1986.
I am not sure what the hands covering my ears reference is. Perhaps he thought I would hate the material on the cassette tape!

Also scanned are two photographs from my collection of the back garden and Dave Fanning’s bedroom at 108 Brougham Road.
These photographs were taken by my younger brother for an art project he was involved in. I have the original photographs though.

There is an old KYPP post with this cassette uploading onto it if anyone wants or feels the need to download the audio HERE.

This is The Apostles ‘Industrial’ side.

The Apostles ‘Punk’ side will be uploaded onto YouTube at some point in the future.

The Mob – Meanwhile Gardens – June 1983 / ONU Sound Disco Plates – 1982 – 1983 / The Abyssinians – The Congos – 1977 – 1978 / Louise – Andy Martin – Josef Porta – Tim Hutton – 1981 / First Of May – 1988 / MENEJECT – 1980

A KYPP catch up on recent You Tube posts that have been published recently.

The Mob – Meanwhile Gardens – June 1983 – 1

The Mob – Meanwhile Gardens – June 1983 -2

Uploaded tonight is an absolutely electrifying performance from The Mob, recorded at Meanwhile Gardens near Westbourne Park in the summer of 1983.

The audio is a second generation copy of the cassette that Protag, who was looking after the vulnerable P.A system on the day, recorded via the mixing desk.

Three of the tracks from Protag’s master cassette tape were chosen and featured on the B-side of The Mob’s reissued ‘Crying Again / Youth’ 12” single on All The Madmen Records, released in 1986.

‘Gates Of Hell’ ‘No Doves Fly Here’ and ‘What’s Going On?’

I will endeavor to upload some more performances from The Mob in the future.

For downloads of this performance go to this KYPP post HERE

All the photographs are from the collections of Mick Lugworm and Tony D.

A photograph was taken at the pub next to the canal opposite Meanwhile Gardens. Some photographs were taken at Meanwhile Gardens. Some photographs were taken of various people walking to the Centro Iberico, a short walk from Meanwhile Gardens.Some photographs were taken outside and inside the Centro Iberico.

The rough typed interviews with The Mob are written and typed by Tony D and also from his collection.

The best I could do was to supply the poster for the reissued ‘Crying Again / Youth’ 12” single on All The Madmen Records, the sleeve artwork and the Wilf drawing, which are from my collection.

Oh and the cassette tape, which I guess is quite important considering!

Dedicated to Naomi Okada – This will put the book into some kind of perspective.

A clutch of well played 10″ singles from the ONU Sound disco plate series.

This is not the full set sadly. But with the running time for this YouTube post at an hour, you are getting your monies worth.

The records that are featured on this YouTube post are:

DP1: Prince Far I – Virgin / Bim Sherman – Danger
DP2: Bim Sherman – Revolution / Too Much Work Load
DP3: Creation Rebel – Independent Man / Creation Rebel
DP4: London Underground – Strange Things / Conspiracy / Why Do Fat Men Have Such Skinny Thoughts?
DP8: Congo Ashanti Roy – African Blood / Hands And Hearts

The records missing are:

DP6: Noah House Of Dread – Murder / Stand Firm
DP9: Congo Ashanti Roy – Breaking Down The Pressure / Mikey Dread – Autobiography
DP10: Bim Sherman – Keep You Dancing / Can’t Stop Moving

All tracks are engineered and produced by Adrian Sherwood.

London Underground featured Pete Holdsworth on vocal duties.

Several years later Pete started work on the Pressure Sounds record label, one of the better reggae labels specialising in releasing extremely rare reggae with extensive sleeve notes.

Folk who are interested in this ONU Sound YouTube post would no doubt know about the Pressure Sounds record label, so I will not bang on further.

London Underground had a sound reminiscent of Public Image Limited circa ‘Metal Box’ which is not a bad foundation to build a sound to.

The other artists featured on the disco plates are of course well known so will leave you to Google them if you need to.

Uploaded tonight are two well played 12″ reggae singles.

In fact two of my favorite 12″ reggae singles.

Neither of these two reggae harmony vocal groups, The Abyssinians and The Congos, need too much of an introduction.

Neither of these two 12″ reggae singles, and the four tracks upon them, need too much of an introduction either.

The Abyssinians: I & I / Satta A Masagana

The Congo(es): Neckodeemus / Solid Foundation

It is sufficient to write that these two 12″ reggae singles are among the very best released, from any reggae harmony vocal groups in 1977 and 1978.

The Rasta featured in this YouTube post with his bin liner full of herbs, is called Rusty.

Rusty lives (or at least lived) in Bluefields, Westmoreland, Jamacia.

Bluefields is the tiny beach town (and the accompanying hills) where the late Peter Tosh was born, and lived.

For plenty more information on The Congos, please have a look at this KYPP post HERE

These two 12″ reggae singles are immense.

Louise – The Witches / Youth In Asia / Hysteria Ward
Andy Martin – The Apostles
Josef Porta – Zounds / The Mob / Blyth Power
Tim Hutton – The Mob / Zounds

SOME HISTORY

Lou was living with the Puppy Collective at Puppy Mansions in Westbere Road Hampstead during 1981. Lou along with other house mates went to witness a gig in the squatted ‘Grimaldi’ church in Pentonville Road, Kings Cross. The Grimaldi church was so called as that is the resting place for a famous clown Joseph Grimaldi who died in 1837. The proper name for the church to any other congregation, other than punk squatters, was St James church.

Among the bands performing that night was The Mob. This was the first time Lou had witnessed the band and she was shortly in a relationship with Mark from the band. Through Mark, who was living at 74 Brougham Road at the time, Lou met Josef Porta and Tim Hutton among other notable Brougham Road co – op members.

Tim at the time was drumming for The Mob. Josef was drumming for Zounds.

When Lou was commuting from Puppy Mansions into Hackney to see Mark Mob in Brougham Road it was decided one night to record a low key jam in Josef’s bedroom at 64 Brougham Road.

One of the tracks on this personal tape is entitled ‘Shalom’ which means peace in Hebrew. This is a track that was written by Lou after she was badly attacked by two skinhead girls in Kilburn.

Brett and Mick Lugworm from Puppy Mansions managed to get Lou to the Royal Free hospital in Hampstead to get cleaned up and mended.

The bedroom session has Josef on drums, Tim on guitar and Lou on second guitar and vocals.

This line up ventured out of Josef’s bedroom only twice Lou remembers.

Once at a pub now forgotten when an amp blew up so no performance was completed, and once on the Fuck Off stage which was set up at Stonehenge Festival.

The Stonehenge performance went ahead but as Lou and Tim had dropped acid a little while before, it was not that memorable at least to Lou who was tripping heavily.

She remembers the reception to the performance was pretty good but that could be just the drugs! The band retreated back to the KYPP tent after the performance to enjoy the rest of the evening at the stones on Salisbury plain.

Andy Martin from The Apostles was also a huge motivator for Lou.

Lou ended up at the top room of the squat that Andy had in Foulden Road, Stoke Newington, and between them composed and performed several tracks that appear on the tape that you may download below in the KYPP link.

Lou got on with Andy Martin very well, and even got a cake given to her, made by Andy for her to share with Mark from The Mob.

Commuting to Stoke Newington was also pivotal to Lou’s future as it was there that she was first introduced to Rob Challice then of Faction.

Lou had seen Rob at the Wapping Autonomy Centre but had not up to this point ever spoken to him. Lou sold Rob her heavy black bass guitar in fact in Andy’s Foulden Road squat!

Much more to read on this KYPP post HERE.

This cassette tape has been knocked around a little bit so there are a few dropouts within the recordings but hopefully that would not spoil the music too much…

All artwork displayed in this YouTube posts that accompanies the audio are original artworks painted by Louise and are all from Louise’s collection.

The First Of May demo cassette – 1988

A two track demo cassette sent to me by Gerard, at that point the ex vocalist of Flowers In The Dustbin, a band that had split up a year previously, towards the very end of 1987.

‘Cowboys And Indians’ is a version of the old Flowers In The Dustbin song, followed by a First Of May Group original, ‘Freaks’.

Both tracks are wonderful. Featuring violins, acoustic guitars, Gerard’s unmistakable vocals, alongside beautiful female backing vocals.

Both songs have a strong ‘life force’, you can imagine sitting by streams and fields if you try just a little bit.

In the absence of any ‘relevant’ First Of May Group visuals to go with this demo cassette audio, I have scanned my original letter from Gerard with the first notification (to me in any case) of this new band Gerard was involved in.

I have also scanned in a photograph that I took in the mid 1970’s with my fathers camera. Stonehenge in Wiltshire.

A photograph of Stonehenge, some ten years prior to the battle of the beanfield happening in 1985, where police and bailiffs rampaged throughout fields, damaging dozens of peaceful peoples homes, bodies and lifestyles, within a few long hours of fear.

I felt that an authentic photograph of Stonehenge from my collection, suited the mood of the audio and of course, it suits the day that I place this YouTube post up.

I have uploaded this First Of May Group post onto YouTube during the Winter Solstice, so I have added some information on this very special day below.

Yule: Winter Solstice – Dec 21st / 22nd

The origin of the word Yule, has several suggested origins from the Old English word, geõla, the Old Norse word jõl, a pagan festival celebrated at the winter solstice, or the Anglo-Saxon word for the festival of the Winter Solstice, ‘Iul’ meaning ‘wheel’. In old almanacs Yule was represented by the symbol of a wheel, conveying the idea of the year turning like a wheel, The Great Wheel of the Zodiac, The Wheel of Life. The spokes of the wheel, were the old festivals of the year, the solstices and equinoxes.

The winter solstice, the rebirth of the Sun, is an important turning point, as it marks the shortest day, when the hours of daylight are at their least. It is also the start of the increase in the hours of daylight, until the Summer Solstice, when darkness becomes ascendant once more.

Cycle of the Year

Yule is deeply rooted in the cycle of the year, it is the seed time of year, the longest night and the shortest day, where the Goddess once again becomes the Great Mother and gives birth to the new Sun King. In a poetic sense it is on this the longest night of the winter, ‘the dark night of our souls’, that there springs the new spark of hope, the Sacred Fire, the Light of the World, the Coel Coeth.

Fire festivals, celebrating the rebirth of the Sun, held on the Winter’s Solstice can be found throughout the ancient world. The Roman festival of Saturnalia was held on the winter solstice, boughs of evergreen trees and bushes would decorate the house, gifts where exchanged and normal business was suspended. The Persian Mithraists held December 25th as sacred to the birth of their Sun God, Mithras, and celebrated it as a victory of light over darkness. In Sweden, December 13th was sacred to the Goddess Lucina, Shining One, and was a celebration of the return of the light. On Yule itself, around the 21st, bonfires were lit to honour Odin and Thor.

The festival was already closely associated with the birth of older Pagan gods like Oedipus, Theseus, Hercules, Perseus, Jason, Dionysus, Apollo, Mithra, Horus and even Arthur with a cycle of birth, death and resurrection that is also very close to that of Jesus. It can hardly be a coincidence that the Christians, also used this time of year for the birth of Christ, mystically linking him with the Sun.

That Yule is another fire festival, should come as no surprise, however unlike the more public outdoor festival of the summer solstice, Yule lends itself to a more private and domestic celebration. Yet like its midsummer counterpart, is strongly associated with fertility and the continuation of life. Here the Goddess is in her dark aspect, as ‘She Who Cuts The Thread’ or ‘Our Lady in Darkness’, calling back the Sun God. Yet, at the same time, she is in the process of giving birth to Son-Lover who will re-fertilise her and the earth, bringing back light and warmth to the world.

MEN/EJECT – Apologize 

MEN/EJECT – Draw

For appreciators of WHITEHOUSE / S.P.K or Throbbing Gristle.

This 7″ single comes with a picture sleeve, and includes several inserts, all within a oversized envelope.

All of those are scanned and added to this YouTube video of these two tracks by MEN/EJECT.

I know not know anything about MEN/EJECT apart from this is a great little artifact.

What I can gather from one of the inserts is that the P.O contact is in San Francisco. The recording studio is in New York, and that the engineers for the session have names that are Japanese or Korean. Another insert has a photograph of dead dogs with the heading ‘The Final Choice Of Mature Taste’.

Adding two and two together to make five, there might be a clue that MEN/EJECT were possibly Korean U.S citizens with the dog eating reference… Or that might be complete rubbish. I do not know. If anyone does know, let me know and I will place the information shared onto this post.

 

Raped / Cuddly Toys – Parole / Overseas Records – 1977 / 1978 / 1979

During the late summer of 2015, Tony D and Faebhean Kwest, the guitarist from Raped / Cuddly Toys got together for the first time in thirty five years.

Tony D had featured Raped in his original fanzine ‘Ripped And Torn’ and later on, featured Cuddly Toys in his new fanzine ‘Kill Your Pet Puppy’.

Here is a transcript of the conversations.

All the records are from my collection, sorry for some of the surface noise, these records have been well played.

The Cuddly Toys album on C.D and download can be purchased directly from Jungle Records on their website HERE The C.D comes with an extra D.V.D of interviews and promo videos.

All the photographs, flyers and other memorabilia are from Tony D’s collection.

Oh, and a quick note; Tony D was correct when he informed Faebhean that my favourite Cuddly Toys song is ‘Alien’, added to that, and for the record, ‘Moving Target’ by Raped, is one of the finest punk tracks of the era in my opinion. ‘Moving Target’ sitting pretty as the first track, on the first side, of the first single.

Indebted to Faebhean Kwest.

Moving Target / Raped

Escalator Hater / Normal

Your first record that was released. Do you think that Chelsea and Sham had a similar sound on their debut?

We were before Sham, but not before Chelsea as they were going back in ’76. We did not want to sound like any of those early punk bands like Eater or 999. Sean was obsessed with old Bowie and Iggy Pop, where as I preferred, sounds funny, Johnny Winter, Richard Hell  and the New York Dolls, a band I had actually seen, and I came away with my eyes open, a ‘Blues Brothers’ moment, of feeling that’s the way forward, and I was not the only person in the world who thought that you did not have to dress in a white suit like Eric Clapton or perform like the Rolling Stones. You could play music from the dark side of the tracks.

Before the New York Dolls what were your influences?

I liked rockabilly, Eddie Cochrane that kind of stuff. I wanted to be Marc Bolan, and maybe a member of Sweet, although I definitely would have wanted to be in T Rex. I liked the simplicity of it, I thought Bowie, and I know he is somewhat of a sacred cow, but to me, he was more an actor, not a ‘rock star’, he played the part. Whereas Bolan you could imagine that he really would walk around the house dressed like that. I always liked in music and film, people that were somewhat ‘off the wall’ and are not looking like that they are trying to be eccentric. I’ve known Adam Ant since God knows when, and I would say to Adam, you’re a little bit off the wall, a bit eccentric, and he would reply, “No I’m not” and that’s brilliant, as you know, he is eccentric ‘off the wall’. I say that with the great affection. The last time I saw him a couple of years ago, we shared a house with him in Deal, Kent, for a party and he was still as wonderfully ‘out there’ as ever.

Good. How did you meet Sean, Paddy and…?

We met through an advertisement in the Melody Maker. “Wanted for weird glamourous, pantomime band with loud clothes and loud attitude”.

So you never met them before in your life?

No. What it was is that the only places that would put on, you know, the punk groups were either arty farty bohemian places or gay bars like Louise’s in the West End or the Pan Club in Luton. Places like that. If you turned up at a normal rock venue and play, you’d get booed off. The promoters would say “I bet you don’t like Jethro Tull or Pink Floyd”. “No we fucking don’t, we want to play our generations music” and all the hippies would become more reactionary than our dads! The music papers, they sort of tolerated the punk thing, but even so, an advertisement then was…  Yeah that’s how we got together. Sorry I digress.

When did Raped start up?

1976. I had already auditioned for the Pistols late on in ’75 or early ’76, forgotten now, and I could see the way that the wind was changing and I knew that there was something in the air. I went along for the audition, and went to the wrong place in Denmark Street. I thought I was auditioning for Sparks. I turned up and went upstairs. I got bleached blond crewcut hair; I had a green weird top on, a pair of red drainpipe trousers and white winkle pickers on. McClaren was there and he showed me a picture of the New York Dolls, and asked me if I knew who they were. And I had already seen the New York Dolls at the Rainbow Room Bibas; I still got the ticket stub! McClaren wanted me to join immediately as I looked like an embryonic ‘70’s punk. The auditions for Raped we saw a lot of good and bad people, but Sean turned up, who in those days had long wavy hair, like a Kevin Keegan hair style and flares, and polo neck jumper, despite what he would have ever said. Tony Bagget was in some rock band. Paddy turned up, we didn’t know who he was, or anything about him, but others had not turned up, so he joined!

Did Paddy look like… you know; have the long hair and… glam?

Oh yes very much so. I had already been doing a punk thing with a band called Swank, which was what was left of the Swankers. Swankers were members of the Pistols thing. Swank were people like Nigel from the Vibrators, Gary Olson, the popular actor on vocals. We were like really early punk stuff. We actually supported Adam And The Ants, at the Man On The Moon in Chelsea, early 1977 and the audience walked out apart from Jordan and Sue Catwoman!  Adam was running around with one of those ‘rapist masks’ from Seditionaries’ and he was mad and I thought that’s the way for me! Swank also supported the Rezillos.

So Swank were still kind of punky?

One of the first punk groups.

But you left Swank and joined Raped?

Yes, I wanted to form my own band. Gary Grant (Olson) auditioned this other guitarist behind my back, actually got him into the rehearsal studio, and I decided it wasn’t for me. Anyway I thought it was becoming a little boring and tedious and that advert went into Melody Maker for a band a little more glamorous, a bit more pantomime. The band that would become Raped.

What songs did you have written early on?

Oh, ‘Escalator Hater’, ‘Moving Target’. We performed the song ‘London’, which was the Screaming Lord Sutch number. He was quite ‘out there’ as well; I thought he was a kindred spirit. There were certain bands that the punks liked, like The Who, MC5, oh and Link Wray, people like that. These bands and people were not like the rock ‘guitar solo’ acts. These people were, again, from the dark side of the tracks. When I saw Link Wray live he was like; “Go fuck yourself, I’m not Elvis, I’m real”, I felt that he was another person that I would like to be… Raped sat around and all added parts to the early songs, I bought in a bit of New York Dolls and Johnny Winter and dare I say it, a bit of early Jimmy Page.

Tell us about the studio that you recorded the first single ‘Pretty Paedophiles’ in.

Sean had met a man called Alan Hauser, who wanted to put a punk record out. Alan wasn’t the best manager, but he ended up managing us. Alan knew the people behind Spaceward studios in Cambridge. The sessions were alright. It was the first recording studio that any of us had been in. We had done some recording around people’s houses with tape records and things; but not proper studios.

Did you record just the four songs or were there more?

We did record more songs at Spaceward, but I do not know what happened to them. They just disappeared. I think we recorded six or seven songs.

So you did not record any demos or anything, you just went straight in?

That’s right, it sounds laughable nowadays, but back then, bands were going straight in for quick recording sessions, a bit like it was in the ‘50’s and ‘60’s. Bands nowadays probably spend a week laying down a bass part! I like to think of the bands from the ‘Swing’ period, Duke Ellington, Django Reinhardt who would know the music intimately and go into studios with large orchestras and take just a couple of takes and that would be what would be cut onto a 78 rpm record. If any errors did occur, then the errors would stay on the recordings. But that was all part of the charm, you might get a few bum notes, but you would get the spontaneity which has been lost now.

The title of the single was ‘Pretty Paedophiles’…

That had nothing to do with me, I did not even know what the word meant, next thing you know Alan Hauser and Sean came up with that name. I’d suggested something like ‘Pantomime Bastards’, which I thought great at the time! It was just to be annoying I think. This was in a time that bands were singing in phoney American accents, being really cool and who would be the new guitarist of the Rolling Stones, who gives a fuck? And we did not want that, we wanted it to be mad. Sean and Alan said this is what we are going to call it. Later on, any input that I had was being diminished, and the band was becoming Sean and Alan’s thing. “Thank you very much for everything, but we’re in charge now”.

Yet you had formed the band.

Yes originally. Sean was practically living in Alan’s place, and was there all the time. Album designs became Sean’s baby, that was it, whether we liked it or not. In fact one of the bones of contention, one of the reasons I was dismissed from the band was because of his plans after ‘Guillotine Theatre’ album, he wanted to do an album of Bowie and Iggy Pop covers. He was just trying to be annoying and a Bowie clone.

The same question about the band name ‘Raped’.

Originally we were going to call ourselves ‘The Solicitors’, until Sean realised what Soliciting meant, and then ‘The Glass Spiders’ which was getting too silly, Bowie to a large degree. Some more names were thought of. ‘Wolfling’ was one; I pretended that there was another band called ‘Wolfling’ because I thought it was a shyte name.

We just came out with a really stupid name (Raped) like that. The name was changed because of John Peel of all people. He had already been playing our stuff on the radio a few times. He wanted to do a session with us, and suggested a complete opposite extreme name to Raped like ‘The Fluffy Bunnies’ or ‘Cuddly Toys’ or something and we thought, yeah. I still have a letter that he wrote to us which has got his inked stamp on it, stating ‘John Peel, the World’s most boring man’. Brilliant, I liked John Peel.

So you all sat around and chose Cuddly Toys?

Yeah, Sean suggested, Chocolate Fireguard, The Moonrockets, Rocking Rhythm Boys… That would go down well wouldn’t it! Glass Spiders name came up again, or the Ziggy Wiggie band or something… Oh fuck off please!  Why don’t we just call ourselves the Bowie impersonators? I wasn’t even that much of a Bowie fan, although I liked him, Sean was obsessed by him.

Was there any danger to the band being called Raped, did you get any aggression towards you?

No, no, not really. It was all part of the punk period and germaine to 1977. It was usually students, and the rock establishment who would get pissed off about it. It was just being annoying. You cannot take it in the context of nowadays where everyone wants to hang around with Simon Cowell. It was also a kick back to the Americanisation of bands with Marshall amp stacks and white suits or whatever. We were just annoying U.K boys really, and thought the name would be funny (followed by ironic ha ha ha’s – ed), but not as bad as the ‘Moors Murderers’ or the ‘Cambridge Rapists’.

When I first interviewed you for Ripped And Torn, we went to a gay bar.

Yes, we went to one in Earls Court, a heavy gay bar, leather and whip type places. We went there just to be annoying, I mean nowadays, you would probably be taken to a Starbucks or something! It was just an odd place to go to. You weren’t freaked by it either; you showed a bit of class! It was full of fellas with big beards and leather hot pants and things like that, yes.

There was a connection to gay bars at that time, The Roxy used to be a gay bar and…

It was, yes. It wasn’t really a connection; it was just that these places were the only ones willing, or able to put on these oddballs. It’s like the only places that would be willing to put on ‘black disco’ acts were gay bars, and is partly why disco had such a large gay following really.

We were regarded as so ‘out there’ the established rock establishment didn’t want anyone like us, they hated us with a passion. It must have been like what Elvis had experienced when he first went on stage and was considered a white musician performing ‘coon music’ and he would have experienced something similar, almost hatred. Jazz was regarded with the same sort of hatred in the early 1900’s. Even Strauss was booed off stage, and Debussy was threatened with ‘Le Fauvre’.

So did you go to gay bars when you were not performing?

No, not intentionally!

Raped played The Roxy of course.

We did yes, many times.

That was an old gay bar called Chaguaramas.

Yes, owned by Kevin St. John, who was quite funny and put a lot of the bands on there and Andrew Czezowski. I had watched many groups there and Andy asked us to play.

Do you remember the first time there?

No not really, I don’t remember the first one although we played with nearly all the bands like Menace and The Lurkers and all the bands like that down there. I had been to the Roxy initially early on when it first opened and I saw The Damned there and thought that they were absolutely brilliant. As close to the stage as I am to you right now, knowing that they were not ‘guitar heroes’ but they were great. Our generation! It didn’t matter, and we were the same age. They looked like me, but an extreme version of me, and I liked the songs. I just thought they were brilliant.

One memorable night we were down there and Generation X turned up and wanted to play and headline the night. Kevin St. John or Andrew Czezowski told them you can’t as Raped are headlining, but we agreed to toss a coin, to see who would go on first. So we tossed a coin, and the coin went our way so Generation X supported us that night which was quite funny, wasn’t it. There is an epilogue to this story, as years later when Billy Idol was going to America, he was holding auditions and I went along with my late wife, and he knew me anyway so I got a second audition, for a very short while I could have been a member of Gen X! He done very, very well for himself, I must admit I do like some of the stuff that he did over there, ‘White Wedding’, good, nice tracks.

Yeah he got the production that he deserved really.

Yes. He did.

You played other venues as well; do you remember any of the others, the Music Machine, the Vortex?

Yes. The Music Machine that was a beautiful place, full of nooks and crannies. It used to be an old music hall theatre. The stage was beautiful. The kind of stage that you could imagine Vesta Tilly, Marie Lloyd and all those performing, I’ve always loved the music hall, even when I was a kid, I was made up with it, we played there. A wonderful sound!

The Vortex?

Yes we played the Vortex. We played the Global Village Trucking Company, which became Heaven, and the strangest thing about that place was that you could go on stage there and play with an amp the size of a match box and you will hear this most incredible, the sound was able to carry right to the other end of the hall. You could hear every note, ambiance for music that I have ever heard in my life. I’ve never known a venue like it, I hope that hasn’t changed but it didn’t have loads of sound deflectors like you have at the Albert Hall, it just had this incredible sound. So we were playing with these little amps and people right at the back were listening to us.

It wasn’t called Global Village Trucking Company…

No. it changed its name shortly afterwards, probably to exorcise our evil after we performed there!

And then there was a place called the Centro Iberico.

Yes, that was a bonkers place. We got the gig through Alan I think, he knew some people there, I think he was trying to chat some women up that were there. We turned up and there were loads of Spanish anarchists there, it wasn’t long after Franco had died and the end of fascism in Spain, so we played the place and it was full of people saying I am going to smash the Spanish state, I had never been to Spain so I did not have a clue about it. There were pictures of Franco there with things like safety pins sticking out of him. And I always remember, someone told me a strange and funny story there, that when Hitler went to see Franco and tried to get him to join the axis with Mussolini, and apparently Franco was so annoying, horrible and just pedantic that you come away almost feeling sorry for Hitler because apparently he said “I would rather have my teeth pulled out than listen to him again”. Anyone that could do that to old Hitler and old Mussolini was, brilliant, quite funny. That story was floating in my head while we were playing there.

Who were you playing there with?

Oh I can’t remember some fucking really awful bands, people that kept saying; “I know punk, I know this and that” and you just wanted to say; “You don’t, you haven’t a clue sweetheart”, bands that think that they ‘knew’ punk, because they were wearing bin bags and safety pins, and just jumped about playing so badly shouting and screaming. That’s bollocks, what you on about? It’s like nowadays when you get people saying; “I’m a punk”, no you’re not. Punk was a just a period of time from 1976 through 1978 really, and then it died. It stopped. Which is fair enough, something else came along. If punk hadn’t died there might not have been that new romantic thing, the Blitz kids and those party people.

We, as anarcho punks thought it all carried on, Crass and all that, 1982, 1983.

Crass were ‘out there’. We really got on with Crass and became good friends with them but I wouldn’t have called them punks. They had a punk history and a punk background but I feel they moved on. They didn’t stay static in amber, they moved on from that.

At one time, I used to feel really saddened when I used to see in 1975 or ’76, before the punk thing, well at the start of punk, early ‘50’s Elvis and people dressed up like Teddy Boys and saying that the only music that ever exists is rock and roll. No, something else is going to come along which will be good in its own way. And it’s true, the punk thing happened in 1977.

And that’s why when people say to me; “They don’t make music like they used to”, I go yes they do. It’s not the same but they do, it’s different, things change as it does do. I like playing lots of 1930’s guitar music right now, and I know that music has changed incredibly since then, but the shape of the guitar, the shape of the amplifiers, the sound, the way people react is different, of course sometimes people wallow in nostalgia from before and want to re-live their youth. And that’s fair enough, it’s like lots of people go and see these Mersey Beat bands, Gerry And The Pacemakers and that sort of stuff. Its good fun, but they are not eighteen years old lads in tight fitting suits anymore; they are bunch of overweight sixty year olds, which is fair enough, but don’t ignore what’s happening now.

Cheap Night Out 

Foreplay Playground

OK, let’s talk about the second single. That was recorded at Morgan Studios. What do you think the difference was between that and Spaceward?

Oh, Morgan Studios was much better, I think maybe Led Zeppelin had recorded there, and lots of bands like that. We went in there and it was much more sophisticated. The desk man was less chaotic than the man at Spaceward, he was a bit more smooth. That didn’t mean that the sound was smooth, it just meant that he seemed to have far more experience which does help. It sounded better, was a much better studio, a huge studio.

How come you got into that studio?

Because of Alan. Alan Hauser our manager got us there. I think he knew them.

The sound of the first E.P was far rawer than Morgan.

Yes, well we went straight in there and ‘boom’, recorded six or so tracks in the day, so of course it was going to be much more urgent, much more, bang, straight in. Whereas we had the luxury at Morgan to do the whole track and wow, we did double track, and which sounds laughable but, despite the fact that Les Paul invented that in the 1950’s, we didn’t have much of a clue of it.

The mixing desk was twice the size and really good mics and of course, we were going to sound better. I don’t want to say that one sound is better because I actually listened to my old E.P a few months ago and I was actually pleasantly surprised to hear, and this will sound big headed, how good my guitar sound was and how precise it was. I hit all the right notes and used all six strings! Wow… And I can’t recapture that. People have said to me; “Oh you don’t sound like you did in 1976-77” or whenever, and I have to say, of course not.

I’m not a Tom Jones fan but I would agree with him totally when he said that people going to see him expected him to sound like he did when he first sung ‘Delilah’. Of course I’m not going to sound the same and of course he will not. Dave Vanian does not sound the same as he did when he recorded ‘Neat Neat Neat’. He’s a top man and has a fantastic voice, but he would not sound the same. Same with me, my guitar playing is totally different. I have a huge wealth of different styles and sounds to pull in nowadays. Maybe because I did not know any rules, I was able to do things that technically are wrong but are correct for the time, because I did not know I was treading on any musical toes.

One of the tracks had Sean’s sexual grunts recorded. Where did all that come from?

Oh yes, fuck me. We did the recording of the song ‘Foreplay Playground’, it wasn’t originally called that by the way, I can’t remember what is was called now, but it was more of a blues thing really as I was putting in my Johnny Winter and Rory Gallagher licks into the song. There were no words for it and then after we recorded it, Sean went in the next day and sang his words… He tells us that these are the words. “Are they? Oh dear”.

You were telling me that the title ‘Foreplay Playground’ came out of the blue to you and the sleeve with all the underage school kids. What was your reaction to all this back then?  How was it received?

Well, it was not something that I wanted to do myself, Sean wanted to go to an annoying school somewhere, and although we were not in the school grounds the Headmaster got rid of us. The Japanese photographer wanted to do pictures at Buckingham Palace I think originally, and that’s as far as I know really. I did not have anything to do with the title or anything. I was being side-lined, next thing you know; “That’s the name of the album, that’s the name of the single, that’s the name of…” Oh great.

I had no input, ending up as an unpaid session guitarist. Apart from playing the guitar to the point of, I was going into studios without Sean or Baggett being there. Alan was very good with this, going in early to record my guitar without those two being around saying; “Oh I don’t like that guitar, let me show you how it should be done”. Asking various hangers on their advice on how I should play!

I used to get that and it used to fucking wind me up. I hope it doesn’t sound like I am being bitter, but actually I am being bitter! When we were doing the album ‘Guillotine Theatre’ that’s when I knew it was the beginning of the end for me. And I was not going to be a vital part of the band. They would say; “Why don’t you play more like…” Oh who’s that guitarist for Bowie?

Mick Ronson?

No, not Mick Ronson, he was brilliant, love his sound, the other one. Earl Slick. I would say I don’t want to sound like him, who hasn’t got grounding in British rock music or the punk scene of Britain. Why would I like to play like him?

So we know that Raped changed their name to Cuddly Toys, and with that change, came a change in sound. What was that about?

Well, we just went from snotty punks being really annoying, and of course to do anything musically, people did not want to hear the; “Blah blah blah, we’re on the dole, blah blah blah” kind of thing. It might be good for a short while, and it’s good to have realism. I don’t really know what it’s like now, and I am trying to think of what it was like back then in 1977 or ’78, but we never wanted to be a punk band. We weren’t really. I certainly did not want to be a punk, and I can say that now, as I was in the heart of all that in the mid ‘70’s. I can get away with that. We didn’t know what or how we wanted to be. We didn’t want to be experimental, new wave or all that nonsense. We just wanted to be a little bit different. It’s something that John Lydon once said about Sex Pistols spawning hundreds of bands that all looked and sounded like Sex Pistols rather going out on their own tangent, and that’s true that is. We wanted to be different to those bands, and not be restricted.

We would get people at gigs coming up saying; “Why have you got so many chords in your songs? You only need two chords”. Well, yeah. There are great songs that only have two or even one chord, but we wanted to do a bit more than that. Branch out with all our influences.

And despite the fact that… And let get this straight, my name is not on a lot of the songs apart from one or two, which is bullshit, because you can see, without my input, they wouldn’t be the songs that they were. Same as Jagger & Richards, Django & Grapelli. The Bowie stuff, ‘Ziggy Stardust’, ‘Honk Dory’, if it had not been for Ronson’s input, the sound would just not be there. Whether Bowie likes it or not, that’s the way of it. Influences that I added would be classical music, which I have always loved, opera which I have always loved, 1930’s music, which countered Sean’s Bowie obsession, because if it just been him, as it eventually ended up, the band sounded like a third rate Bowie, or a third rate Tubeway Army.

Can you remember the first songs that you wrote after the change?

Oh God, I think ‘Aliens’, you know those new songs as soon as you hear them, my guitar style had changed, bringing a bit more of a rockier edge. I cannot remember exactly which songs we wrote early on, ‘Aliens’ was one of them.

Penguin at KYPP likes ‘Aliens’, I think that’s his favourite Cuddly Toys song.

Really? Excellent!

How did you get the ‘Madman’ song off of Bolan and Bowie? How did that come about?

Despite what other people say; and people have said that we found a cassette in the street, it’s probably more likely that we would have found a discarded Brotherhood Of Man cassette in the street! Bolan gave the song to us; we were talking to him and complaining that we did not have any three chord songs anymore. Bolan gave me this cassette, which I still have at home, with him, Gloria Jones and Bowie had all recorded in a glorified hotel room by the sound of things. We did another song off the cassette, a song called ‘Jaguar Scratch’, which has never even been on a bootleg! I’ll play it to you sometime…

Mick Ronson, I met a few times in the ‘80’s, I played him some of our stuff, and he liked the guitar playing, saying it was simple, effective and exactly right. I felt quite vindicated. I thought, wow, someone that inspired me so much. One of my favourite rock guitarists.

Introvenus / Brain Saviour / You Keep Me Hanging On / Full Circle / Astral Joe / Guillotine Theatre

Madman / Time Warp / Alien / Join The Girls / Front Page News / The Fall And Decline Of The Universe

Lets’ talk about the album ‘Guillotine Theatre’. Where was that recorded? Was it Japan?

No, it was recorded in England, but mixed in Japan. Originally it was mixed by Woody Woodmansey in Kingsway Studios near Holburn, owned by Ian Gillan from Deep Purple, a massive man with long hair, he should have been in ‘The Game Of Thrones’ or something. Ian tested the microphones with his beautiful rock voice, and although I am not a huge fan, I did like some of the Deep Purple songs. I thought that the amount of people that I know that were into Deep Purple would love to be here right now! Woody Woodmansey and Ian actually did do some backing vocals on a couple of the songs on our album.

The record was released in Japan, not England right?

Yes, it was released in Japan. Initially, as we could not get a record deal, a company called Teichiku Records released it there, an old fashioned company like Decca Records, and they released it first. They were very bemused with us, as they were used to established folky acts and classical musicians, and the Japanese equivalent of Tony Bennet or something like that.

How did you get this deal then? Alan?

 Oh no, not Alan. I think it was more to do with Paddy’s wife.

Let’s talk about Paddy then. He was from Japan?

Yes, Paddy was born in Japan. Paddy pretended his wife was his sister, the only reason he used to tell people that she was his sister, was that he was a bit worried about us not being as popular over there with young teeny boppers. We would tell him that we were not The Beatles or the Bay City Rollers, don’t be silly. It was quite bonkers. I thought it was strange that he was so possessive of his ‘sister’!

After the Japanese pressing the album came out on Fresh Records.

Yes, Fresh Records. The thing with the Japanese record pressings at the time, the pressing and actual quality of the records was the finest in the World at the time; the recording quality was so good. They would understand stereo in a way that we in Europe had allowed to lapse. The pressing quality was unbelievable. It was like the difference between an Austin Seven and a Lamborghini!

On the Japanese pressing you had ‘You Keep Me Hanging On’ and another old Soul track…

Yes, Sean went through my record collection of old soul music. I used to go to the old Wigan Casino and had a large collection of all those original northern soul records and all that kind of stuff. He found an obscure copy of ‘You Keep Me Hanging On’, a white label that I had and he pinched it and he decided we should do that.  We had a huge fan base in Japan.

The version on Fresh what happened then? Were Cuddly Toys promoted?

Well, no not really. Alan wasn’t really pushing things for the band. He would miss meetings with distribution companies, publishers that would have wanted to give us songs to bullshit our way into the charts. We were meant to have a meeting with Casablanca records, who were very keen on us that never happened.

Let’s talk about some other musicians that were close to Cuddly Toys. Alig from Family Fodder. How did he get involved?

Well, he was part of the Fresh / Parole stable really. He got grafted in to do some keyboards. He was a friend of Alans. He was alright, but he was hardly rock n roll. He was alright, he could play and that, but he’s not somebody I would have wanted in the band really.

Did he tour with you and stuff?

No, no, he was just in the studio.

What about Steve Treatment?

 Well, he was different. He was a mate. I used to have a flat and there were some rooms off it, and Ross who was running the Bolan fan club was there, Steve Treatment was part of that crowd. I got to know him, and he was bonkers but lovely. I was so unhappy when he died; we had kept in touch for many years afterwards.

Did he get into the New Romantic scene?

Who me?

No, Steve Treatment. He was in the Moors Murderers wasn’t he?

 No, he was more in the punky thing really. I jumped into the new romantic scene with both feet as I already knew Steve (Strange) and (Boy) George and all their crowd I had met, and of course I had been asked to audition for Fashion. I knew that entire crowd.

Do you think that influenced Cuddly Toys?

I think it was the other way around, because we were part of the glam punk thing, that there was an element of our ideas in that scene. Bands like Adam And The Ants, and dare I say it, Classix Nouveax, were the more flashier and more flamboyant side of punk. After 1979 punk got really dull. All the band’s looked the same, blue jeans, leather jacket; “I’m on the dole, I’m on the dole”, that was alright in 1976/77 when it was unusual and new, but things have moved on, the nihilistic approach was all well and good, but after a time, no-one wanted to hear that. Which is what a lot of the bands did do.

When Cuddly Toys were gigging, were there people that wanted to hear the earlier stuff, ‘Moving Target’ and songs off of the Raped singles?

All the snotty stuff? Yes we did still play some of that, but we didn’t want to stay in the box, we wanted to be outside of it. I wanted to progress as a guitarist and a writer. We just found it a good sound board to jump off.

Around this time, what do you think of me, Tony D, changing Ripped And Torn to Kill Your Pet Puppy?

Oh the worst… Oh… No seriously, we liked you; you moved on, you didn’t want to do the same old, same old. Nostalgia is great but you can’t live in nostalgia, you have to constantly find something new. You didn’t end up a nostalgic tribute writer. You might not have seen it, as it was your art, but I could see that you thought you could stretch yourself and went out on a tangent. It does not work mind, and you could have fallen flat on your face, but it is better to do that, than to be comfortable.

Talking of comfortable thing, did you used to dress up like glam rock punks. Did you get any aggravation from that? Skinheads and…

Yes we did dress like that. No, not as much as you would think. Actually what was really bizarre was that we did not get aggravation from the rocky crowd, or like the straight people on the street. It was from boring punk bands, and they would say; “Oh you’ve let us all down, you’re not much of a punk”. I would just say that I wasn’t. Even though I was in the heart of the punk thing from 1975 and ’76, so I did not have to prove anything.

Let’s talk about Sean now. What happened to Sean?

Sean believed his own publicity. When people would come up to me and state that I was a wonderful guitarist like Jeff Beck, Jimi Hendrix’s older brother, and I would be better off being on stage alone, I would just say; “Yeah alright, next”, whereas if they told the same things to Sean, and he would be better off without the band and he would be bigger than Bowie, he would say; “Am I really? Would I really?” and he’d believe it.

And this was the split? What happened to Cuddly Toys?

What happened was, the real reason of what happened, was that they were trying to get rid of me for some time. Sean did not want to be involved with someone who might be a threat to his, um, solo career. He wanted to be him, and Cuddly Toys. He suggested at one time calling it, Sean and the Cuddly Toys. He even suggested we all play keyboards like those buggers Devo and Kraftwork.

Bagget would go along with everything Sean said, I wouldn’t say Paddy as he was in a world of his own. It came to a point where they were looking for any excuse to get rid of me, and Tony Bagget’s cousin was getting shagged on a snooker table in a nightclub that we were playing at. I had this cheap camera, and I saw her getting fucked by a member of another band who will remain nameless. The flash went off, and anyone with any rock and roll attitude would have laughed it off and would have just said; “Oh, fuck off”, but she was getting very upset being photographed doing this in a club. The thing was that I did not have any film in this camera. Tony and Sean were upset and phoning me after I got home telling me that she was going to commit suicide because of me, and; “Look what you’ve done”, and that was it.

Sean told people that he had ‘dismissed me’, like I was working for him. Fuck off!  Years later I saw Sean and he admitted that he had made a mistake, and the bands that he had since, Cuddly Toys 2, 3, 4 and once you get to that stage, the band were taking the piss out of him, he admitted as much, and they were just using him and the band to just further their careers. They had some line ups that you wouldn’t fucking believe. One incarnation of Cuddly Toys looked like a load of builders or bricklayers. The last incarnation of Cuddly Toys, Sean was not even in that band! A band with no original members…

After Cuddly Toys, what did you do afterwards?

I turned down a lot of things that I shouldn’t have done. I had an idea of going off on a tangent, start playing other things. I was in various bands, but I got tired of dragging people with me and trying to get something together.

What are you doing now?

What am I doing now? What I should have done years ago! Even as a child, seven or eight, I always loved music from the 1930’s and ‘40’s, big band music. And now I play swing music. French swing music. And it’s lovely, and it’s the most demanding and difficult guitar style in the world. Some of the musicians I know have more knowledge of sophisticated styling playing guitar than anybody… I try to emulate them, and it’s enjoyable and it’s a whole different ball game, and I don’t have to worry about rock or pop prima donnas everywhere!

Are you proud of that era? Raped and Cuddly Toys.

It’s more than pride. I am just really happy that I was in the heart of a movement that changed things. It’s quite nice when people talk about Strummer, The Damned or Sex Pistols, and afterwards, Duran Duran or whoever, that I can say; “Oh I knew him” or; “I knew her”.  I suppose I am proud of it. I was in a band that made some records, and that reminds me of Bill Wyman when he joined the Rolling Stones when he stated that all he wanted to do after joining a band was to make a record to show his friends and family many years later.

This was before The Rolling Stones became huge of course. They ended up being quite popular didn’t they?

What would be your favourite memory of that time with the bands?

Oh God… When Generation X turned up at the Roxy Club and ended up supporting Raped after a coin toss would be one of them.

We had gone to another place, meant to be a punk venue, where hard core bikers were most of the audience. We went on stage and started playing our stuff, and were met with stony silence. They didn’t like it at all. The manager came over and asked us if we knew anything by Sabbath. We told him that we knew a couple of Sabbath songs. We played ‘Paranoid’ and the place went mad, people dancing on tables and everything. The manager said; “Play it again”. So we played it again repeatedly all night, about twenty times, and saved the night. The manager came up afterwards to tell us that that was the best gig he had seen, and; “Do you write your own songs?” We had to tell him that we do, but not the Sabbath songs that had mostly been the gig.

He invited us back to play another gig there a few weeks later and we played Sabbath again for most of the night… The manager and the audience were ecstatic. Some of the audience had told us that they didn’t want any of that punk shit!

Isn’t that so bizarre.

OK, let’s leave it there. Thanks for all your time Faebhean.

Thanks to you too Tony…

Rest in peace David Bowie who sadly passed on today. The man who sold the world. An inspiration to us all here at Kill Your Pet Puppy.

We can be heroes just for one day.

Poison Girls – Persons Unknown / Statement Orchestral – All The Madmen Records – 2015

FOR ORDERING THE ALL THE MADMEN RECORDS POISON GIRLS ‘PERSONS UNKNOWN / STATEMENT’ DELUX 12″ SINGLE FROM ALL THE MADMEN DIRECTLY PLEASE OPEN THIS LINK: HERE

FOR ORDERING THE POISON GIRLS BADGE SETS FROM ALL THE MADMEN DIRECTLY PLEASE OPEN THIS LINK: HERE

Arrangements

It was during the summer of 2014 that I found myself on the phone with Lance d’Boyle. An international call between England and Spain, in fact. We were catching up on each other since Vi’s final return to the UK the previous autumn. Lance was telling me that he had heard from someone in England that was interested in printing a set of Persons Unknown badges, and had asked for permission to reproduce the designs and inquired as to whether we might have any of the original artwork available.

The person in question was Nick Hydra, who, it turned out, had been an avid collector of punk ephemera for many years and was keen to own a full set of the famous Persons Unknown badges after searching high and low for them without success. Unfortunately, it transpired that most of Lance’s original badge artwork had been demolished by the Spanish termites, which meant that Nick was going to have a difficult job on his hands to recreate the designs.

Lance wanted to know what I thought about the idea – and if Nick was going to all that effort, couldn’t we maybe offer the badge set for sale and see what happened? I told him I would give it some thought and share my opinion the next time we spoke… as I put down the phone, straight away it occurred to me that if the Persons Unknown badge set was going to be produced again, it might be an obvious idea to reissue the single to go with it. After all, it was getting on for thirty-five years since the original record had been released, and there had already been some discussion about what might be the next Poison Girls reissue …

By sheer coincidence I had been introduced to Des Hoskins from All The Madmen Records at the Mob gig in Brighton a few weeks earlier. I had known about All The Madmen since I first met The Mob back in 1981. They had always been a good crowd and the label had released a lot of important stuff.

I told Lance that I would ask Des whether All The Madmen Records might be interested in putting the single out, and perhaps carrying the badges too, as an option for people who might want to buy them together. As it happened, the label seemed quite chuffed to be offered the chance to release a Poison Girls record and told me they’d be very interested.

Encouraged, I alerted former Poisons Vi and Richard to my plan and awaited their responses. Initially, I was greeted with a kind of bemused indifference, which gradually became a sort of tacit approval after I explained in more detail what I was thinking about.

For what seemed like an eternity, ideas flowed back and forth and questions were raised – what form would the release take? Was a combined package too ambitious? Who would coordinate such a task? What should the B-side be? Would anyone even be interested after all this time??

Since there was no actual, working band anymore and the former members were geographically dispersed, I was asked if I would co-ordinate the discussions, so I agreed to act as liaison between the ex-band members and the label. Ideas flowed back and forth, but one thing was already decided in my mind. I suggested that, since one of the most striking things about Persons Unknown was its inordinately long running time of seven-and-a quarter minutes, if we could find a suitable companion piece for the B-side it could be issued as a 12″ pressing, which would give us a lot more scope with the artwork.

Everyone agreed that this seemed like a good idea, so we proceeded to contact graphic designer, default Xntrix cover-art provider and original Persons Unknown bassist Bernhardt Rebours, to see what he might suggest for a sleeve design and / or insert sheets …

Well… more ideas flowed back and forth for what seemed like an eternity. Bernhardt would be delighted to do the artwork, but we had a committee now and many things to be agreed.

Gradually, with input from everyone, decisions were reached. The sleeve artwork would resemble that of the original (Xntrix) Hex, with the shop dummy heads that signify an anonymous multitude.

There would be a fold-out poster with all fifty of the badge designs newly recreated by Nick Hydra, and a printed insert with a piece about the infamous Persons Unknown conspiracy trial, the mission behind the original release (with Crass’s Bloody Revolutions) and the founding of the Autonomy Centre, together with the lyrics to the songs and the credits.

Eventually – after very much discussion – we settled on a B-side, and I arranged for Richard to deliver the original analogue tape masters of both of the tracks we had chosen to my studio, for restoration and transfer. Richard would provide the text for the piece about the trial, the original release and the Autonomy Centre. Bern would press on with the artwork designs while I set about restoring the tapes, and preparing them for transfer to disc at the best possible resolution.

The chosen B-side, Orchestral Statement (recorded originally for the Wargasm compilation) is, in its way, every bit as representative of the collaborative nature of the Poison Girls ethos as Persons Unknown.

We needed something that would carry equal weight to the A-side, both sonically and in terms of lyrical stature. Drawing on the combined talents of classical conductor Jason Osborn and composer and arranger Barney Unwin, together with members of The National Youth Orchestra, this 1982 re-recording of the track that had originally appeared as a flexi-disc with Chappaquiddick Bridge a year earlier, imbues the piece with a far greater depth and emotional reach than had been achievable with the four-piece band alone. It was unanimously decided that Orchestral Statement would back Persons Unknown for the 12″ release.

Well… fast forward a year now and, finally, it has arrived. Many emails have been exchanged. Bernhardt has delivered stunning artwork; the disc has been cut to an exacting standard; Nick has somehow managed to get all of the badge designs in the bag and Des has arranged manufacturing for both the single – on heavyweight vinyl, no less – and the badges, courtesy of Marta at Active Distribution.

In true collaborative spirit, everybody has graciously contributed their time and energy to give this project all the love and care it so richly deserves.

In summing up, I hope everyone who buys this record will appreciate what they have found – a presentation of perhaps two of the finest protest songs ever written, both of which express a similar message but in strikingly different ways: a committed and passionate statement of our continued intention to stand up and be counted in the name of peace and freedom.

You can probably tell how proud I am to have been a part of this project. But then I am incredibly proud of everyone that took part in all of the planning and the creative work with Poison Girls through the years. All the people, past and present, that have helped to bring about this wonderful music. You all know who you are. But most of all, for writing the words and making it all possible in the first place, I’m proud of my dear old mum.

Pete Fender – December 2015

My epic struggle with two blocks of text and a circle

As the Poison Girls ‘Persons Unknown’ thirty five year anniversary edition has now been announced by All The Madmen, I can finally reveal the years of lonely toil that went into recreating the original set of badges. A process with a long gestation period, carried out via trial and error (with the emphasis very firmly on ‘error’).

The story begins in the mist of prehistory known to modern scholars as ‘September 2012’. Gripped by one of my occasional bouts of insomnia, I was wandering the streets of Deptford in the early hours of the morning, when I came across a display attached to the wall directly outside Deptford train station as part of the Deptford X art festival.

I wouldn’t normally have turned that corner, but I was looking for a place to have a crafty piss, so perhaps the gods of chance were smiling on me that day, although considering the heartache and despair that followed perhaps “smiling” isn’t quite the word I want…

Essentially a photo of a badge collection mounted under Perspex by Rachael House, it contained many nice old punk badges, not least several of the original Persons Unknown set.

I took some photos and posted them on Facebook, all the while thinking about the simplicity of the design and how easy it would be to recreate the set. “All I need is a circle and a typewriter” I thought to myself, like the stupid bastard I am.

I punted the possibility of doing a set in one of my comments on the photos, to be met with encouraging comments from Chris Low (Apostles/ Oi Polloi / Part 1). So me being me, I did fuck all about it for two years.

The idea nagged away at me until February 2014, when I finally decided to do something about it. I realised that I didn’t know how many badges had been designed, or what text had been on them, so I turned to Google Images for help. “I’ll easily be able to find a picture of the complete set on the internet” I thought to myself, like the stupid bastard I am.

Obviously I was failed miserably by Google, and all the other search engines I tried. I finally gave up when, in a scene eerily reminiscent of Robinson Crusoe coming across his own footprint in the sand; I got ridiculously exited to finally find an image of one of the designs only to follow the link back to my own Facebook post.

Realising that what I needed was to find other people as weird and obsessive as myself, I started to post appeals for help on various Facebook groups, such as Kill Your Pet Puppy, The Old Punk Rock Badge Fanatics, Pay No More Than Nowt, and obviously enough, Poison Girl Friends.

Through various people replying to my increasingly desperate pleas for help, I established that there were forty eight original designs, and many people generously sent me photos of the badges they had, but I still couldn’t amass a complete set, so I was still stymied in terms of the text.

Then, in March Lance d’Boyle (who admins the Poison Girl Friends page and designed the original set of badges in 1980) contacted me, to tell me that he wasn’t sure he was happy for me to carry on with the project, presumably because he thought I was intending to sell the badges for commercial gain.

Having established that was most certainly not the case, and having shown him some Poison Girls badges I had designed previously, he was happy for me to continue, and we came to an arrangement that I would design the badges, and Poison Girls would sell them (initially to raise money for a mooted re-release of ‘Persons Unknown’), so it was suddenly a bit more serious than me running off a few sets for my mates, and getting it right became even more important.*

He was even able to find and scan some of the original artwork for the badges. Sadly this had been badly damaged by termites and was incomplete, so I still didn’t have the complete text, but together with the other images I had collected, I had something to go on, and more importantly I had good quality, flat, scanned images to use as a template.

He was also able to supply me with original artwork for the 1979 ‘Crow’ and ‘Yin-Yang/ Foetus’ designs, and it was decided that we would add these to the original set of forty eight to make it an even fifty. “Plain sailing from here”, I thought to myself like the stupid bastard I am.

In the interests of authenticity, I decided to use an old manual typewriter to physically type the text, rather than use a font in Photoshop, so I started asking around friends for such a machine. Having drawn a blank, I then tried the various local markets. “I’ll be able to pick one up for a fiver, as it’s a dead technology”, I thought to myself like the stupid bastard I am.

Not so, for as with all things retro and vintage, manual typewriters have been fetishized by hipsters and are now hard to find and expensive.

I eventually discovered a stall on Greenwich Market that sold typewriters, and armed with an image of the text for comparison, I proceeded to type the phrase ‘Persons Unknown’ on every machine I could find. Eventually settling on a decent likeness I paid the £25.00 price tag and dragged the thing home on the bus.

And discovered that the ribbon (apart from the inch currently under the keys) was completely fucked.

“Never mind, I’ll easily be able to buy a new one on the internet” I thought to myself, like the stupid bastard I am.

You know where this is going, so I won’t bore you. Suffice to say I ended up using a font in Photoshop, and authenticity be damned.

By now I was in a three way email conversation with Lance, Bernard and Vi from the band as to what text had been on the badges, and eventually we came up with a definitive list based on actual images I had been able to find, plus a list of ‘best guesses’ based on the memories of various band members and associates.

This was made more complicated by the fact that some of the text on the badges I had found didn’t match the lyrics as they appeared in the song, so there was no way to tell if the text of the ‘best guesses’ was 100% accurate even if a design had in fact featured that particular line.

As we were unable to find a full set, it was decided that we should move forward on the basis of these lists and if any more original designs came to light, I would use them to replace designs from the ‘best guesses’ list.

At this point someone contacted me on Facebook claiming to have the entire set of forty eight in his loft, but no amount of cajoling or bribery resulted in them actually turning up.

Realising that things were moving on apace, I decided to grasp the bull by the horns and start actually designing the badges. Using the damaged original artwork as template, I laid out forty eight designs in Photoshop using ‘Mom’s Typewriter’ as the font, and guessing at the layout of the text based on the few original designs I had access to.

As the ‘Persons Unknown’ text was the same on all the designs, I left this the same and just re typed the other text each time, saving each design and over typing it as I went.

I then needed to lay them out on the template used by the badge making company (Big Wow), and email them over to get a test run of the entire set. As soon as I did the 1st one I knew I had a problem; due to the two files being at a different DPI, the designs were nearly four times bigger than the template. This meant I’d have to resize the badge designs to fit onto the template, which wouldn’t be that difficult, but as I was doing it by eye, there was no way to get each one exactly the same size as the other ones.

Now, if I was doing one design, this wouldn’t matter but if I was doing a set of very similar designs (with a circle, yet), any fluctuation in size would be glaringly obvious. So all I had to show at the end of a process lasting several months were forty eight meticulously laid out designs that were completely bloody useless. So I did what every dedicated craftsman does when presented with a design problem of this magnitude; I threw a massive strop and gave up.

Fortunately (or unfortunately, depending on your point of view), other people were relying on me to deliver on my promise, so after a dark teatime of the soul drunkenly weeping into my pillow, I went back to the proverbial drawing board. It was at this point that I realised I’d somehow managed to get a greengrocer’s apostrophe in all the designs so they said PERSON’S rather than PERSONS… It was at this point that I lost it for a while.

During the days and nights of madness that followed, ever-after spoken of by the villagers (with many a muttered prayer and gestures of protection against the evil eye) as ‘The Dark Times’,  fearsome howls were heard to emanate from my darkened tower rooms, and slaughtered livestock was found horribly mutilated. The local veterinarian, on examining the remains in detail tore his eyes from their sockets and died some weeks later, screaming wordlessly in his padded cell.

When sanity returned to my fevered brain, I found myself forlornly staring at the computer screen, flicking between the two different templates like a hungry man repeatedly opening an empty fridge, getting exactly nowhere.

Then it struck me, what I needed was to create a third template based on the Big Wow version, but with a good photo of one of the original badges sized to fit it, then lay a scan of the original artwork onto this, resize it so the words PERSONS UNKOWN lined up, delete the photo of the badge, go back to the Photoshop template, re-type each of the forty eight versions of the text, ‘hide’ everything but the text, ‘merge visible’, copy and paste this onto the new template, re-size it so that it lined up, ‘hide’ the scan of the original artwork and save it as a jpeg.

“Fuck me, I’ve cracked it.” I thought to myself, like the stupid bastard I am, and got a test run of one design made.

So what could possibly be the problem now, you ask (probably with some irritation, running as we are to one thousand seven hundred words at this point).

The problem now was that the circle was wrong. It just looked too small. No amount of mucking about with it would make it look right. It’s only a circle, and you’d think that the fact that I had used the original artwork as a guide would ensure that it came out right, but you’d be wrong.

The basic problem was that I couldn’t tell what it would look like on an actual badge by looking at the computer screen. I mucked about with it off and on for another week and in the end I did eight different variations and ordered another test run.

By comparing all eight versions with the pictures of actual badges that I had (not that easy as none of the pictures I had showed badges where the circle was completely central), I eventually decided on one thickness of circle, which was slightly thicker than the original, but looked ‘better’ to me and got a full set of fifty badges printed.

Finally happy with the results, I posted them off to Bernard for approval / scanning.

And that was that as far as I was concerned;  at some point the band decided that rather than sell them to fund the re-release of ‘Persons Unknown’ the intention was to include the badges as part of the single, and then this changed to selling them separately.

I was peripherally involved in these discussions as well as how many sets to print up, who would print them, and how they would be sold (just as a set, individually, or in batches), but I won’t bore you with the details.

It was eventually decided to get the badges done by a small D.I.Y outfit, rather than the web-based firm I had been using, which meant the designs had to be re-sized AGAIN, as they worked to a slightly different template. Luckily the person printing the badges (Hi Marta) was able to resolve the problem without my involvement.

So this brings us to November 2015; the 18th of November to be exact. The posters and the covers have been printed, the records  are being pressed, the new badge set is advertised, and then and only then, an almost complete set of forty five badges turned up on Facebook via Kevin Pedersen.

Looking at the photos, I could tell there were some of my designs that were just plain wrong; and some where the text was right but the layout was wrong.

I could have re-done the ones that were wrong, but I was assuming that it was too late to change the ‘new’ set by then, and even if it wasn’t, we still didn’t have a 100% complete set, so there may still have been mistakes on the ones I couldn’t check against an original.

After a brief consultation, it was decided to not to change them as they wouldn’t match the designs on the poster that had just been packed into a thousand records and people had already been ordering specific sets of ten badges from All The Madmen.

I know I’ll go back over the designs and ‘correct’ them as best I can, just for my own personal satisfaction, but I still have three designs to track down.**

Can anyone help a poor badge designer down on his luck…?

*I had assumed that there had always been an intention to re-issue ‘Persons Unknown’, and the idea of including the badges had grown from that, but reading between the lines it appears that the discussions about the badges might in fact have provoked the decision to re-issue the record.

** A list of all the authenticated designs is included below.

  1. ACCOUNTANTS IN NYLON SHIRTS
  2. AGENTS IN MOTOR CARS
  3. BALD HEADED REALISTS
  4. BIG MEN ON BUILDING SITES
  5. BLACK MEN WHO CAN’T FORGET
  6. BLIND AND INVISIBLE
  7. CLEANERS OF LAVATORIES
  8. CLOSET IDEALISTS
  9. COLLECTORS OF TICKETS
  10. DISSIDENTS AND ANARCHISTS
  11. DEEJAYS AND HYPOCRITES
  12. DYING IN SECRET
  13. FLESH AND BLOOD
  14. HABITS OF HIDING
  15. HEY THERE MR AVERAGE
  16. HOPEFULS ON FOOTBALL POOLS
  17. HOUSEWIVES AND PROSTITUTES
  18. JUDGES WITH PREJUDICE
  19. LOVERS ON ROUNDABOUTS
  20. NURSES FOR WHEN IT HURTS
  21. ONE PARENT FAMILIES
  22. PATIENTS IN CORRIDORS
  23. PERSONS IN HIDING
  24. PIMPS AND ECONOMISTS
  25. RASTAS AND BIKERS
  26. RIOTERS AND PACIFISTS
  27. SICK MEN IN DRESSING GOWNS
  28. SMOKERS WITH HEART DISEASE
  29. SOLDIERS IN UNIFORM
  30. STATISTICS ON BALANCE SHEETS
  31. STRANGERS AND PASSERS BY
  32. STRIKERS AND PICKETS
  33. SURVIVAL IN SILENCE
  34. TEACHERS IN EMPTY SCHOOLS
  35. TERRORISTS AND SABOTEURS
  36. THE LONELY WHO LONG FOR
  37. THE OLD WITH THEIR MEMORIES
  38. THE QUEEN ON HER THRONE
  39. TRUANTS IN COFFEE BARS
  40. TYPISTS AND USHERETTES
  41. VISIONARIES WITH COLOURED HAIR
  42. WANKERS AND BANKERS
  43. WILD GIRLS AND CRIMINALS
  44. WOMEN IN FACTORIES
  45. WOMEN IN PURDAH

Nick Hydra – December 2015

FOR ORDERING THE ALL THE MADMEN RECORDS POISON GIRLS ‘PERSONS UNKNOWN / STATEMENT’ DELUX 12″ SINGLE FROM ALL THE MADMEN DIRECTLY PLEASE OPEN THIS LINK: HERE

FOR ORDERING THE POISON GIRLS BADGE SETS FROM ALL THE MADMEN DIRECTLY PLEASE OPEN THIS LINK: HERE

THANK YOU FOR YOUR SUPPORT AND THANK YOU TO PETE FENDER AND NICK HYDRA FOR THE EFFORT SHOWN TO WRITE THEIR PARTS PLAYED FOR INCLUSION INTO THIS KYPP POST.

The book by Lee Gibson, ex Brougham Road resident, writer / editor of Anathema fanzine and contributor / editor to many others.

Lee moved in the same circles as The Poison Girls and the Kill Your Pet Puppy Collective for some years. Here in black and white print throughout this immense 214 page A4 book are memories of Lee’s early years from 1976 all through to around 1986.

Lee takes the reader though countless Crass and Poison Girls gigs, some pretty rough nights along with various visits to both Crass and Poison Girls HQ’s. There seems to be dozens of pages relating to The Mob, Brougham Road and various houses that the Puppy Collective would be just about surviving in. Lots of squat horror stories, Stop The City runabouts, drug abuse, The Apostles, Crowley magick and plenty more.

As an added bonus some of Lees original interviews from his fanzines are carefully reprinted half way through this book, massive texts of the thoughts and feelings of The Fall, Crass, Poison Girls and Andy T from the very early 1980’s.

This book seems to be the real deal for anyone who may be interested in reading one persons account of the early anarcho punk culture which was an important, and sometimes scary, time for many of the young people involved.

Absolutely insanely cheap at £10.50 – but having the quality of a £20 book.

A must for anyone interested in this era of the anarcho punk scene.

You may purchase Lee Gibson’s book HERE