Flowers In The Dustbin released a 12″ record on All The Madmen records in 1984 and a cassette only release on Rob Challice’s cassette label 96 Tapes again in 1984. Rob Challice would soon look after All The Madmen records after Alistair left in 1985. Flowers In The Dustbin then released a 7″ record on Mortahate records in 1985 and then yet another 7″ record for Cold Harbour records in 1986. This was the entire vinyl output of the band, and shortly afterwards Flowers In The Dustbin disbanded.
Whilst on Cold Harbour records the Flowers In The Dustbin recorded several tracks for release as an album. The record label went bust two years after the sessions and the release was never forthcoming. A very frustrating time for the band.
The release was never forthcoming until now twenty eight years later!
These ‘lost’ recordings are now given the respect they deserve via the Freaks Run Wild record label in America. Screen printed sleeves, booklets and a heavy vinyl. Only 500 copies produced.
Get the vinyl of the lost album, which I found out was mastered from my own original cassette in a roundabout way, from Inflammable Material for the UK and Europe and the wonderfully named Punk Vomit for the U.S.A
Ossian Brown, one of my oldest friends from my teenage years sent me not one, but two new ‘Sulphur’ 12″ singles.
One 12″ single in transparent vinyl, and one 12″ single in transparent red vinyl.
I love it when a surprise package ends up delivered at Penguin Towers!
The three tracks on this 12″ single are all separate soundtracks to three separate short Derek Jarman films and the record includes three inserts. The tracks on this record, to my ears, is heavily Coil influenced. That description might be doing Cyclobe a disservice as I might just be engaging in some lazy journalism, and I certainly rate the core duo of Cyclobe, Steven Thrower and Ossian Brown (both in fact ex members of Coil) as two of the most original and independent musicians out there at the moment.
Try to grab one of these different coloured vinyls (limited to 500 each colour) direct from Cyclobe.
I received the new 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 Mob and the Kill Your Pet Puppy Collective for some years. Here in black and white print, throughout this 214 page A4 immense book are memories of Lees early years from 1976 all through to around 1986 (sped read a fair bit just for this description as it will take ages to read it all).
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 run arounds, 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 anarchic punk culture which was an important and sometimes scary time for many. Absolutely insanely cheap at £8.50 – but having the quality of a £20 book it may be purchased if you are interested from Lulu Publishers.
Robert Dellar was involved in a small way (along with Grant Matthews of Rudimentary Peni, a local band to Robert at that time) with the Wapping Autonomy Centre and the Centro Iberico. He edited several fanzines including Straight Up which gave a fair amount of space to The Apostles and The Astronauts. He loved / loves The Swell Maps and Subway Sect. A squatter of many years in many areas, he lived in Brighton for a while and now is back living in south east London, working with Southwark MIND and then Mad Pride. Work that continues to highlight mental illness and help people suffering from the illness.
Robert Dellars book publishing company Spare Change books have published many books including the original print of Nick Blinkos ‘Primal Screamer’ in 1995.
‘Gobbing, Pogoing And Gratuitous Bad Language’ and ‘Mad Pride: A Celebration Of Mad Culture’ were two books with essays, poetry and artwork from various contributors including Nick Blinko, Ted Curtis, Louise Challice, Stewart Home, Andy Martin and Dave Fanning of The Apostles and many more.
‘Seaton Point’ which also has different contributors to the book is actually the story of the Hackney tower block of the same name and the youngsters experiances of the time. ‘Does for Tennents Super what Trainspotting did for heroin’ written on the rear of the book gives a clue to the delights hidden within the paper back cover.
Get the book from Fishpond and try to search out the other books still available on Spare Change books.
Below is a review of the book ‘Splitting In Two’ by David Russell.
In this book Robert Dellar traces his life journey from his childhood in a working class area of Watford, through Sussex University and the London squatting community, to the murky waters of mental health, as he describes it. Of special importance is the pioneering work Robert did in Hackney Hospital. Here he set up a Patients’ Council and Advocacy Department At the time of the hospital’s closure in the mid 90s, Robert organised some lively gigs described here in colourful detail. His journey then continues to Southwark MIND, (the first user run MIND group) – then on to Mad Pride – an organisation who through the gigs they put on linked mental health to rock and roll. Together with his friend Peter Shaughnessy they also turned mental health demonstrations into theatre.
The title of this book is also the title of a song by punk legends Alternative TV. They make several appearances here, as does Nikki Sudden and two Survivor Punk bands, The Ceramic Hobbs and Rudimentary Peni. Lesser known but equally talented artists like Dave Russell and The Astronauts also make a number of appearances here – as does Ronnie Corbett; he turns out to be a decent chap. While Mad Pride is associated with Punk Rock, a number of folk musicians and poets also took part in their gigs.
Some parts of this book deal with grim topics; there is also much tragedy described here. But a sense of humour runs through this book, and much compassion is shown. A little anarchy is also at play. The titles for a lot of the chapters come from songs. Many of the titles relating to the Punk and New Wave years. This period of time being of importance to Robert as it was when he produced many fanzines.
His fanzine influence would continue with the Southwark MIND newsletter. This was always an Inspiring magazine to read. Along with the different realities featured here, there are pieces of fiction but they fit in well. Some little known capitalist scandals are exposed like the exploitation carried out by the drug companies. Also charities like SANE (Schizophrenia A National Emergency) who, while appearing to be respectable do a lot to demonise people with that label. Also exposed is the reality of life for people who are diagnosed as Schizophrenic. A life of heavy medication, stigma, and locked wards.
This book is an enjoyable read. It is very entertaining. Robert’s journey has been an uphill struggle; it shows both his vulnerabilities and his strengths. But there have been proud achievements along the way. An example being the SANE demonstration Mad Pride organised in the late 1990s where Marjory Wallace came out to face her public. I have a lot of respect for the good work that Robert Dellar has done over the years.
MIKE DINES AND GREG BULL (WITH CONTRIBUTORS)
This project organised, edited and put together between Mike Dines and Greg Bull is another large tome from Lulu Publishers.
The book is in A4 format and has 156 pages printed in black and white with some great artwork by Jacky Smith held within as well as some decent quality flyers and photographs from the contributors of essays for the book.
The contributors include our own Alastair Puppy from Kill Your Pet Puppy fanzine and online blog, Robert Dellar (who is also on this KYPP post in his own right with the release of his latest book above), Greg Bull himself, Justine Butler (late of Welwyn Garden City but for decades now living in Bristol and now working on her vegan-ism blog HERE), Lucy Robertson from the university of Sussex and Robert Dellars collaborators from time to time, Ted Curtis, Martin Cooper and many more.
Each of the contributors essays, whether short or long, are an interesting blend of autobiography, fictional accounts and serious academic essays on 1980′s sub culture. The 1980′s, whether early or late, is the period that is relevant to this book.
I was in attendance at this Flux gig. The first time witnessing Flux (Of Pink Indians) live on stage for two or three years. It was quite a change from the old militaristic Crass style Flux sound of 1982-1983 to a more 23 Skidoo style Flux sound in 1986. From that sound to this in just a few short years! I was already aware of ONU Sound, Tackhead Sound System and Adrian Sherwood and I was looking forward to attending this gig. It did not disappoint.
KYPP is indebted to Lee Oliver for the loan of the two C90 tapes that he recorded from a hand held cassette recorder from this One Little Indian / ONU Sound night at U.L.U in central London. He managed to cover just about all the audio from the night and the audio sounds very reasonable.
Lee has also kindly written some text regarding the night and his thoughts about Flux Of Pink Indians prior to the gig along with the Flux poster for this performance. A massive thanks to him for that.
Also a huge thank you to Martin Flux who also contributed a whole heap of interesting text to this KYPP post.
Thanks also to Graham Burnett who supplied the photographs of Flux and Annie Anxiety performing on the night. Both Flux flyers from the collection of Penguin!
1986 was a funny old year. In musical chronology it felt like a dramatic turning point. The dominance of UK created music was ending. I was opening up to the styles and influences from further afield. It seems crazy now but what was going on across the Atlantic seemed other- worldly. Even Europe was a distant influence.
As 1985 turned into 1986 the direction of flow was changing, especially in the ‘punk scene’. The emergence of hip hop alongside funk percussive styles, dub and even that old warhorse, metal, were permeating into bands’ developments.
The transition from Flux of Pink Indians to Flux was one of the most divergent and to my ears the most exciting development in that year.
The EP, ‘Taking A Liberty’, their previous release before ‘Uncarved Block’, was a howl of frustration. Musique Concrete re-imagined through the most extreme anarcho-punk. It felt like an ending, a full stop. There was nothing more to say.
I interviewed Flux for my fanzine at the time (long lost I’m afraid to say). It was at their place in Forest Hill. The living room was spacious with beautiful wooden floors and bookshelves heaving with books. A hessian sack with the corn stalk emblem used on the cover of the first Antisect LP hung above one of the sofas. Lu and Tim from Flux attempted to answer our quite possibly naïve teenage questions about the state of the world and where ‘punk was going’. I could sense their desire to experiment how their music was presented to open up to a wider audience, a frustration with preaching to the converted if you will. I left feeling a mixture of uncertainties and excitement about how they were going to achieve that.
The concert at the University of London on Friday 28th November 1986 showcased the new Flux sound of ‘Uncarved Block’. The supporting acts were a direct challenge to punk orthodoxy. The fragmented sound poetry collages of Annie Anxiety, the beat minimalism of D&V, abstract noise pop from A.R.Kane and the sound of the future, Tackhead Sound System, bringing their tour de force heavy duty dub funk.
The whole line-up seemed to be a premonition of the rhythmic beat of ‘rave culture’ that would explode across the strands of the undercurrents in the following two years. The free jazz record playing between acts (Ornette Coleman, Don Cherry ??) was another pointer to what was to come.
Finally Flux played. It wasn’t punk as such, loose funk rhythms, percussive interludes, space, lyrics chanted, hypnotic. Words about personal politics, The Tao of Pooh, re-evaluation.
I was under the impression this was the only time they performed as Flux, someone might be able to confirm or correct this. Anyway shortly after this night Flux disappeared forever. The conclusion I felt was that it was an eye opener, another step in my appreciation of different musical styles and strands.
For that alone ‘Uncarved Block’ is a masterpiece.
The Flux performance at U.L.U was the only time myself and my older brother had been on stage together and the last. Paul Wilson was my older sibling by three years or so. He was a drummer and inspired me to follow the same path. Having a drum set around the family house in my formative years did not hurt either.
Paul was the original drummer for the Psychedelic Furs in 1977 until he was replaced by Vince Ely in 1978 or 1979 when my brother celebrated his wedding anniversary instead of being able to perform with the band at the Zig Zag club in Westbourne Park, west London. This gig was not insignificant as it was a music biz affair put on by C.B.S and the Psychedelic Furs were not yet signed, although very close to being so. Tracy Lee the then manager gave all the band a weeks notice of this important billing and Paul and his wife had already made plans for that night. Seeing as Pauls wife was already upset at Paul walking around with make up on, as was the image of the band at that time, he felt it proper to keep to the original arrangements for that week. The performance slot for Psychedelic Furs at the gig did not happen for this reason and my brother was ousted.
Life continued. Paul took a back seat and I eventually joined Flux Of Pink Indians after a succession of drummers left including Sid concentrating on Rubella Ballet and Bambi who went to join Discharge (or did he leave Discharge to join Flux Of Pink Indians?).
In 1982 Flux Of Pink Indians performed all over the country as main support for Crass alongside D.I.R.T and Annie Anxiety. During this treks across the country we met many other bands including D&V.
Andy Leach the drummer for D&V stepped onto the stage as the Flux Of Pink Indians drummer one night in Birmingham Digbeth Hall (or some Civic Hall of some kind) when some kindly skinheads with an iron bar decided to try to crack my head open. Thanks to him for that. I recovered to eventually return this kind of favour for D.I.R.T at the squatted Zig Zag club gig when Fox walked off the stage mid set for some reason. He never returned to D.I.R.T. I also drummed in Iceland for Crass of all bands when Penny was left in North Weald with a perforated ear drum. Penny and I had the same militaristic drumming style so I fitted that Crass set quiet well.
As a member of Flux Of Pink Indians I was involved in the making of the ‘Strive To Survive’ album in 1982. This record along with the follow up ‘Fucking Cunts’ in 1984 were both recorded at Southern Studios and during both those sessions we would meet Adrian Sherwood doing his work there with his ONU Sound artists. Little did we know that a few years later Adrian Sherwood would be engineering recordings for Flux Of Pink Indians!
Fast forward to 1986.
Derek had given up the Spiderleg record label and had started a more progressive label called One Little Indian alongside Tim another member of Flux Of Pink Indians. Derek had also had a falling out with John Loder at Southern Studios. AR Kane was one of the first bands to record for One Little Indian records. I played drums for the band on a few tracks later on, but for this first release the band had a drum machine. Adrian Sherwood was sitting pretty in the public with endless purely wonderful releases from his label ONU Sound. Mark Stewart And The Maffia, Tackhead and African Headcharge. Bonjo I and Style Scott were part of this ONU set up.
Derek decided that Flux Of Pink Indians should record for his new record label, but also the band name should change as well as the sound of the band. We all agreed to this as far as I can remember. We had not performed live or recorded anything since 1984. Things were pretty slow.
Colin, Derek, Tim, Lu and myself struggled with different sounds, and while the ideas were formed we had some input from Ray Shulman of the progressive band Gentle Giant. His effect on the band should not be underestimated. He bought a mad violin sound to the table and the trumpet. Bonjo I also came to the same table, as did Adrian Sherwood.
We started recording ‘Uncarved Block’ with Adrian Sherwood at Berry Street studios. The recording sessions as far as I remember was turning out well. There was one time when Adrian had an important meeting to collect ‘something for the weekend’ and left Derek in the engineers chair for some of Bonjo I’s percussion recording. Adrian had made a career in dealing with Rastafarian musicians. Derek however had not. Derek recorded the material that Bonjo I was only practicing and not recording the material that Bonjo I thought was to be recorded. Bonjo I was speaking in very thick Jamaican patois and Derek struggled to understand a lot of it. I was in the control room and Derek was asking me what was said, generally to a shoulder shrug. This whole episode was frustrating to Bonjo I and he was getting quite angry. He stood up and took out a large knife entering the control room with what we both thought at the time, some menace. He got a mango out of a ruck sack and started to cut it up. Worry over. Adrian came back eventually wide eyed and sorted out any unusable material we had created with Bonjo I!
Another memory that sticks in my mind was when a few days after I had completed my drum parts, Derek played me the tape and there seemed to be another drum going throughout the tracks. This sounded unusual. I asked what that was, Derek replied Style Scott came in and did a few sessions with Adrian! I knew nothing at the time and remember feeling a little let down as I could have completed a separate drum track easily enough. However with hindsight shortly afterwards I realised having someone like Style Scott on a Flux record engineered by Adrian Sherwood at Berry Street is not a bad look at all!
We had the recordings in the can and the record was released on One Little Indian records prior to the performance at U.L.U in November so interested punters would know what kind of sound Flux were going to showcase.
Come the time of the gig we all got to the venue early as there was a lot of sound checking to do. Not just bass, guitars and drums.
The night was organised as a One Little Indian / Tackhead Sound System night. Adrian Sherwood was on the mixing desk all night. Our old friends Annie Anxiety and D&V were both set to perform to mainly backing tracks. AR Kane who were new to me, were also on the bill. They had a drum machine to add to the mix.
Flux had two drummers as mentioned above, both siblings, not myself and Style Scott like the studio recordings.
Flux had Bonjo I to fit into the mix.
Flux had vocals, bass and guitars.
Flux had violin and trumpet courtesy of Ray Shulman.
Flux also has a scaffold pole filled up with metallic things that made a racket when wacked with a drum stick. Fire extinguishers, pot and pans.
Adrian took care in making sure all this was at the correct level in the mix. He also had to mix the Tackhead Sound System along with various MC’s and so forth.
Adrian was a busy guy on the night, and needed a little speed to keep him going….
I watched all the bands / artists on the night as far as I can remember.
D&V, my old friends also had many backing tracks and played a blinder. Several years previously D&V would have had a problem with the crowds when supporting Crass and other bands of that ilk. Happily I remember that they got a decent reception.
AR Kane were sublime, and as mentioned earlier I eventually drummed for them on a few tracks that were eventually released.
Annie Anxiety smoked and drunk half a bottle of spirits to calm her nerves prior to getting on the stage “OK ready for the fucking show now boys” she stated loudly. A blinding set from her to a receptive audience for a change. Back in the late 1970’s and early 1980s appearing numerous times alongside Crass she would not always get a decent reception.
All the bands / artists on the bill went onto to release records for One Little Indian as far as I am aware.
Adrian Sherwood held all the differing sounds on the night nice and tight and after every performance the Tackhead Sound System would get a positive reception. This was not incidental music between bands; this was part of the performance. It was loud I remember that.
Flux went on with all the extra musicians and completely enjoyed the night. I think the audience did to from what I remember seeing. I do not remember doing an encore, not due to the band not feeling appreciated but due to just performing ‘Uncarved Block’. Once all those tracks that appeared on the record were completed the band left the stage. Flux were not going to come back on to perform ‘Tube Disasters’ or anything like that!
After the performance I stayed for the rest of the Tackhead Sound System. Bonjo I wanted paying in cash for the nights work which took the band by surprise. He had just been released from detention due to some misdemeanour which if I remember rightly might have been a violent misdemeanour so we thought it better not to argue with him. We had to get some cash double quick to pay Bonjo I off and when we scraped some money together he disappeared!
Sometime after this U.L.U performance we went to Europe to try the new set out there.
A wrong move was not to take Adrian Sherwood, my brother Paul, Bonjo I or Ray. We thought we could cover the new set as a five piece (back to Flux Of Pink Indians not the nine piece Flux). At the Paradiso in Amsterdam we not only sounded hollow and bombed, but the audience were also disappointed as an rap artist who was expected to perform on the same night had not turned up to perform for the gig. Added to this everyone was expecting the Adrian Sherwood Tackhead style night. Flux were a very poor second! Ditto the above for Hague in Holland and Antwerp in Belgium…
Not a great little European jaunt, but the U.L.U performance in my mind was one of the best gigs I performed in.
Flux played one more time in 1991 at the Dome in Tufnell Park alongside Hotalacio Sound System which was Colins version of the Tackhead Sound System. I remember that this gig was packed, but again it was not the same as the U.L.U performance. Adrian Sherwood, Bonjo I and Ray really made that performance, and indeed the record (along with Style Scott) stand the test of time.
Today is a sad day. The day that all of us here at KYPP found out about the passing of Martin Neish A.K.A Protag. This KYPP post is dedicated to Protag as well as the hundreds (thousands probably) of people that knew Protag and have been saddened by his passing.
Protag was was the most gentle of souls and would never rise to any sort of panic when all around him other folk were tearing their hair out! He was also one of the hardest working drivers, roadies, P.A operators that I knew. Working the venues that he was most associated with, a smile on his face seemingly present at all times. His performances with the bands he was associated with, spanning almost three decades, were also rock solid with whatever instrument he happened to be asked to play, depending on whatever band he was in at the time!
Tonight I have uploaded an pretty damn good Alternative TV 12″ from 1986 released on the Noiseville record label, a record that Protag was involved with.. Previously in 1985, Noiseville records had released ‘The End Of Fun’, another 12″ by Alternative TV but with Karl Blake involved rather than Protag.
The photographs below, from my collection, are from an Alternative TV performance at the Finsbury Park Sir George Robey sometime in 1986 and one of Protag on the mixing desk from a Meanwhile Gardens all dayer in the summer, mid 1980′s.
The Alternative TV text below is from Wikki, and if anyone is interested in listening to the earlier Alternative TV records then there is a dedicated KYPP post HERE to view and access the audio.
For anyone that might be interested in hearing some other recorded work that Protag was involved with, accessible on previous KYPP posts, they may be found as below.
Instant Automatons may be heard HERE and the first Blyth Power recording with Protag on the bass duties from early 1987 may be heard HERE
R.I.P Protag. You were very special and very kind to a much younger Penguin.
Alternative TV were formed by Mark Perry, the founding editor of Sniffin’ Glue punk fanzine, with Alex Fergusson. Early rehearsals took place at Throbbing Gristle’s Industrial Records studio with Genesis P-Orridge on drums. The band’s first live appearance was in Nottingham supporting The Adverts.
The band’s debut on record was ‘Love Lies Limp’, a free flexi disc issued with the final edition of Perry’s Sniffin’ Glue fanzine. For their first two singles Perry and Fergusson were accompanied by drummer John Towe (ex-Generation X) and Tyrone Thomas on bass; Towe later left to join The Rage and was replaced by Chris Bennett. This line-up was the most straightforwardly punk version of ATV, although they combined short fast songs with extended pieces such as ‘Alternatives to NATO’, in which Perry read an anarchist political text and envisaged the possibility of a Soviet invasion of Britain. Shortly afterwards they released the ‘How Much Longer’/’You Bastard’ 7″ in December 1977. The A-side was a pointed critique of punk style: “How much longer will people wear/Nazi armbands and dye their hair?”.
At the end of 1977, Perry sacked his chief collaborator and co-writer Fergusson. The latter went on to form the short-lived Cash Pussies and, a few years later, Psychic TV along with Genesis P-Orridge. Tyrone Thomas switched to guitar, later replaced by Kim Turner, while Dennis Burns joined on bass. A dub-influenced single, ‘Life After Life’, was released, followed by the band’s debut album, The Image Has Cracked, both featuring Jools Holland guesting on piano.
By the end of 1978, only Perry and Burns remained from the previous line-up, although ATV used additional musicians live and in the studio. The band’s second album ‘Vibing Up the Senile Man’ (Part One) saw the band take a more explicitly experimental direction, which alienated both the music press and audiences. A recording of one gig which ended in a violent stage invasion can be heard on the cassette-only release ‘Scars on Sunday’. A live LP was released, documenting their tour with commune-dwelling progressive band, Here and Now, marking the band’s further movement away from the punk/new wave scene. A final single ‘The Force Is Blind’ featured Anno from Here and Now on additional vocals.
Alternative TV soon evolved into the avant-garde project, The Good Missionaries (taking the name from a track on the ‘Vibing’ album), releasing one album, ‘Fire From Heaven’ in 1979. Perry released a solo album ‘Snappy Turns’ the following year, and joined the experimental duo The Door and the Window on their debut album ‘Detailed Twang’ before he, Burns and Fergusson briefly reformed Alternative TV along with former members of Fergusson’s Cash Pussies in 1981. The reconstituted ATV released one album ‘Strange Kicks’ a venture into light pop songs unlike any of their previous work, produced by Richard Mazda.
From 1981 to 1982 Perry had a new project, The Reflections, a band with Nag from The Door and the Window, Karl Blake (of The Lemon Kittens) and Grant Showbiz, among others. They produced an album ‘Slugs and Toads’ and a single ‘4 Countries’ before disintegrating.
Perry reformed ATV in 1985. This line up started with Karl Blake, Steve Cannell and Allison Philips. Martin ‘Protag’ Neish and then Clive Giblin featured later on guitar and ATV released further records ‘Welcome To The End Of Fun’, ‘Sex / Love’, ‘My Baby’s Laughing’ and the ‘Peep Show’ album.
Another line-up followed with James Kyllo along with Mark Perry and Steve Cannell which lead to the releases of ‘Sol’ and the ‘Dragon Love’ album.
Words from Protag and from others about Protag.
I am in hospital with widespread cancer of the liver, spleen, spine etc. These are secondary cancers. Until they discover the primary cancer (it’s been eluding the experts for over a week) they can’t specify a treatment plan. However, from what they’ve already said… and due to other complicating factors, almost certainly whatever plan is indicated will not be suitable in my scenario; and plan B will come into operation which is to send me home with a McMillan nurse and a lot of painkillers. As such I may only be lucid for a week or two from now. I call it the Indignitas Clinic. Not as far away as Switzerland, and no air travel required.
Protag – February 5th
All our collective thoughts go out to Protag who is suffering from cancer and is at this moment in the Bradford Royal Infirmary. Protag was a fixture at many events and venues throughout The Mob’s original lifespan (up to the end of 1983) as well as other All The Madmen bands of that era. Protag was often found behind the sound desk at events like the summer Meanwhile Gardens gigs, the Islington Rosebery Avenue Peace Centre, the Homerton Blue House as well as helping out at the other earlier autonomy centres. Protag was a member of the Instant Automatons in the late 1970′s as well as being a member of Alternative TV, Blyth Power and then Zounds from the mid 1980′s to the early 1990′s. Protag drove bands around (seemingly all year long) and helped with setting up equipment for bands at the many gigs he was in charge of the sound desk. Blyth Power’s first public release, the cassette ‘A Little Touch Of Harry In The Night’ released on All The Madmen records then head honcho, Rob Challice’s 96 Tapes imprint was recorded with Protag at the sound desk at Brougham Road in Hackney. It was Protag’s Meanwhile Gardens tapes that contained tracks that were placed onto the ‘B’ side of The Mob’s ‘Crying Again’ 12″ re-release that came out on All The Madmen records in 1986. Protag still helps bands and venues to this day! Protag is a particularly pleasant man whom The Mob and All The Madmen records would like to send many positive thoughts to at this time. If anyone that knows Protag would like his personal email address then please private message this Mob / ATM FB page and we will share that information with you. Please private message if you knew Protag. I am sure he will be pleased with receiving messages of support at this time from folk that shared experiences with him throughout his dealings with bands and venues for several decades. Positive thoughts are needed at this time. Thank you for reading.
Posted up on The Mob / All The Madmen records Facebook page 7th February by Mickey ‘Penguin’
It’s with the deepest sadness that I learned today of the passing of Protag. He was my best friend at school and my partner in crime when we were taking our first faltering steps together into the weird world of the “music biz”. It was an honour to have known and worked with him in the past, and I’m so glad we made the journey down to Bradford last weekend to see him (and, without fully realising it, to say goodbye). Martin’s integrity, his warm personality and his wonderful dry wit always shone like a beacon in a dark, cold world. Now that light has gone out, and the world seems a darker, colder place without him. R.I.P.
Mark Lancaster – Instant Automatons
He walked it like he talked it……. So pleased we saw each other in December and talked last week R.I.P Protag.
Grant Showbiz – Street Level Studios
So sorry to hear the news of Protag’s passing. In my 35 plus years in this business he was one of the kindest and most genuine people that I’ve ever had the pleasure of working with. Protag was a bloody good guitarist and soundman as well. My condolences go to all his friends & family.
Mark Perry – Alternative TV
For all those years spent inside the horse, love and respect at journey’s end.
Joseph Porter – Blyth Power
Protag played bass in Zounds from 2003 to 2006. He died today at 9.15 on 18th Feb 2014. He was an amazing person who was associated with the band from the earliest days. He was selflessly devoted to Bradford’s 1 in 12 Club to which he gave much energy, care and love. I could go on and on about how brilliant, interesting, original and funny Protag was but there will be time for that later. Protag played and organised Blyth Power for years and also played with ATV. Words can’t express how much we will miss him. Love to all.
Indebted to the honourable Chris Low for the loan of this cassette tape uploaded tonight, to Andy Martin for the text and to Tod Hanson for the photographs. Expect a right royal racket with some crazy bass playing. All glorious material though!
Tod and Martin of Flack, Southend
Martha Moscow and Martin of Flack, Southend
FLACK – used to rehearse in my attic at 109 Foulden Road, Stoke Newington, London – on a 1960s drum kit and amplifiers provided by Pete, Julian and Dan of The Apostles.
Martha Moscow on bass guitar, playing the smallest bass guitar I have ever seen.
Martin Black on guitar (no, not the Martin Black who later called himself Napoleon of Hackney Hell Crew fame, that’s a different and decidedly more grubby but equally entertaining story).
Tod Unctious on vocals, no, that’s from Father Ted, sorry. Tod Hanson on vocals.
Paul Gubb a.k.a. Mag on drums.
I remember Mag was 13 at the time and beyond doubt the most technically competent musician in the band, but then I’m not a drummer so I’m probably talking utter twaddle, it wouldn’t be the first time, I hear you cry, but then I’m allowed a certain degree of artistic license as I’m a renaissance man and I also have a complete set of P G Tips picture card albums from the very first one in 1954 right up to the Olympics Greats from 1993. Flack never recorded anything in a professional studio which is a shame, these tracks were recorded live on a cassette recorder at 109 Foulden Road. However, at least Tod achieved a degree of success later with his technically superb artistic skills. I lived with Martha in Islington for a few months when she had departed Flack to look after her baby son. Mitch took over bass duties and the difference in sound and style became profoundly dramatic on the tracks ‘Drained’ and ‘The Workers’ despite the extreme limitations of the recording process. Mitch went onto join Hagar The Womb and conquered the world (or west Hampstead at least) but whatever happened to Mag?
Easing the KYPP browers into the new year with the first Lee Perry vocal album that was released in 1978 on Lee Perry’s own ‘Lion Of Judah’ imprint. This record is really rather good and gets a spin at least once a year right up here at the top of Penguin Towers, normally illegally loud and bass heavy!
I ripped off all the text from the All Music site, the New York based ‘Village Voice’ magazine and the rather ‘seasonal’ essay on the South Park Road Gun Court in Kingston, Jamaica was lifted from Da Wikki.
The photographs of Lee Perry and the Gun Court as well as the adverts for handing in your guns, were all scanned from one of the best books on the subject of reggae music and the general vibe of Jamaica, ‘Babylon On A Thin Wire’ which was published in 1976 and which has sadly been out of print for several decades now. A similar read to ‘Babylon On A Thin Wire’, and by the same writer, Michael Thomas and again with Adrian Boot photographs, is the book ‘Jah Revenge’ from 1978 which is also out of print as far as I know, and which also has been for decades. If you are interested in this subject then I would strongly recommend both these books assuming you can find them somewhere!
From us all here at KYPP online, we are all hoping that all the KYPP browsers worldwide will be safe, well, and have a pleasant and productive year ahead.
‘Roast Fish, Collie Weed And Cornbread’ was Lee Perry’s twentieth album, counting his sets, compilations, and full-length dub discs. Amazingly though, it was the first album Perry exclusively dedicated to his own vocal numbers. That, however, was not necessarily a strong selling point, as even his most devoted fans admit that Perry the singer is no equal to Perry the producer. And thankfully the set doesn’t open with his out of tune cover of Junior Byles’ sublime ‘Curly Locks’!
Knock out that track though, and you’re left with one of the most awe-inspiring albums of the decade, and even with that track, the album is still a masterpiece. It’s an extremely eclectic set, both thematically and musically, but without appearing flighty or unfocused.
There are wonderfully light-hearted moments, like the spectacularly dread title track, a song so heavy you expect Babylon to quake in the backing gladiator’s wake. But all the thick atmosphere, stalking rhythm, and ominous melody merely set the table for Perry to serve up and lavishly proclaim his favourite dish. Brilliant.
Equally entertaining is ‘Throw Some Water In’ as Perry equates proper auto maintenance to caring for one’s own body, a cheerful lesson on the importance of exercise and diet set to a vivacious reggae backing. It’s unclear if “Yu Squeeze My Panhandle” is meant to be humorous, although Perry’s pleading to the DJ to play his record is so over the top pitiful, one can’t imagine it’s anything but tongue in cheek, and all set to a slow, scorcher of a rhythm layered with percussion and weird effects.
A question mark also hovers around the intent of ‘Evil Tongues’ whose lyrics slip from condemning hypocrites down into the depths of paranoia. Unfortunately future events proved the lyrics all too prophetic in reflecting Perry’s slide into an emotional maelstrom. But so phenomenal is the claustrophobic production, it was still difficult to imagine that he was losing his way. In the cultural realm, ‘Big Neck Police’ revived Perry’s earlier single ‘Dreadlocks in Moonlight’ with additional percussion, searing sax solos, and female backing vocalists, creating a number that not only equalled the original, but bettered it. ‘Free Up the Weed’ was an impassioned, well-reasoned plea for legalization, while ‘Ghetto Sidewalk’ requested light for the sufferers.
The latter was a little overly ambitious musically, as Perry attempted to blend jazzy sax, studio effects and percussion, and a sturdy, tribal-tinged rhythm. Much more effective was ‘Soul Fire’ which layered instruments, effects, percussion, his own double-tracked vocals, and a mooing cow into a heady piece that defies categorization, but is laced with funk, soul, and the sound of classic Studio One.
And as highly experimental as many of the tracks are, the rhythms throughout are particularly inspired, with the productions equally intriguing, unlike many of Perry’s earlier excursions out to the musical fringe, these numbers are eminently entertaining and downright infectious, boasting strong melodies and, dare one say it, great vocals. This record was an extraordinary set.
JO-ANN GREENE – All Music
What makes Scratch so good is his distortion of the reggae mise-en-scene. In a basically conservative genre, producer Perry’s anti-science science of intuition and quick hands injects chance, humour, and disaster without ever really leaving the pop song behind.
Those who look to Perry’s shit talking for a cosmology will get burned; those who dismiss his output because of his shit talking will miss the aurora borealis of reggae.
‘Roast Fish Collie Weed & Corn Bread’ for example, one of the few records credited solely to Perry as artist and probably my favourite, pits house band rhythms against Perry’s pixie-dust percussion and mixing-desk abuse, over which Scratch narrates like a homeless Martha Stewart on how to stay healthy, how many lights are broken on his block etc. His microphone skills on any of his records are easily proto rap, his dub styling’s (like Jah Lion playing dominoes louder than Max Romeo’s singing on Norman ) are closer to John Cage than King Tubby.
‘Roast Fish Collie Weed & Corn Bread’ was all recorded at Black Ark with only a four-track 1/4-inch Teac reel-to-reel, 16-trackn Soundcraft board, Mutron phaser, and Roland Space Echo. Perry bouncing tracks together to create 16-track thickness, albeit with considerable signal degradation and tape hiss, Perry bubbled more than a Greenwich Village pavement in July and was guided by voices that could actually sing.
SASHA FRERE-JONES – Village Voice
In the early 1970s, Jamaica experienced a rise in violence associated with criminal gangs and political polarization between supporters of the People’s National Party and the Jamaica Labour Party. After a rash of killings of lawyers and businessmen in 1974, the government of Michael Manley attempted to restore order by granting broad new law enforcement powers in the Suppression of Crime Act and the Gun Court Act. The Suppression of Crime Act allowed the police and the military to work together in a novel way to disarm the people: soldiers sealed off entire neighbourhoods, and policemen systematically searched the houses inside for weapons without requiring a warrant. The goal was to expedite and improve enforcement of the 1967 Firearms Act, which imposed licensing requirements on ownership and possession of guns and ammunition, and prohibited automatic weapons entirely. Firearm licences in Jamaica require a background check, inspection and payment of a yearly fee, and can make legal gun ownership difficult for ordinary citizens. The new judicial procedures of the Gun Court Act were designed to ensure that firearms violations would be tried quickly and harshly punished.
Prime Minister Michael Manley expressed his determination to take stronger action against firearms, predicting that “It will be a long war. No country can win a war against crime overnight, but we shall win. By the time we have finished with them, Jamaican gunmen will be sorry they ever heard of a thing called a gun.” In order to win this war, Manley believed it necessary to fully disarm the public: “There is no place in this society for the gun, now or ever.”
The Gun Court Act and the Suppression of Crime Act were passed in special simultaneous sessions of the Senate and House of Representatives, and immediately signed into law by Governor-General Florizel Glasspole on April 1, 1974. The new court had several extraordinary features. Most trials were to be conducted in camera, without a jury and closed to the public and the press, in order to avoid problems of intimidation of witnesses and jurors. There was no provision for bail, either pre-trial or during appeal, since all defendants were considered dangerous. Most offences carried a single, mandatory sentence: indefinite imprisonment with hard labour. A convicted offender could be released only upon special decision of the Governor-General, advised by an appointed review board.
The unusual features of the Gun Court have faced legal challenges, some of which have forced amendment of the Gun Court Act. The case Hinds et al. v. the Queen was an early test case for the new court. Four men, Moses Hinds, Henry Martin, Elkanah Hutchinson, and Samuel Thomas, had been arrested and convicted by the Gun Court in 1974 for possession of firearms and ammunition without a licence. They appealed their sentences to Jamaica’s highest appellate court, the Court of Appeals, which initially declined to hear the case. However, they were allowed to apply to the Judicial Committee of the Privy Council in London, which agreed to review the legality of the Gun Court system.
The Constitution of Jamaica reserves certain serious crimes to the jurisdiction of the Supreme Court and its divisions. The Gun Court Act had established the Full Court division, with Resident Magistrates presiding, to try major firearms offences. The Privy Council held that this provision of the Act improperly encroached on the jurisdiction reserved for the Supreme Court, and that the Full Court division was therefore unconstitutional. This fault was remedied in 1976 by replacing the Full Court division with a new High Court division, presided over by a single Supreme Court justice. The Privy Council also found that the institution of an appointed review board to determine the length of sentences was contrary to the doctrine of separation of powers fundamental to the Westminster system of government. According to this principle, sentencing in each particular case is a function of the judiciary, and cannot be assigned to any other body. The 1976 amendment eliminated the review board entirely, leaving life imprisonment without review as the only possible sentence.
Another case, Trevor Stone v. the Queen, challenged the denial of jury trial for most gun offences. It was argued that trial by jury is a fundamental and constitutional right guaranteed by tradition in English common law. The Jamaican Court of Appeals rejected this argument in a decision written by Court President Ira DeCordova Rowe in 1980. The court noted that the written Constitution adopted by Jamaica upon independence guaranteed certain rights to criminal defendants, but omitted trial by jury. This case confirmed the Gun Court’s power to try all non-capital cases before judges alone.
The case of Herbert Bell v. Director of Public Prosecutions, concerning the right to a speedy trial, reached the Privy Council in 1983. The defendant had been held awaiting trial for several years, but the state ultimately failed to present any evidence or witnesses. When he was again arrested on the same firearms charges, he filed suit arguing that the Gun Court had violated his constitutional rights through unreasonable delay. The Privy Council agreed, ruling that even when prevailing local standards were taken into account, Bell’s trial had been excessively delayed through no fault of his own.
The Gun Court Amendment Act of 1983 allowed Resident Magistrates to grant pre-trial bail, and to decide whether to keep firearms cases in the Resident Magistrate’s Court or to send them to the High Court division of the Gun Court. Judges were given the power to set sentences other than life imprisonment. Cases involving defendants under 14 years old were directed to juvenile courts, instead of being heard by the ordinary Gun Court, and many young convicts serving indefinite sentences were released.
The Gun Court has faced criticism on several fronts, most notably for its departure from traditional practices, for its large backlog of cases, and for the continuing escalation in gun violence since its institution.
At the time of the 1976 amendments to the Act, the Jamaican Bar Association protested against the lack of jury trials and the harsh mandatory sentences. According to a report in the Virgin Islands Daily News, the Association’s Bar Council objected to the possibility that children as young as 12 could be imprisoned for life, without release or appeal, for small offences such as being found with used ammunition. The abrogation of jury trial has also been criticized by attorney and law professor David Rowe, the son of the Appeals Court justice who wrote the decision in the Stone case upholding the practice. Rowe argues that the common-law right to a jury trial is implied in the Constitutional provision for “a fair hearing within a reasonable time, by an independent and impartial court established by law,” concluding that the Constitution had been “shorn of its most potent and ancient safeguard, trial by jury.”
A release from 1987 on the Temple Records imprint. A poetic collaboration between musician Kenny Morris and the radical 1970′s writer Dorothée Lalanne, which works out very well. The two sound-scapes on each side of this 12″ record, are both soundtracks for the two films ‘La Main Morte’ and ‘Chapter Of Faults’. The winter solstice information has been gently removed from the whitegoddess website whilst a large moon hovers above Penguin Towers. The text on Kenny Morris has mainly been stolen from Wikki during the same moon’s orbit. The photograph below of Siouxsie and Kenny Morris lovingly scan from Simon Barker’s A.K.A Berlin’s book ‘Punks Dead’.
Kenny Morris was the first studio drummer of Siouxsie and the Banshees.
Morris attended St Ignatius College, Enfield, where he became a friend of future collaborator and film director John Maybury. Morris then attended Barnet College of Further Education. He also studied Fine Art and Film-making at North East London Polytechnic. He was attending Camberwell School of Arts and Crafts when he joined the band.
He was a member of Siouxsie and the Banshees from January 1977 until September 1979. He played on the albums ‘The Scream’ and ‘Join Hands’. He also co-composed the hit single ‘Hong Kong Garden’.
While the band sold out venues in London in early 1978, they still had problems getting the right recording contract that could give them “complete artistic control”. Polydor finally offered this guarantee and signed them in June. Their first single, ‘Hong Kong Garden’, featuring a xylophone motif, reached the Top Ten in the UK shortly after. In its review, the NME hailed it as “a bright, vivid narrative, something like snapshots from the window of a speeding Japanese train, power charged by the most original, intoxicating guitar playing I heard in a long, long time.”
The band released their debut album, ‘The Scream’, in November 1978. Nick Kent of NME said of the record: “the band sounds like some unique hybrid of the Velvet Underground mated with much of the ingenuity of Tago Mago-era Can, if any parallel can be drawn.” At the end of the article, he added this remark: “Certainly, the traditional three-piece sound has never been used in a more unorthodox fashion with such stunning results.”
The Banshees’ second album, ‘Join Hands’, was released in 1979 and included a version of ‘The Lord’s Prayer’. In Melody Maker Jon Savage described ‘Poppy Day’ as “a short, powerful evocation of the Great War graveyards” and Record Mirror described the whole record as “a dangerous and volatile work”. The Banshees embarked on a major tour to promote the album. A few dates into the tour in September, Morris and McKay left an in-store signing after an argument and quit the band. In need of replacements to fulfil tour dates, the Banshees’ manager called drummer Budgie, formerly with The Slits, and asked him to audition. Budgie was hired, but Siouxsie and Severin had no success auditioning guitarists. Robert Smith of The Cure offered his services in case they couldn’t find a guitarist (his group were already the support band on the tour), so the band held him to it after seeing too many “rock virtuosos”. The tour resumed in September and after the last concert, Smith returned to The Cure.
Almost a decade after leaving the Banshees, Morris worked as a drummer with Helen Terry and other musicians for live stage sets. He made the film and soundtrack ‘La Main Morte’, with narration by Dorothy Lalanne and music by Morris, John Maybury and Jean-Michelle Baudry. The EP released on Temple Records is the original sound track to the two short movies filmed by Kenny Morris. The first one titled ‘La Main Morte’ and the second one ‘Chapter Of Faults’ (where the artwork comes from). These are two tracks of spoken word, one written and read in English by French writer Dorothée Lalanne, and the other written by 19th century French sculptor Auguste Rodin and read in French by Dorothée Lalanne.
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.
These two songs are the first things I ever recorded and apparently ‘Wasting Your Time’ was played by John Peel.
The tracks were recorded in my bedroom by a guy who had a four track cassette porta studio back in 1982 when I was just 19 and slightly mad.
The drums truly are a suitcase and those thick white plastic water containers, one of which was sellotaped to an upturned biscuit tin with nails on to act as a snare.
The song ‘Caroline’ was a piss take of those country & western bands that take forever to introduce the song and the band, and bored me to tears at the time. For those who might be wondering the crowd applause is taken from a live 10CC album at the Hollywood Bowl and not from the Chard folk club on a Wednesday night. I was persuaded to record as everyone at the folk club seemed to love it.
The tracks were for a compilation album amusingly called ‘Chardbusters’ and were a collection of musicians who played what was known as the Chard folk club.
There was a pub in Chard called the Victoria that had what was home to this folk club every Wednesday. Anyone could play and so I used to play there frequently for about two years from 1980 to 1982.
Little Shane from Children Of Revolution (C.O.R) records used to go to this club a lot. I remember once getting annoyed that no one was listening and Shane had his back to me so I started singing about him and it may even have been that ‘Caroline’ was originally about Shane although I don’t imagine it would have been a love song!
I didn’t really want ‘Caroline’ to be on the album but everyone persuaded me and in the end I gave in to popular demand.
‘Wasting Your Time’ is one of the first songs I wrote. We have played it live recently but I find it too boring but if you listen to the end of ‘Tobacco In The Butter’ you’ll notice that’s it goes into ‘Wasting Your Time’ and we used to join the two together live which I liked.
Idiot Strength formed in Bristol in 1984 playing sporadic gigs in various squats and venues around Bristol.
The original line up in the above picture was Mathew Brett on drums (now sadly deceased), Giles Coe on Bass and myself, Steve Corr on vocals and guitar.
Idiot Strength moved to London in 1986 where they carried on in the same sporadic half arsed kind of way they’d started, performing at squats and festivals in the capital frequently.
The above tracks were taken from a demo recorded in Walthamstow during the latter months of 1986 with Sian ex Lost Cherries and just about to join the second incarnation of Blyth Power on backing vocals.
I think the tracks were originally going to be released as a split album with Wat Tyler.
I then became guitarist with Blyth Power in their second incarnation from 1987 – 1990 which kind of side lined Idiot Strength a little due to the heavy touring and recording commitments that Blyth Power had in those days.
Mathew Brett left to go travelling and was replaced by Andy Tuck who had previously played with Thatcher On Acid and later with Schwartzeneggar. Matt was soon followed by Giles, who also went travelling, and who was then replaced by Chaz formerly of Flowers in the Dustbin.
The band continued in much the same manner.
Chaz left after a year or so and was replaced by Bob Butler who was also a member of Thatcher On Acid and Schwartzeneggar and now playing with Steve Ignorant.
All three members of this later incarnation came originally from Yeovil and the surrounding area.
During their time in London time they had various lead guitarists, the last of whom and perhaps the best was Dan who had previously played and sang with Blind Mole Rat. We recorded about a dozen songs in a small studio in New Cross in the summer of 1996.
Sadly the band never got to release anything the band recorded and stuttered to a halt in 1996.
In 2012 Idiot Strength reformed to support the newly reformed Mob at the Bristol Fleece in April. We performed alongside Rubella Ballet and Zounds. All of the bands on the night celebrating the debut performance of the original line up of The Mob. This was not the first time I had supported The Mob. During the times when The Mob were still based in the west country our paths would cross now and again in youth clubs and church halls.
Since then Idiot Strength have performed several other gigs organised by the All The Madmen collective and The Mob, and have again got a different line up since the April 2012 performance.
On this Halloween morning, I have uploaded my favourite UK Decay single, the last single released in the bands original lifetime, and the only record released on extended play 12″ vinyl format. Just as well it was a 12″ vinyl as the tracks on the record last for over twenty minutes, ‘Werewolf’ alone is over ten minutes long. The band disbanded after this 12″ single, but left the public with a fine legacy that is still loved up to this present day. The album ‘For Madmen Only’ and this 12″ single were both recorded at Southern Studios under the sonic guidance of John Loder’s ears… Perhaps that is why these records are the pinnacle of the bands recorded output in my opinion.
The text below has been scavenged from Wikki and the ukdecay.co.uk site by wolves.
UK Decay was born out of the ashes of another Luton band called The Resiztors, who had formed in 1978. The Resiztors’ lineup consisted of guitarist Steve “Abbo” Abbot, drummer Steven David Harle, bassist Martin “Segovia” Smith and vocalists Ricky Smith and Paul Wilson. After Wilson’s departure in the spring of 1979, the remaining three band members changed their name to UK Decay and released the ‘Split Single’ 7″ EP in partnership with fellow local band Pneumania, on their own Plastic Records label. The EP featured two tracks from each band, with UK Decay contributing “UK Decay” and “Car Crash”. ‘Split Single’ sold extremely well, mainly thanks to a damning review in the NME by Danny Baker and Charles Shaar Murray. At the same time, some UK Decay members produced their own monthly fanzine The Suss and ran their own punk record and clothes shop called Matrix. Guitarist Steve Spon was soon recruited from Pneumania, allowing Abbo to concentrate on front man duties.
The next release for Plastic Records was UK Decay’s ‘The Black Cat’ four-song EP, issued in early 1980. It hovered in the UK Indie Chart for 15 months. Alex Howe from Fresh Records offered to license the first two singles, and signed UK Decay to the label. The first official release for Fresh was the single ‘For My Country’, issued in September 1980. ‘For My Country’ received airplay from John Peel (for whom they would record two sessions) and spent eight months in the indie chart, reaching No. 13. The single was promoted by a major UK tour with hardcore punk band Dead Kennedys. By 1981, two further singles had also been released, ‘Unexpected Guest’ and ‘Sexual’. The former achieved the band’s highest indie chart placing of No. 4, and paved the way for UK Decay’s debut album, ‘For Madmen Only’, released by Fresh in December 1981. The album had taken a year to gestate, due to delays caused by a time-consuming US tour and a frustrating search for a new permanent bass player. When original bassist Smith left, Lorraine “Lol” Turvey from The Statics stood in for some UK dates and an early 1981 European tour. For the US jaunt and subsequent UK tours in spring 1981, Creetin K-OS (of US punks Social Unrest) stood in. Following that stint, K-OS returned home and Eddie “Twiggy” Branch from Northampton joined on bass, just in time to finish the album. During this period, Abbo jokingly referred to the band’s sound as “goth” in a Sounds interview, helping to immortalize the beginning of the gothic rock movement, although UK Decay considered themselves a punk band first and foremost.
In early 1982, Fresh Records collapsed, and UK Decay were caught up in the ensuing management buyout by what would become Jungle Records. With the help of John Loder and Southern Studios, they managed to buy up the rights to their back catalogue and set up their own label, UK Decay Records. Loder also introduced them to Penny Rimbaud from Crass, which resulted in the ‘Rising From The Dread’ 12″ EP (featuring the 10-minute epic “Werewolf”) being issued on Crass’ Corpus Christi label in August 1982. However, despite a strong showing in the independent charts and an ever-expanding fan base, the five years of continuous touring took their toll and UK Decay split up in December 1982. Posthumous cassette-only live album ‘A Night For Celebration’ was released during the summer of 1983.
UK DECAY ‘Rising From The Dread’ (Corpus Christi) – Sounds music paper – 1982
The most extreme record in the pile, and despite/because of the hostile reactions it’s garnered in the office, a positive effective stab at daring to be different. The first minute or so of ‘Werewolf’ consists of unsettling subhuman growls and sound effects – a perfect setting for Decay’s rousing, invigorating music which is beginning to draw on a deep, almost mystical strength that places them at a point almost equi-distant between the Fall and U2, if that can be imagined, lusting after a supreme physical and mental peak. Decay are sorely misunderstood (as much by a large section of their fans as by blinkered detractors) but vocalist Abbo is predestined to be much more influential soon. I shall interview him and put him on the cover of sounds, but for now, this record has the spirit of Kurt Vonnegut.
UK DECAY ORBITUARY – Tom Vague for Vague fanzine – 1982
At the moment they have left a void. It wasn’t fair that the new breed were reaping rewards for what Decay had done, when they weren’t getting rewarded. In a way they were merely being accepted. ‘Good old Decay, The Eagles of the South’ and all that crap. Good luck to them I say.
It seems funny they’ve gone after ‘Werewolf’ put them worlds ahead. Perhaps they didn’t like the thought of missing a Vague obituary. They wanted to see it, silly bastards that they are.
When Decay sang ‘Testament’; the world reeled When they split it fell in half. When Abbo briefly outlined future plans my brain seized up. I didn’t know what to expect. That’s quite good really – he’s a funny man.
With intelligence and inspiration Decay helped so many bands but that, an important matter on its own, is trifling in the thought waves when you consider the impact of their music. Our emotional soundtracks are seldom this pointy and deep. I mean Abbo waffles on about books a lot, but he’s a decent chap, what, what?
For once no mourning exists. Spon’s guitar will feature in his new band. Abbo, Eddie and Steve (with a new man) go on. That exuberance continues, so what’s all this, Tom, that I’m supposed to rite?
I do say of the Decay reign that their importance was inside us all. We felt what they were doing, we recognised it and appreciated the integrity that went with everything they did. In a way they’ve done more than just about anybody but …it’s weird when you think about it all. It’s impossible to reflect. They’re all still here.
(I tore my trousers the other day. Perhaps I’m a positive punk?
Halloween history and traditions
Halloween, celebrated each year on October 31, is a mix of ancient Celtic practices, Catholic and Roman religious rituals and European folk traditions that blended together over time to create the holiday we know today. Straddling the line between fall and winter, plenty and paucity and life and death, Halloween is a time of celebration and superstition. Halloween has long been thought of as a day when the dead can return to the earth, and ancient Celts would light bonfires and wear costumes to ward off these roaming ghosts. The Celtic holiday of Samhain, the Catholic Hallowmas period of All Saints’ Day and All Souls’ Day and the Roman festival of Feralia all influenced the modern holiday of Halloween. In the 19th century, Halloween began to lose its religious connotation, becoming a more secular community-based children’s holiday. Although the superstitions and beliefs surrounding Halloween may have evolved over the years, as the days grow shorter and the nights get colder, people can still look forward to parades, costumes and sweet treats to usher in the winter season.
Halloween’s origins date back to the ancient Celtic festival of Samhain.
The Celts, who lived 2,000 years ago in the area that is now Ireland, the United Kingdom, and northern France, celebrated their new year on November 1. This day marked the end of summer and the harvest and the beginning of the dark, cold winter, a time of year that was often associated with human death. Celts believed that on the night before the new year, the boundary between the worlds of the living and the dead became blurred. On the night of October 31, they celebrated Samhain, when it was believed that the ghosts of the dead returned to earth. In addition to causing trouble and damaging crops, Celts thought that the presence of the otherworldly spirits made it easier for the Druids, or Celtic priests, to make predictions about the future. For a people entirely dependent on the volatile natural world, these prophecies were an important source of comfort and direction during the long, dark winter.
To commemorate the event, Druids built huge sacred bonfires, where the people gathered to burn crops and animals as sacrifices to the Celtic deities.
During the celebration, the Celts wore costumes, typically consisting of animal heads and skins, and attempted to tell each other’s fortunes. When the celebration was over, they re-lit their hearth fires, which they had extinguished earlier that evening, from the sacred bonfire to help protect them during the coming winter.
By A.D. 43, Romans had conquered the majority of Celtic territory. In the course of the four hundred years that they ruled the Celtic lands, two festivals of Roman origin were combined with the traditional Celtic celebration of Samhain.
The first was Feralia, a day in late October when the Romans traditionally commemorated the passing of the dead. The second was a day to honor Pomona, the Roman goddess of fruit and trees. The symbol of Pomona is the apple and the incorporation of this celebration into Samhain probably explains the tradition of “bobbing” for apples that is practiced today on Halloween.
By the 800s, the influence of Christianity had spread into Celtic lands. In the seventh century, Pope Boniface IV designated November 1 All Saints’ Day, a time to honor saints and martyrs. It is widely believed today that the pope was attempting to replace the Celtic festival of the dead with a related, but church-sanctioned holiday. The celebration was also called All-hallows or All-hallowmas (from Middle English Alholowmesse meaning All Saints’ Day) and the night before it, the night of Samhain, began to be called All-hallows Eve and, eventually, Halloween. Even later, in A.D. 1000, the church would make November 2 All Souls’ Day, a day to honor the dead. It was celebrated similarly to Samhain, with big bonfires, parades, and dressing up in costumes as saints, angels, and devils. Together, the three celebrations, the eve of All Saints’, All Saints’, and All Souls’, were called Hallowmas.
Halloween has always been a holiday filled with mystery, magic and superstition. It began as a Celtic end-of-summer festival during which people felt especially close to deceased relatives and friends. For these friendly spirits, they set places at the dinner table, left treats on doorsteps and along the side of the road and lit candles to help loved ones find their way back to the spirit world.
Today’s Halloween ghosts are often depicted as more fearsome and malevolent, and our customs and superstitions are scarier too. We avoid crossing paths with black cats, afraid that they might bring us bad luck. This idea has its roots in the Middle Ages, when many people believed that witches avoided detection by turning themselves into cats. We try not to walk under ladders for the same reason. This superstition may have come from the ancient Egyptians, who believed that triangles were sacred; it also may have something to do with the fact that walking under a leaning ladder tends to be fairly unsafe. And around Halloween, especially, we try to avoid breaking mirrors, stepping on cracks in the road or spilling salt.
But what about the Halloween traditions and beliefs that today’s trick-or-treaters have forgotten all about? Many of these obsolete rituals focused on the future instead of the past and the living instead of the dead. In particular, many had to do with helping young women identify their future husbands and reassuring them that they would someday, with luck, by next Halloween, be married.
In 18th-century Ireland, a matchmaking cook might bury a ring in her mashed potatoes on Halloween night, hoping to bring true love to the diner who found it. In Scotland, fortune-tellers recommended that an eligible young woman name a hazelnut for each of her suitors and then toss the nuts into the fireplace. The nut that burned to ashes rather than popping or exploding, the story went, represented the girl’s future husband. (In some versions of this legend, confusingly, the opposite was true: The nut that burned away symbolized a love that would not last.) Another tale had it that if a young woman ate a sugary concoction made out of walnuts, hazelnuts and nutmeg before bed on Halloween night, she would dream about her future husband. Young women tossed apple-peels over their shoulders, hoping that the peels would fall on the floor in the shape of their future husbands’ initials; tried to learn about their futures by peering at egg yolks floating in a bowl of water; and stood in front of mirrors in darkened rooms, holding candles and looking over their shoulders for their husbands’ faces.
Other rituals were more competitive. At some Halloween parties, the first guest to find a burr on a chestnut-hunt would be the first to marry; at others, the first successful apple-bobber would be the first down the aisle.
Another day with connections to Halloween is Guy Fawkes Day, celebrated on November 5. Guy Fawkes was a Roman Catholic who planned to blow up the Protestant House of Parliament on November 5, 1606; luckily for the House, he was apprehended and executed. Afterwards, the anniversary of the day was celebrated by building straw effigies, entreating passersby for “a penny for the Guy”, and finally burning “the Guys” in bonfires.
All the period photographs of Halloween children and adults that are displayed on this post are courtesy of the Ossian Brown book ‘Haunted Air’. Ossian has collated dozens of astonishing photographs for this charming and luxurious felt covered hardback book.
All the photographs were taken in the United States Of America between the late 19th and the mid 20th century.
I would like to thank Ossian for sending me two signed copies of this beautiful book, one which went straight up to Sheffield towards the eager hands of my younger brother who knew Ossian, as I did also, in the mid 1980s.
Ossian is a member of Cyclobe as well as working in collaboration with David Tibet’s Current 93.
Haunted Air is available now ISBN 9780224089708 published by Jonathan Cape with a forward passage by David Lynch and Geoff Cox.
£15 from: The venue – The Tufnell Park DomeHEREor Gig BoxHERE
Formed in Dublin in 1981, Paranoid Visions quickly allied themselves to the anarcho punk fraternity of the second wave of punk rock in the early 80′s. Heavily influenced by the Crass ethic of DIY music, the band formed their own F.O.A.D label and licensed their records to All The Madmen, home of the Mob, Thatcher on Acid, Blyth Power and the Astronauts.
Paranoid Visons played gigs and toured with the likes of Poison Girls, DIRT, Blyth Power, Subhumans and The Instigators. In the early 90′s they played with bands like Snuff, the Macc Ladds and Manic Street Preachers before calling it a day in 1992. Despite their disbanding, the 90′s saw Paranoid Visions becoming the biggest punk band Ireland had ever produced, featuring on several TV shows, newspapers and being offered numerous record deals from Major labels. In 1996 they reformed to play support on some dates for the Sex Pistols Filthy Lucre tour. In 2001 they reformed again and played with the Damned, The Dickies and at the Wasted Festival in Morecombe. While these reunions were always designed to be short lived, with the 2005 reunion, formed in support of the re-release of their back catalogue, it was decided to continue the momentum.
March 2007 saw the release of the album “40 Shades Of Gangreen”, the first new material for sixteen years. The run up to this release saw the band playing dates with bands such as The Levellers, The Damned and Sonic Boom Six as well as dozens of UK and Ireland headline slots.
Since 2007 the band has been consistently gathering momentum, with a fixed line-up, to include regular gigs in Ireland, UK, USA and Europe (with bands suck as The Lurkers, Subhumans, GBH and Goldblade), Rebellion and Punx Picnic, the release of ‘The Treasure From The Wasteland EP’ (2008), singles ‘I Am The One – 1970s EP’ and ‘Strobelight And Torture’ (2009), album ‘Beware Of The God’ (2009), plus a series of ‘Hate From The Cities’ and ‘Live In Fibbers’ compilations. There have been several appearances including two feature films (’3Crosses’ and ‘Little Foxes’), the Podge & Rodge Show for RTE Television, and radio sessions for Phantom and 2FM. This has all been supported with much national press coverage and includes extensive interviews with State Magazine, Hot Press and The Big Cheese.
2010 saw the release of a retrospective, ‘Black Operations In The Red Mist’, which garnered universal praise in countries such as Germany, Japan, USA and Holland.
2011 started with a bang with the announcement of the bands first trip to the USA for three highly successful headline shows and the release of the “Der Election EP” which became the first Irish punk record to hit the national charts in 30 years, debuting at number six, one place above Take That and one behind JLS and Tiny Tempah!!!! The band are currently completing their new album, entitled “Hail Tsunmami” for release in 2012 on Overground Records / FOAD. The album will be preceded by a single in November on FOAD (CD) of Outsider Artist (featuring TV Smith) / Control (featuring The Shend) / Prophet For The Lost (featuring The Blame) and 6 live bonus tracks. A 7″ version on Inflammable Material / FOAD will be released at the same time as a limited edition.
On November 19th the the band will support Steve Ignorant at his Last (ever) Supper show at the Shepherds Bush Empire in London.
2012 saw the release of the bands most critically acclaimed and commercially succesful album to date “escape from the austerity complex”
2013 sees the released of the “up the anti” EP, via scarred for life records and two releases where the band are joined by Crass’s Steve Ignorant: “Join the Dots EP” (7″) on All The Madmen records and the album “when…?” on Overground records.
The new Steve Ignorant with Paranoid Visions 7″ single on wonderful white vinyl is now available from the All The Madmen singles club HERE
The Mob’s first 7″ single for thirty years, pretty in pink vinyl is now available from the All The Madmen singles club HERE
My ‘review’ on The Mob / All The Madmen Facebook page of the tracks that would become this record from May 2013 below.
It has been around thirty years since the last record was released by The Mob. The audio of two new tracks were sent down the wire to Penguin Towers last night and have now been mulled over in enough depth, after repeated plays, for me to confirm that this single, soon to be released on All The Madmen records, is going to be a stonewall classic. My preferred track is ‘Nothing You’ve Got I Want’. A gentle song of innocence and hope that rolls along like a river until the epic crescendo. ‘Rise Up’ is a track that has been performed live by The Mob for several months now. Studio wise it is a hard hitting bass driven track with some nifty drum / percussion work from Graham Fallows.
The Mob in 2013 still have the integrity that shone through like a blinding light during the early 1980′s. These two new tracks show this integrity in abundance. To get the new single by The Mob and the other releases on All The Madmen records please browse the website; please join the singles club to get all the records in gorgeous coloured vinyl…! Please remember All The Madmen records is a co-operative and all monies gained goes straight back into funding new projects. P.S: ‘Nothing You’ve Got I Want’ has a very special person performing on the track. This person was around The Mob literally at the very start of the band… A beautiful track indeed.
Following on from Joseph Porter’s rollicking good read ‘From Genesis To Revolutions’ which was a factual account of Joseph’s growing up in the west country and eventually highlighting his subsequent joining of Zounds and the adventures thereafter, we get ‘Full Circle’ which is a ‘fictional’ critique of the anarcho punk scene in the early 1980′s with all names changed to protect the great mass of black clothed warriors of the day, some events fictionalised did in fact happen.
Joseph Porters ‘From Genesis To Revolutions’ book was placed up to KYPP a year and a bit ago now and that post may be viewed HERE
What? Another fucking book about the anarchist-punk scene in the 1980s? Well…sort of… This is about all the people and places I knew then but one step removed. From an emotional standpoint it’s a much more accurate picture of what I thought and felt at the time, and that’s why it’s more important to me than ‘Genesis’ which was just a means of raising some money towards the Blyth Power recording! As a piece of narcissistic self-obsession it’s more accessible than ‘The Bricklayers Arms’. It’s now available priced £10 via Blyth Power HERE
Steve Lake from Zounds wonderfully entertaining book on his life with Zounds including all the lyrics to the all the tracks Zounds recorded along with some nice photographs of Brougham Road courtesy of yours truly!
This is part Steve’s autobiography, part band history and part insiders story of the 1980′s UK anarcho punk scene.
The band were formed around the nucleus of Steve Lake from Reading, Berkshire and evolved from a number of jamming sessions with other musicians and friends in Oxford, taking in influences from the Velvet Underground to the Sex Pistols. The band began performing gigs in 1977/78 with a line-up of Steve Lake (Vocals/Bass), Steve Burch (Guitar) and Jimmy Lacey (Drums), adding Nick Godwin (guitar) at their second gig – adopting the name ‘Zounds’, chosen from a dictionary by Burch. Soon, Burch left the group and was replaced by Lawrence Wood. After this the band slowly became more politicized owing to troubles with police and unfolding events of the cold war, and became more and more involved with free festivals, alongside The Mob, with whom they developed a close association.
The band met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. After undergoing several line-up changes Zounds shortly afterwards released their first EP, Can’t Cheat Karma, on the Crass Records label (although drummer Joseph was replaced for the recording by a session drummer) in 1981. The EP featured possibly their most well-known track “Subvert”, a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the band’s profile in the embryonic Anarcho-punk scene, touring with both Crass and the Poison Girls, as well as performing several squat gigs in West Berlin.
The band released their first album The Curse of Zounds on Rough Trade Records in 1981, recording and mixing the LP within five days. The cover art, by anarchist artist Clifford Harper, featured a painting of fire fighters apparently trying to put out a blaze at the Houses of Parliament in Westminster. However, the picture continued onto the back cover, which showed that in fact they are spraying the fire with petrol, thus feeding it. The band released three more singles on Rough Trade, Demystification (a psychedelia-influenced track backed with “Great White Hunter”), Dancing and More Trouble Coming Every Day, as well Le Vache Qui Rit (initially intended for a split EP with The Mob for an anti-draft benefit in Belgium).
The band split up in late 1982, Steve Lake disaffected with the Anarchist music scene in general and the band worn out from touring. Bass player and vocalist Steve Lake and guitarist Laurence Wood continued to work together for a while as The World Service with original Zounds member Nick Godwin, whilst drummer Josef Porta went on to join the The Mob and later Blyth Power. Lake continued work as a solo artist recording two albums with Nick Godwin and Brian Pugsley.
Official re-mastered reissue of their excellent tape on the All The Madmen Record label from 1986-1987. Often overlooked due to its rarity, but long deserving of a quality reissue. Stunning female vocals over melancholy, yet catchy Gothic punk backing. Not unsurprisingly what one might get after these peace punks listed a magazine ad saying they were looking for band members, who “must be a fan of The Cure, Wire, and The Associates”. For fans of The Mob, Part 1, UK Decay, Blood and Roses etc.
Limited to only 500 copies, with the first 100 mail-order editions on coloured vinyl containing a bonus disc of rough mixes, compilation tracks, and live recordings.
Sometimes, just sometimes, placing rare records, cassettes and live performance audio along with writing interesting articles relevant to that particular post on Kill Your Pet Puppy can be a bit of a chore! Not on this post though…
All the work on this post has been done by various kindly souls to give this particular Penguin a rest. Gerard conducted, recorded and digitalised the interview with our Lord and Master Tony D which was then gently placed on my lap via a kindly email. Gerard also wrote the text to go with his part of this post. Someone else unknown to me took the photograph of Tony D and Gerard on the Brighton seafront.
Crumblestiltskin Gee AKA Dave Also then used snippets of the Gerard / Tony D chat on his radio broadcast on KAOS Radio Austin mixed in with lots of decent period music some of which might have been taken from this blog you are reading now. This radio broadcast may be listened to here;
After this show was broadcast I was asked if I wanted to place it onto KYPP. I told him no problem and “perhaps he could write some background on the radio station just to fill up the post a tad”. While Crumblestiltskin Gee was sourcing information to go along with this KYPP post another radio broadcast, this time dedicated to All The Madmen Records was aired.
A few days ago I received what I had originally asked Crumblestiltskin Gee for “perhaps he could write some background on the radio station just to fill up the post a tad”.
To my amazement Crumblestiltskin Gee not only sent me all the radio broadcasts he has been involved with and which would be relevant to this KYPP blog, including a broadcast all the way back in February 2013 which I was not aware of -ELUDING THE LENGTHENED SHADOW: No Doves Fly Here He also wrote reams on the history of free radio in the U.S.A along with reams of information on the current radio station he is involved with. KAOS Radio Austin.
Along with sending texts on the history and the workings of KAOS Radio Austin we have photographs, Youtube videos and interviews with some of the other KAOS Radio Austin DJ’s and other general agitators involved in the radio station!
Crumblestiltskin Gee even done the layout for his part, meaning with just a little effort on my side I could basically cut and paste the whole thing onto this post!
Not really a lot for me to do really save bolt all the bits together and write this introduction.
Massive thanks to Gerard and to Crumblestiltskin Gee for all the effort placed into making this KYPP post wonderful.
More details of what bands appear and who is interviewed on the Crumblestiltskin Gee’s radio broadcasts mentioned above may be read at the foot of this KYPP post along with the relevant links to those radio broadcasts.
Though this text is written in a heatwave, it’s easy to forget that spring got cancelled this year, replaced by a winter that went on forever and seemed like it was never going to stop. Even when the Wicked Witch died, Narnia continued.
It was, then, a relief to see the sun making it’s first appearance of the year as I waited on Brighton station for the appearance of Tony Drayton – the man behind the fanzines Kill Your Pet Puppy and previously Ripped & Torn.
I’d just finished a series of spoken word commentaries with Chas, the bassist from Flowers in the Dustbin, going through all our songs, and been pleased with the results. Now my idea was simple enough – I wanted to interview a series of people who were something to do with Flowers in the Dustbin, however tangentially and had an interesting tale to tell. Then I was going to put them all on the FITD website as some kind of weird FITD radio type series.
Why? Well, I guess what I wanted to get to the heart of is what we (punks) all think about stuff these days – how do we reflect on the politics and the attitudes of our youth, particularly in the context of middle-age and all that brings with it.
How the culture has grown up (or perhaps if).
So first up was Tony, now strolling through the ticket barrier with the usual friendly smile and mischievous intent. We decamp to the Prince George pub in Trafalgar Street for food and beer. It’s still morning. And we’re not eighteen any more.
The plan is to walk back to my flat and do the interview there. Which is a shame because by the time we hit the second pub (the Barley Mow in Kemptown), the interview has been prematurely born and Tony is pouring out anecdotes that are keeping the bar staff transfixed as well as yours truly. Like recalling a squat night sat squeezed between Boy George and “Mad Donna” and wondering if that was actually the girl who became Madonna… probably not but stranger things have happened and punk did (as I believe someone once pointed out) live in the strangest places.
A trip to the off license and we finally get back to the flat. By now the interview has a life of it’s own, and all my big questions on the profundity of post-punk maturity get delayed as we sink into some (I hope…) fascinating reminiscences regarding, in order:
Lilly Allen and Tony’s tummy & piracy & bootlegging
Festivals are the future
Virtual meet ups n- diary of a badman – the way the net unites
Gerard ex Flowers In The Dustbin
A FORESHORTENED HISTORY OF PIRATE RADIO IN AUSTIN, TEXAS
Illustration by Crumblestiltskin Gee
The Roaring 60′s- We Love The Pirates
THE AFTERMATH OF THE GOLDEN AGE OF WIRELESS: WHAT TESLA, EDISON, & THE RADIO HOBBYISTS COULD NOT FORESEE
In 1907, an angry United State Navy began complaining to the press about the use of wireless radio transmission by amateurs that resulted in the disruption of Naval communications. At this stage in history, there was no problem with anybody experimenting with radio broadcast as a hobby. As the issues began to escalate, however, President William Howard Taft introduced the “Act to Regulate Radio Communication” in 1912. Under the new law, people could still experiment with radio broadcast but they were assigned their own frequency spectrum that was overseen by a federal agency called the Federal Radio Commission, which was later replaced by the Federal Communications Commission. The FCC was responsible for assigning frequencies to would-be radio stations and ensuring that acceptable content was broadcast on the air.
It was in 1924, a New York radio station called WHN was accused of being an “outlaw station” by American Telephone & Telegraph Company (AT&T) for violating trade licenses because the station was selling airtime to companies other than AT&T. Although, AT&T won the case, the provisions were never officially enforced by the government as public opinion steered toward the radio station. This experience led some stations to set up shop outside of American borders so that they could advertise whatever they wanted without being tied down to these regulations. “Border blaster” XERF from Mexico was one of these radio stations that had all English broadcasting without being tied down by the fetters of licensing agreements dictated by the US Government. Other radio stations, such as RXKR, preferred to use offshore broadcasting to get around the legalities of broadcasting on-land without the required licensing to do so; although, this endeavor was mostly put together to fool US tourists who were traveling to Panama.
KPFA, Berkeley was the beginnings of community radio in the US in 1949. The idea of community radio was a welcome relief to a lot of radio listeners as it had an emphasis on local issues and helped break down the barrier between broadcaster and listener through “phone-in” type broadcasts. However, the application process was heavy on red tape and some stations found that it would take up to 10 years before airing their first broadcast. Even though public funding had been made available for the creation of community radio stations, people started looking at doing broadcasts without a license in order to avoid the regulatory framework and shortage of frequencies. The newer regulations were strangling true expressions of self-management and community control, particularly with promoting the idea of “bigger is better.”
By the time 1978 rolled around, the FCC stopped granting licenses to stations with transmitters emitting less than 100 watts, thus making the broadcast of radio shows by hobbyists illegal. Well, sort of… The lack of a clear cut law regarding the broadcast of stations that were less than 100 watts created the illusion that you could get in trouble with the FCC but generally there was a lot of bark with no real bite. This helped pave the way for large corporations to have dibs on the remaining frequencies so that they would remain available mostly for commercial use. The upside to this ruling, however, was that this led to the creation of most college-radio stations. This increased the hankering for unlicensed broadcast by those who wanted to do things a different way.
MICRO-POWER BROADCASTING IN THE USA
Illustration by Sean Vile
During the ’80s, there was an outfit that called itself ACE (the Association of Clandestine Radio Enthusiasts), which helped further cement the resolve of those who were interested in following pirate radio broadcasts throughout the nation. However, the biggest influence on the Free Radio Movement in the United States was the creation of what became known as Black Liberation Radio in 1986 by Mbanna and Dia Kantako. Most of the initial programming consisted of telephone interviews with victims of police beatings in the Springfield,Illinois area, interviews with Noam Chomsky, as well as a mix of reggae, hip-hop, and other African-based music with a political view. The station was put together as a response to community radio stations censoring oppositional elements within their programming in order to maintain their licensing status at the government level. Kantako’s stance on micro power broadcasting was as follows, “I would like to see lots of little stations come on the air all over the country so you could drive out of one signal right into another. If you had a gap, you could run a tape until the next one came into range. I’m not interested in big megawatt stations. When you get too big, you get what you got now in America which is basically a homogenized mix of nothing, a bunch of mindless garbage which keeps the people operating in a mindless state. We think that the more community-based these things become, the more the community can put demands on the operators of these stations to serve the needs of that community.” When asked about challenging the FCC’s shutdown of the radio station by allying himself with the National Lawyer’s Guild, he responded, “Anything the government gives you, they can take away . .. Don’t no government give you freedom of speech. Don’t no government own the air … How the hell we gonna argue with them about their laws? That is insanity. We’ve already tried that for 500 years. I don’t give a shit about their laws. Now this is what I call real revolution. You’re exposing the system so the people can’t have faith in it no more.”
FCC Raid on Mbanna Kantako
With the empty space created by the shutdown of Kantako’s radio station, came a new project out of Berkeley- Free Radio Berkeley started by Stephen Dunifer in 1993. When finally brought up on charges in 1995 and 1997, Federal Judge Claudia Wilken refused to grant the FCC an injunction against the station citing Dunifer’s assertion that the FCC had violated Dunifer’s constitutional right to free speech. He said this about the case: “As an anarchist and a Wobbly, I don’t have any faith in the system, but we take our battles where we find them. It was the FCC who took us to court, not us taking them to court. Thanks to members of the National Lawyers Guild’s Committee on Democratic Communications, we were able to bring off a victory of sorts in that arena that’s held so far. Actually, an historical precedent was set on that fateful date of January 20th, 1995 when we appeared in court with the FCC. The FCC thought it was a slam dunk operation. They had this attorney out from D.C. who was real full of himself. He was possessed of the opinion that he was coming out to clean up Dodge City, and it was going to be a cakewalk. Well, within five minutes of that court proceeding beginning, it became rather apparent that he was not going to get what he wanted. He spouted off about it, saying that if I was allowed to continue broadcasting there would be chaos and anarchy on the air waves.
I said to myself, ‘Well, we already got chaos, what we need is a lot more anarchy.’ I’m distinguishing those two things because people tend to try to equate anarchy with chaos, violence and general dysfunctionality. What we really have is chaos in the society. Chaos comes from the Greek for gaping mouth. Our society has a broadcast media propaganda machine, made up of corporate and government thought control operations, which creates an insatiable hunger in people for whatever is the newest goody or commodity. It’s an insatiable hunger that can never be fulfilled by the means which they offer to you, and that’s the whole intent and purpose of it. It’s like a McDonald’s meal. It fits the propaganda of what your taste buds have been accustomed to, but it in no way provides for the nutritional requirements of your body. Your body is always left hungry because it’s not getting the balanced amount of nutrients it really requires to function in a healthy manner. So therefore you have these perpetual cravings for more, and that’s what this whole system is about. That to me is a chaotic system because it is a gaping mouth system; a gaping mouth that is always demanding to be fed more and more shit.”
The same year that the Federal Judge made these rulings was when Ron Sakolsky’s book Seizing The Airwaves was published. In the introduction to his book, he writes the following:
“Unlike conventional radio (which in a U.S. context means commercial, public or, increasingly, community), what Guattari called “popular free radio” does not seek to impose programming on targeted segments of a mass audience using marketing criteria. Instead, it aims at changing the professionally mediated relationship between listener and speaker, and even challenging the listener/speaker dichotomy itself. In one sense, then, it is an expansion upon Bertolt Brecht’s 1927 proposal for democratization of radio which called for the apparatus of radio to be changed over from distribution to communication, making it possible to transmit as well as receive. From an Autonomist perspective, Italian radio would be opened up to non-professionals and the hierarchical one way flow of messages would be replaced with egalitarian multiple flows. This new arrangement stood in marked contrast to the authoritarian approach to radio as a vehicle for the shaping of opinion either by the dominant culture or by an oppositional political party. In the latter case, Guattari was going beyond Brecht in concerning himself with the potentialities of radio for creating new spaces for freedom, self-management (autogestion) and the immediate fulfillment of desire rather than merely disseminating the party line and/or mobilizing supporters in the traditional leftist manner.
Beyond Italy, the resulting free radio movement surfaced not only in Japan as previously noted, but was in evidence throughout Europe in the Seventies and Eighties playing itself out on the airwaves in a plethora of pirate radio stations that erupted in the Netherlands (e.g. Vrije Keizer Radio), West Germany (e.g. Radio Dreyecklantf), Spain (e.g. Radio Luna), Denmark (e.g. Radio Sokkelantf), France (e.g. Radio Libertaire), Belgium (e.g. Radio Air Libre), and the United Kingdom (e.g. Radio Arthur). Today, some of these pirate stations continue to exist, while others have been legalized and hence re-stratified, still others have disappeared. Yet new ones have been born all across the planet in the flames of the Nineties. Circling somewhere in the aether remains the vision of nomadic radio pirates whose transmitters navigate the air waves liberating them on behalf of the voiceless, marginalized and downtrodden and viewing those waves as treasures in themselves which have unjustly been confiscated and debased by the rich and mighty; a touchstone image for current free radio activists throughout the world.
This analogy, of course, brings up the controversy that surrounds the term “pirate” in micro-power radio circles. Personally, I have never objected to the term pirate. When they asked Willie Sutton why he robbed banks, his reply was, ‘That’s where the money is.” Wobbly folksinger Utah Phillips says his mother used to call bank robbers “class heroes,” and Queen Latifah seems to agree. Now since I do not believe that the money that has been privately accumulated by banks is any more the result of an equitable distribution of wealth than that the oligopoly over the airwaves that presently reigns is a fair distribution of a public resource, I would contend that the term radio pirate as it is commonly used is a positive poetic metaphor relating to the redistribution of resources between the haves and have nots. Sure, the naive vision of piracy is often simplistically based on an image of heroic swashbuckling romanticism, but the history of piracy is itself very complex. Those called pirates have ranged from despicable slave traders and imperial guns-for-hire to radical adventurers and utopian visionaries.
Are radio pirates plundering and hijacking the airwaves from their rightful state and corporate owners, or are they better conceived of as state-free rebels using culture jamming tactics to challenge the power of the media monopoly and the authority granted by government’s normalizing regulations which have created a new interlocking system of enclosure, not merely on land, but in the air itself? Whether called pirate radio, micro-power radio, low watt radio, liberation radio or free radio; collectively we constitute a movement that has the capability of bridging the gap between the social and individualist strains of anarchist theory and practice, and offering a libertarian alternative to both corporate and state controlled radio that has an even broader appeal.
Michel Foucault’s strategic advice on “living counter to all forms of fascism” prizes “mobile arrangements over systems” (Foucault in Delueze and Guattari, 1983, p XIII), and brings to mind the image of Stephen Dunifer beginning his then clandestine broadcasts with a mobile radio unit in his backpack in the Berkeley hills or that of Mbanna Kantako defiantly vowing to run his Springfield, Illinois radio station off of a bicycle, if necessary, should he be busted by the FCC. These radio activists have in turn inspired countless others in their wake so that presently a virtual free radio stampede is underway as new micro-power stations go on the air every day. A stampede can be envisioned as mobility called into being by spontaneous action. “Every animal knows, and humans are no exception, that when there is a stampede you must join in or get out of the way. Try to stop it, and you will be crushed.” (Doe, 1996, p 181). Join the Great Radio Stampede!”
In the same tome, Stephen Dunifer writes in his foreword, “And now, good citizen, the next chapter in this fable is up to you. How will you write it? Will you take part in this movement to democratize not only the airwaves but all means of communication? It does not take much in the way of resources to put a community voice on the air. In fact, the cost can be kept to $1000 or less. Are you satisfied with format and formula radio? Does the media reflect the diversity of your community? Do you believe in the First Amendment and the right to tell the truth? Why not consider putting a micro-power FM radio station on the air in your community? Technical advice and equipment are offered by Free Radio Berkeley while legal support and expertise is provided by the National Lawyers Guild’s Committee on Democratic Communications.”
Zapatistas setting up pirate radio station may be viewedHERE
Stephen Dunifer; photo by James Radke
Dunifer was prompting people to participate in the process of democratizing the airwaves. It’s even rumored that he had a hand in assisting the Zapatistas in Chiapas with putting together their own pirate radio station, although this has never been proven conclusive. Two years later, several groups formed within the state of Texas to heed his call to action.
ENTER: FREE RADIO AUSTIN
Til Chamkis, Reckless, and John Siebold; photo by Jana Birchum
There were conversations amongst many who were involved with an Anarchist Reading Group that used to meet in 1996 about the possibilities of making a pirate radio station happen in east Austin. Three years later, the plan was borne into fruition.
Ritchie L (photo not approved for this article): Free Radio Austin existed from about 1999-2001. Free Radio Austin was an anarchist collective, consensus-run station that broadcasted on 97.1 FM out of three different locations during that time period. I believe it was the first pirate station in Austin. I helped a bit with setting up both Free Radio Austin and KAOS. I even did a show on KAOS for a little bit after Free Radio Austin was repeatedly shut down.
Naw Dude; photo by Patrusk
Doug (singer for Naw Dude, Bath Salts, and various other projects): Free Radio Austin was once based out of an old house that I used to live in.
Big Justin of Buzzcrusher & Bob-O Fuentes of Blunt Force Trauma
Big Justin (singer for Buzzcrusher): Free Radio Austin was a pretty important movement at that time but I just had a show; there were others way more involved than me.
The following is taken from an article about Free Radio Austin that was published in the Austin Chronicle in June of 2001:
In the early days of microradio, the FCC was at a loss on how to deal with rogue stations. Clearly, the stations were unlicensed, which made them illegal. However, microradio supporters pointed out that at less than 100 watts there was no license the stations could have applied for, which left them in a legal limbo. A bewildered FCC levied massive fines on the stations, but rarely attempted to collect. With the backing of the courts, the FCC resisted making First Amendment cases out of microradio shutdowns, by relying on two entirely dry and technical arguments against microradio.
The first is interference. Broadcast equipment not tested and certified by the FCC and not operated by professionals, the FCC says, may not make clean transmissions. Radio signals may bleed over onto nearby frequencies, interrupting the broadcast of other stations or disturbing ambulance signals, police broadcasts, and air traffic control transmissions.
Secondly, the radio bandwidth is only so wide. Since a finite number of the waves travelling through space will carry a radio signal, there are fewer frequencies than there are would-be broadcasters. Historically, the Supreme Court has upheld the limited bandwidth argument to the tune that “because it cannot be used by all, some who wish to use it must be denied.”
Yet those with the money to own and operate a 10,000- or 50,000-watt station rarely fall in the category of those who must be denied. And in recent years, the rich have gotten much richer. Ever since the passage of the Communications Act of 1934, the limit on the number of stations a company can own within a single listening area — once severely limited — has risen steadily. The 1996 Telecommunications Act lifted limits on the number of radio and TV stations a single company can own, and allowed ownership of multiple radio stations within a single city.
Reckless; photo by Jana Birchum
Free Radio Austin, like most micro stations, doesn’t dispute either of the FCC arguments directly. They just don’t feel that the arguments are sufficient to shut them down. “We realize that a regulatory body needs to be there,” Reckless, a former broadcaster at Radio Free Santa Cruz and backbone and a founder of Free Radio Austin, told Judge Sam Sparks of the Western District court at Free Radio’s hearing last November 13. “It is a finite spectrum, and we just feel that we deserve some of it.”
As for interference — never mind that a 100-watt station interferes with a 50,000-watt station like a jackrabbit interferes with an 18-wheeler — most micro stations say they are scrupulous about keeping their transmitters tuned and using filters and compressor limiters, all of which are supposed to reduce interference. At the hearing, an FCC agent admitted that Free Radio’s equipment had never been bench tested by the agency to see whether it could have caused interference. And only one complaint had ever been lodged against Free Radio Austin — by Austin residents who claimed it interfered with their reception of KGEL 97.1 in Fort Worth.
When microradio cases do make it into the courtroom, judges tend to shut the stations down without flourish. When broadcasters and supporters have tried to bring free speech issues into the cases, judges have shrugged. However the law ought to be written, broadcasters were clearly in violation of it the way it is written now. To change the law would require a lengthy round of appeals for which few microradio operators have the time, the money, or the lawyers.
The station broadcast at only about 70 watts, enough to be heard reliably around central East Austin — on a good day, some say, as far away as Bastrop. A lot of the programming was music, and a lot of it was political commentary. Some of it was cranks ranting late at night, or awkward poetry readings. The music tended toward the obscure and the politics toward the radical, but ultimately what broadcast at the 97.1 MHz frequency was up to Free Radio’s 100 or so programmers — cab drivers and waiters, Vietnam veterans and teenagers.
Free Radio got their first visit from the FCC in June of 1999. Agent Loyd Perry came to the door of the East Austin home where the station was housed. Perry identified himself, informed the broadcaster on the air at the time that the station was in violation of federal regulations. He asked for the station’s transmitter. The broadcaster, young and scared, handed it over. End of round one.
By the end of the summer, Free Radio was back on the air in a new location, and by the following February, the FCC knew it. A “secret broadcast” is something of a contradiction in terms, and Free Radio Austin was never very good at keeping a low profile. Around town they were an open secret; their stickers were on the bathroom walls, supporters wore Free Radio Austin T-shirts in the street. Perry read about them in the Chronicle and looked them up on Web sites devoted to “pirate” radio stations.
Throughout the spring and summer, the FCC sent out warning letters by certified mail, which station operators refused to sign for. Three times in March and once in August, (according to his deposition for a seizure warrant), Perry drove to Austin from the FCC’s Houston enforcement office and spent the day tracking the errant radio signal. He used a van equipped with an electronic tracking device, but his backup method worked just as well: in the phone book, he cross-checked the refusal signature on the returned letters with the phone number the station gave out as its call-in number. 2939 East 14th Street. On October 10, just a few days before the Fortune 500 conference blew into town, Free Radio was busted. The FCC showed up at the station, this time with several agents and accompanied by APD officers and federal marshals. A broadcaster put out a call to all listeners to come and defend their station. A crowd of 40 or 50 showed up to watch a private construction crew dismantle the broadcasting tower, but there was not much anyone could do. It was all over pretty fast.
FCC contractor begins dismantling the broadcast tower of Free Radio Austin; photo courtesy of Free Radio Austin
Seventy-two hours later, from the garden shed of another East Austin home, Free Radio Austin was back on the air. The final bust came less than a month later, on November 6.
“We were expecting something to happen, obviously,” says Til Chamkis, who was broadcasting at the time of the November bust. “We were on guard, but there had been a pretty good rain and the studio had gotten wet inside, so we had the doors open to air it out. I wasn’t that long into my show, and up the driveway comes a horde of Austin police, FCC, a federal marshal, so I closed the doors and they proceeded to go through the motions of kicking them in.
“I kept asking them to show me their search warrant; that was all I was asking for. Eventually they went around and broke a window, and that’s when I opened the door — and then they shut us down.”
Shutdown of Free Radio Austin
In truth, Free Radio was not really trying very hard not to be shut down. To some of the programmers, their hour or two on the air each week may have been the only point, but to the organizers, the shutdown was a move in a larger game. This was “illegal direct action”: civil disobedience, after a fashion, aimed at the FCC, at the government that tenures them, and at Big Media and the corporations that own it. If your direct action doesn’t make anyone angry enough to retaliate, to take you to court where you have a shot at changing the law, then it hasn’t counted. So they got shut down. It was part of the deal.
Within a week, the FCC filed suit against Free Radio Austin — or rather, as the brief reads, the United States of America filed suit against Reckless, Chamkis, and John Seibold — the three people they could firmly associate with the operation of the station. Chamkis they caught on the air. Seibold’s name was on the lease of the property that housed Free Radio’s third and final studio. And Reckless — well, she was implicated four or five times over. The suit also names as defendants “any and all John and Mary Does found operating an unlicensed station on 97.1 MHz.”
From the back steps, Reckless points out a concrete slab about 2 feet by 2 feet. The empty rusted housing in the center used to anchor the radio tower. The hole the FCC dug to find the transmitter is full of rainwater. This, the site of the second bust, is also her house. “Microradio is a vital first step in having any type of solidarity in the community,” she says. “We live in a time when people don’t know who their neighbors are, don’t really know what the issues are.
“The whole sound bite thing that commercial media does — it really does reduce your critical thinking skills. What’s going on in Iraq, for instance — there’s no way you can understand that in 15 minutes. That’s a three-hour discussion. Nobody on TV or radio has three-hour discussions except for microradio stations and community radio stations that care about these things — that will go so far as to break the law to get these things on the air.”
She sighs with impatience. “It’s not a big deal, it’s really not. We just want to talk to each other.”
The hearing on November 13 was short. While the FCC presented no positive proof that other local radio stations had experienced interference from Free Radio Austin’s transmission, and while Sparks said broadcasters had “the best of intentions at heart,” there was no doubt that they had been on the air without a license. The letter of the law was unquestionably broken. Responding to the FCC’s claims of urgency and “irreparable harm,” Sparks granted temporary injunctions against Reckless, Seibold, and Chamkis. A court date was tentatively set for the following spring and the three started looking for a lawyer.
On February 5, their day in court was abruptly curtailed. The FCC asked for and received a summary judgement — the kind of judgment you get when you contest your traffic ticket but skip your court date. It turned out no one from the station had filed a claim to the court against the broadcast equipment seized in the first bust. After 10 days, the seizure became final and the equipment was forfeited. Tacked onto the end of the forfeiture papers — seemingly as an afterthought — was a permanent injunction against the three defendants.
Within the statute of limitations, a summary judgment is fairly easy to overturn, but still without a lawyer, and with their confidence on the wane, Chamkis, Seibold, and Reckless sent a letter to the FCC in May. The letter announced their intention to accept the permanent injunctions and asked the FCC to drop further legal proceedings. Early in June, the FCC agreed.
“I know everybody gets shut down,” Reckless says, “And what I really wanted to do was fight the case and win — at least for our district — the right to communicate. But I don’t think any of us knew how much time and money and support you need to fight a federal case like this.”
Besides time and money, there was the concern that the names of other Free Radio programmers would be dragged out during a trial. With its dangling “John and Mary Doe” clause, the case was conveniently ready to swallow any additional broadcasters or operators the FCC could identify. At the hearing, U.S. Assistant District Attorney Britannia Hobbs asked Reckless to provide names and numbers of other broadcasters. When Reckless said she knew most of them by first names only, Hobbs asked her to turn and point them out in the crowd of supporters packing the courtroom. Reckless refused, as did Seibold. Sparks upheld the refusal for the purposes of the hearing, but pointed out that such a refusal during a trial would amount to contempt of court.
“There was no way any of us was going to narc,” Seibold says. But scrapping the court case to protect programmers’ names went beyond a sense of honor among thieves. If any of those programmers have a shot at returning to the air, it now depends on their names staying secret.
While Free Radio Austin was jousting with the enforcement bureau of the FCC, the agency’s administrative offices were in a huddle with Congress, engaged in rule-making that would permit the licensure of Low Power FM (LPFM) stations — low-wattage stations operated by nonprofit groups. While microradio advocates have several bones to pick with the LPFM licenses, at the moment they are the last, best hope for microradio operators who want to return to the air. There is one big stumbling block: LPFM licensing requirements automatically bar anyone who has participated in the operation of an unlicensed station. Any Free Radio programmer whose name came out in court would be out of the running immediately.
Around Austin, if you are in the right place and listening to the right people, you still run across former listeners and old programmers still awaiting Free Radio Austin’s imminent return — if not next week, then maybe the week after that. If you tell them it’s not coming soon, if ever, they’re incredulous.
At the former home of Free Radio itself, the sun is shining, but the back yard is a sea of mud. One of the blank, towering warehouses that dot East Austin rises over the yard, with its back turned squarely to us. On the steps, Reckless sits smoking.
“To win a war, you need to be able to shoot, move, and communicate,” she says. “Even if you can’t shoot or move, if you can communicate, you can still win, and so they want that totally crushed. A lot of people think I’m way radical for seeing it in this way, but we’re not the ones who started this war. It’s unfortunate, but I really do believe that they look at it that way.”
“When a government goes to take over another country, the first thing they take over is the airwaves, because that’s how you control the public mind. Now the corporations in this country have taken over the airwaves. How impossibly dangerous could that be in a quote-unquote ‘free society’?”
She stubs her cigarette out against the steps.
“We do this direct action — radio — because it is nonviolent. We know that the government knows how to deal with violence — that’s what they do. That’s what they put their unlimited resources into. But, all right, we tried to be nonviolent — what is the next thing if this doesn’t work?”
KAOS RADIO AUSTIN: AN ORAL HISTORY
Original KAOS Radio Austin logo; provided by KAOS Radio Austin
Stig Stench (of Stench Radio): I love KAOS! They were a big influence on me!!
Bianca Oblivion (KAOS Radio Austin- photo not approved for this article): Inspired by Free Radio Austin and saddened by its loss, I decided to start a station at my house, with the purpose of giving creative control to DJs and supporting the local punk/metal scene. I spent a few months studying electronics, getting a ham license, and assembling a transmitter kit and antenna. Once that was accomplished, there were many people eager to help. Members of the bands “Fuck Work” and “S’bitch” lived in the neighborhood and hosted a keg party to raise funds- just a bunch of punk rockers passing the hat. Someone else from the neighborhood donated a rooftop mount for the antenna and we were ready to go. On Dec 28, 2001, we got the antenna raised and started broadcasting.
The antenna; photo provided by KAOS Radio Austin
I just wanted a music station, mostly because too much talk drives me crazy. And, yeah, it was supposed to be a punk and metal station but there was too much pressure for other things. Within the first year there was Smooth and Demented’s bluegrass and outlaw country show, which featured a lot of live bands coming in the studio. Also, there just weren’t enough punk and metal DJs that wanted to dedicate themselves long term to doing shows. Time slots needed to be filled. Ultimately I decided that the station should belong to the people who were dedicated enough to do shows- no matter what kind of music they play. Later, I found that I, too, prefer a variety of music.
Scott Horton; photo source unknown
There was one political show from the beginning. Scott Horton was very popular on Free Radio Austin and he helped put up the antenna, so I let him do his libertarian thing, since so many people involved in the project wanted to make an exception for him. He has since moved on to more high profile projects. The organization of the project was very different. Free Radio Austin did the weekly consensus meeting, which I don’t find very effective. There is always endless debate and time-wasting and- despite all the safeguards- the people with the strongest personalities still end up in charge. Also, it’s hard to find a time that everyone can attend; it’s unfair when decisions are made when people can’t be there. Ultimately I made the calls but if you try to take people someplace they don’t want to go, you lose your ability to lead. So, when there was something to be decided, like what to do with benefit money, I would go out to the studio and chat with the DJs during the shows. It was slow, since it took a whole week to get with everybody, and sometimes it took a second week to get with everyone with objections or changes in plans. Still, in the end, it would usually be clear what to do. There was very little that needed to be decided, really. It was mostly fund-raising stuff and when we needed new equipment, it was pretty apparent to everyone.
The original KAOS Radio Austin DJs; courtesy of KAOS Radio Austin
For the first few years we only broadcast at night and on the weekend, which made it inconvenient for the FCC to come after us. It also helped that the conspiracy station was their number one priority. Whenever one of their transmitters went down, someone would call us and we would turn ours off. They can’t do anything if the transmitter isn’t on when they arrive. During times of intense heat, we would choose random days of the week to broadcast so it would be impossible to plan a raid against us.
El Demento & Errouneous O’Shaughnessy; courtesy of El Demento
El Demento (of The Smooth & Demented Show): The first live in-studio performance we ever had on The Smooth & Demented Show was just because some friends in a string band wanted to play on the radio. We bought a single cardioid microphone and had the band all stand around it. That worked well and was a method harvested through necessity rather than to uphold or replicate an “old-time” style recording ethic. One microphone was just all we had to work with. In the early days of KAOS, as an unfunded pirate radio station that rejects advertising, our equipment left something to be desired. Everything was donated and therefore only partially functional forcing us to get the best sound we could from very limited equipment. We started with bands that could play acoustically and who were not getting mainstream radio attention. Some of the first of those bands were early incarnations of groups like the White Ghost Shivers and South Austin Jug Band who would later become established hallmarks on the Austin music scene.
El Demento’s equipment; provided by the DJ
As time went on, more diverse acts wanted to be involved with a local pirate radio station and reach an internet audience at the same time. We started to include electric- or amplified-driven bands and would simply mic the amps to get a raw and authentic sound. This method sounded great and sounded real. Every live session is presented in basic and unfettered fidelity with no overdubs or remixing. No marketing. No gimmicks. Just real music. In our time, The Smooth & Demented Show has been been graced with giving radio voice to amazing talent from bands like Black-Eyed Vermillion, Scott H Biram, 357 String Band, Bob Wayne, Sons Of Perdition, Joe Buck, Elliott Brood, Jim White, Lucky Tubb, and Old 97’s member Murry Hammond ….as well as scores more. The artists we recorded for KAOS Radio Austin enjoy and appreciate the freedom from commercialism or censorship we provides. Each episode is archived for free download or streaming HERE and each artist who plays Smooth & Demented is archived with each song tracked out for free download HERE.
There are hundreds of KAOS radio sessions we offer for download this way.
KAOS helped prove that pirate radio was still an effective way to diversify modern terrestrial broadcasting in order to provide commercial-free, quality radio for the benefit of the community; all while maintaining a leaderless, NO-profit media organization possessing no true central power structure for the last 11 years.
DJ MOFO; photo provided by the DJ
DJ MOFO: Played some gigs at Headhunters Tiki Bar somewhere on Red River St. in Austin and Houston talked about playing on a pirate radio station called KAOS RADIO AUSTIN. The opinionated dick that I am had to get involved with that shit. There was a circle of friends that would trade what is good new, old, odd or indifferent amongst ourselves. So, I came out of the KAOS studio in S. Austin and was positive that I needed to be involved in this stinking pile of old beer, overflowing ashtrays and just enough equipment required to pump out hardcore slabs of Punk and Metal music.
After a few weeks of playing on the Saturday Night Drunk Club, Bianca asked if I’d like my own show which was fortuitous since I’d already started putting together mixes for this amazing opportunity that felt as though it had just dropped in my lap. Imagine…for the first time to have the ability to reach an audience of random fodder and drop every 12” slab of vinyl you’ve needed to hit them all for years with. Now I was told to keep it heavy and hard in the Punk and Metal vein but that was only held to for a brief few weeks when Bianca said it’d be cool to play anything, even Rap music. Floodgates breach and the music flowed out in an alcohol-fueled, drug-driven intensity that one rarely dreams of.
So, I get my own show, which of course, bring on the periphery of friends like DJ Information, DJ McPickleshittz and Dr. Horace Gravy. It was a welcome diversion of our outlet of music that we really wanted and needed to express the emotion that we all have within ourselves and our overt intensity of push. I’d spend days and nights to put together songs and mixes that the intensity was like cramming too many midgets in a smart car. After a space and time extended itself we were able to relax and be one with the energy that is KAOS RADIO AUSTIN.
There was this entertaining cast of characters that fill the space, all of whom were necessary to truly entertain and be the character that the station needed. It was fun to have Houston smoke me out and laugh as I rambled on about music and any other fancy that was not on topic. Yeah, it’s good to just let it go and play your records and be the truth that you are. It’s that moment in time when you make the decision that this is the time, place and time to give ‘em all that they need. So, you make time to play everything you want in order to express that pent up supply that finally has the outlet of entertainment pleasure.
There are those that listen to their past shows and others that just move on. The egotist that I am forces me to listen again and again to make the next performances better, or maybe just for ego. Does it matter, not when you have the airwaves blasting the fucking music you have always wanted to drop on an unsuspecting public. They’ve tuned in and deserve every intense note, phrase, song, LP and sometimes they recognize the content to fulfil their needs as well as your emotional release. Love it, hate it, we rocked you to your knees and even if you could only hear the FM at the top of hills, lose it at the bottom, we were there and we still are driving the future of internet radio.
Inside the KAOS Radio Austin studio; courtesy of KAOS Radio Austin
I’d try to show up 30 minutes before my show to get the somewhat empty beers off the equipment, empty every conceivable ashtray of their stank of butts and see what assholes were there. I wish I could say there are clear memories but it was a time of restlessness and…how should I say this gently, hmmm, consuming every mind-altering substance we could get our hands on. It was years later that I actually played a show sober. This shouldn’t detract or put a connotation on the timeline because this was just us. I’m certain everyone else was following better judgement than us… There were many wonderful people that flowed through and we felt privileged to engage with them and their musical choices. An open interpretation to music and personalities was helpful to really enjoy the edge of Austin music. You know who you were, are, and will be.
KAOS Radio Austin studio; courtesy of KAOS Radio Austin
Bianca Oblivion: I used to be known as the “Beer Princess”. I have taken on the moniker “Bianca Oblivion” since I moved away from Austin. I miss the central studio very much. It was hectic, like throwing a party at my house every day, but I was able to stay connected with the people in the project. Now there are people I haven’t even met doing shows. Also, it was like the ultimate adult clubhouse. There was always plenty of weed and booze and good times. Folks ran into friends they hadn’t seen in years. Couples met there for the first time. And even a few minor celebrities like Oderus Urungus and the Dwarves dropped in. King Coffee of the Butthole Surfers did a few shows and I can’t tell you how many bands played there or were interviewed on the air. Ultimately I ran into financial problems and I had to sell my house. I had a rental place for a while, but that didn’t work out for me either. So around 2006, I moved out to the country to some land owned by my family. Since there was no more studio we had to start doing the home broadcast or uploaded podcast thing.
The FCC knows all about me and about KAOS. They sent me a letter. They also closed down our last transmitter which went on for some time after I left, broadcasting our internet stream. You can check out the video, if you like HERE.
A few other DJs with KAOS Radio Austin:
Oliver Sheppard (Radio Schizo music blog, podcast, & radio show; writer for Souciant and Cvlt Nation websites; DJ for No Doves Fly Here, Funeral Parade, Atrocity Exhibition, & Convergence) & The Furnacedoor (your host on Sunken Lantern’s Waltz, and DJ for Funeral Parade)
The Furnacedoor: The Sunken Lantern’s Waltz is a six-hour behemoth webcast inspired by the now defunct No Doves Fly Here anarcho/goth DJ night that existed from Autumn 2011 to Summer 2012 in Austin, Texas. Curated by your host, The Furnacedoor, it is primarily a punk- and post-punk-centric broadcast but is considered open format and has had many special one-off and regularly recurring specialty episodes that have focused on genres as diverse as 60s garage punk, kraut rock, neo-folk, power electronics and doom metal.
Crumbelina and Crumblestiltskin; private collection
Crumblestiltskin Gee: My introduction to political activism was through the music released on Crass Records and going to workshops at the local housing co-operatives in Austin, Texas in 1984. I was 16 at the time and there was a serious movement to address the clandestine war that the US government was waging against the Sandinistas in Central America. As the years passed, I found myself being involved with people and groups who were addressing the issues of animal liberation, ending the war in the Persian Gulf, boycotts and protests to end apartheid, as well as addressing gentrification, participating in the Anarchist Gathering that occurred in San Francisco, and being involved in union organizing.
I formed an anarcho-punk band called Political Pollution in 1986 but quickly abandoned the idea. Shortly thereafter, the allure of cooperative living grabbed me and I moved into the vegetarian co-op known as the House of Commons, having only recently left in 2009 after a house fire. A few years before this sudden move, I discovered the world of music blogs while working a boring, mundane computer job.
The blogs that grabbed me were Strange Reaction, 7-Inch Punk, and Green Galloway- with Kill Your Pet Puppy coming into existence a bit later. After downloading my fill of the fine musical wares these blogs offered, it suddenly dawned on me that I, too, could create a music blog so I quickly worked out how I was going to make it happen and created the (now defunct) music blog Kamikaze Conniptions. I linked to numerous other blogs through this endeavor and eventually became friends with Oliver Sheppard (Radio Schizo), Kalashnikov Collective in Italy, and Alistair Livingston.
I put together a new band- arYAWN- and arranged a small tour of Europe with the contacts I’d made through music blogging. With arYAWN winding to a close, Crumbelina and I started working on a new occultish/experimental/dark wave project titled A Child’s Garden Of Lightning but then the Occupy Movement happened.
At around the same time, a local anarcho/death rock event called No Doves Fly Here had been created by Oliver Sheppard and Cutter Twowheels. This event brought a great number of people together and spawned The Furncacedoor’s Sunken Lantern’s Waltz radio show on KAOS Radio Austin, which led to the creation of the first radio show I was actively involved with on a regular basis called The Tyranny of Beauty. Although, the show had a powerful beginning, it quickly turned into “Occupy Radio” and lost sight of the direction Crumbelina and I had intended to take it.
We put the project to rest and began focusing on our individual approaches to radio broadcast; this was what eventually led to the creation of the radio shows In The Greylight, It’s This Way, Eluding The Lengthened Shadow, Funnel Of Love, and To Express The Inexpressible. I’ve experimented with doing live DJ events such as Reality Asylum, which was intended to bring together other anarcho-types (bands, distros, book publishers, record labels, activist groups) at a fairly new community space called Infest. Although, attendance at these events was low, it DID open the door for the local feminist community to begin using the Infest space for regular meetings to address current state legislation that is attacking women’s health clinics across the entire state.
An aural journey into the world of the Free Festivals & the New Age Travelers scenes in Britain during the ’70s and ’80s. Interviews with various members of THE WALLYS, the NEW AGE TRAVELERS, UBI DWYER, and MARK WILSON. Musical flashbacks provided by HAWKWIND, HERE & NOW, GONG, DAVID BOWIE, THE MOB, THE FALL, SIOUXSIE & THE BANSHEES, THE SLITS, ALTERNATIVE TV, THE POP GROUP, FLUX OF PINK INDIANS, CRASS, THE APOSTLES, THE REVIEW, and HYSTERIA WARD. Includes a discussion about the re-launch of ALL THE MADMEN RECORDS. Compiled and produced by Crumblestiltskin Gee.
Musical tribute to the KILL YOUR PET PUPPY collective, fanzine, and website! Featuring an interesting conversation between TONY D and GERARD EVANS about the history of RIPPED AND TORN and KILL YOUR PET PUPPY fanzines. Includes music by CRASS, BRIGANDAGE, HYSTERIA WARD, BLOOD AND ROSES, RITUAL, THE MOB, THIS BITTER LESSON, BIKINI MUTANTS, ADAM AND THE ANTZ, MEDICAL MELODIES, BUZZCOCKS, APF BRIGADE, POISON GIRLS, THE MEKONS, THE LURKERS, DELTA 5, SLAUGHTER & THE DOGS, MANAGING DIRECTORS, THE CLASH, THE SHAPES, SEX PISTOLS, ALIEN KULTURE, THE BARRACUDAS, DR FEELGOOD, KINGDOM COME & ARTHUR BROWN, and X-RAY SPEX. Compiled and produced by Crumblestiltskin Gee.
Join an audio adventure into the musical might of ALL THE MADMEN RECORDS- past AND present! Includes interviews about ALL THE MADMEN RECORDS with STEVE CORR, STEVE LAKE, MARK WILSON, RUTH ELIAS, MARK WILSON, ANDY T, KAREN AMSDEN, and CHRIS KNOWLES. Includes the music of THE MOB, ANDY T, HAGAR THE WOMB, KILL PRETTY, ASTRONAUTS, FLOWERS IN THE DUSTBIN, THE REVIEW, HYSTERIA WARD, BLYTH POWER, IDIOT STRENGTH, HAMBURGER ALL-STARS, WE ARE GOING TO EAT YOU, THATCHER ON ACID, CLAIR OBSCUR, ZOS KIA, and ANDY STRATTON. Compiled and produced by Crumblestiltskin Gee.
Musical hangover from THE MOB’s record release gig last week. Included will be tracks from new releases on ALL THE MADMEN RECORDS, bands that THE MOB have played gigs with (both past and present), as well as other projects that were put together during the same time period.
MP3 links are posted for evaluation purposes only and we strongly encourage our readers to support artists by purchasing their work. If the copyright holder objects to a song being posted, please email us and we will remove the link immediately: our reason for uploading this material is based on love of the scene and of the material itself not getting lost or forgotten and we hope you can appreciate our motives.