iJAMMING! is a music and lifestyle web site hosted by
author, journalist and dee jay Tony Fletcher.
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You are in the right place for Tony's daily musings.

Tony Fletcher's next DJ appearances:

Wednesday April 9th: Death Disco, the Notting Hill Arts Club, 21 Notting Hill Gate, London, from 9pm to 1am. Admission £5.
Sunday April 27th: Shout!, Bar 13, University Place and 13th Street, Manhattan, New York City. Launch party for the Shout! compilation album, The Revolution Rave-Up Alive 1997-2003. 10pm-4am. Admission free. (Over 21.)



After posting yesterday's Musing, I tuned into Radio London on the web to further prep myself for my upcoming trip 'home', and it was like I'd never left: a national rail strike taking place, and Gary Crowley hosting Paul Weller and Mick Talbot for a Style Council special... (Which is actually going out today, Saturday, 7pm GMT. Read my Style Cuncil compilation review here.) What with the fact I'm planning on seeing at least one reformed mod revival band live next week, one reformed Madchester band live, watch Crystal Palace play in the First Division and spin a bunch of old 7" singles at a club, all I need is Thatcher to get re-elected and it will be just like the 1980s all over again. (Then again, it was the constant re-election of Thatcher that had much to do with my departure in the first place, so maybe we'll skip that one to concentrate on the positive.)



And no, I'm not referring to anything going on in the Iraqi desert. Next Tuesday April 1st sees the introduction of the smoking ban in New York bars and clubs. So it was hard to understand the Camel cigarettes promotion at the Knitting Factory last night - where the famously kid-friendly brand were so keen to give away cigarettes that they were actually distributing free food and drink as well to anyone who would 'sign up' as a smoker. Two possible reasons for this drug-pushing:

The likely one: Camel are simply trying to give away as many cigarettes as possible before next week comes around and they can't offer these stupid promotions any more. Going out with a bang, rather than a fizzle, so to speak.
The unlikely, conspiracy theorist one: By encouraging mass smoking in one of the city's most poorly ventilated venues, Camel were working as fifth columnists, proving just how much more pleasant life will be in clubland once we can go out to see and hear music without suffering second-hand smoke in the process.

But then it was a strange night all round. Quite how Peaches, Larry Tee, Elefant and Stellastarr* got on the same bill together is one of those questions that will haunt fashion victims for eons to come, but given that I spent much of yesterday working on my interview with 2 Many DJs, the Belgian duo whose album mix Peaches herself with the Velvet Underground, I shouldn't complain.

And I'm not. The Knitting Factory's poor design, bad ventilation and poorly-trained security staff aside, last night's Socialism party was enormous fun. I've routinely come down hard on the Electroclash movement, which I think is a 15-minute movement at best, and a talent-free club kid revival at worst, but Larry Tee's DJing was suitably eclectic for the varied crowd. He played Missy Elliot and The B-52's as well as 'Extreme Fashion' by Tobell von Cartier, the opening cut from his new 'The Electroclash Mix' double CD on Moonshine, and all of them sounded good. (Though I do have to wonder at the wisdom of that album title so late in the day.)

Stellastarr* were at their stellar best, thoroughly enjoying themselves as they whizzed through all their best songs in well under 30 minutes. Their confidence grows exponentially. Their fan base increases somewhat incrementally. Their Somewhere Across Forever EP is apparently due out in the UK in May, with some live dates there to coincide. Put it in your diary if you live there.

The progression from Stellastarr* to Elefant would have seemed quite natural in a normal rock venue. Here it was interrupted by the incongruous side-show appearance of a scantily dressed, beautifully tattooed lady called Oona (Una?), who engaged in a rather simple but nonetheless endearing Coney Island-esque encounter with various sharp knives, before the equally scantily-dressed female MC introduced Elefant with the hyperbolic assertion that they are "the sexiest band in New York City."

True, Elefant's singer Diego Garcia has a certain Jim Morrison-esque quality about him, but in John Mayer fashion, he seems a little too aware of it for my comfort, at one point standing on Peaches' rear-stage podium to attract the spotlight. Still, it’s nothing that didn't work for Bono back at the Half Moon in Herne Hill, and we all know what happened to him. (Or do we?) The other three members of Elefant played with their long-haired heads face down, working up a curious mix of late sixties rock, early eighties post-punk, and late nineties emo. For every Interpol-like vocal inflection, there were bizarre hints of Steppenwolf or Sonic Youth. It's an intriguing and rather iconoclastic combination, and one that I'm sure is well realized on their debut album, Sunlight Makes Me Paranoid, out next week. Myself, I've only got my hands on their but mildly assertive three-song EP, from which I recognized 'Gallery Girl' as the set closer, at the end of which Elefant topped Stellastarr's simulated guitar-smashing with that old stand-by, the kicked-over drum kit. The ghost of The Who lives forever.

On stage – I can't really use the term 'in concert' – headliner Peaches is a bundle of cheap slutty fun. Rather than the sexual goddess you'd expect from her lyrics, she comes on like an early eighties porn star – with big auburn hair, chunky legs, garish hot pants and a slightly bulging stomach. I'm not sure whether her look is a deliberately provocative reaction to the sculpted blonde dominatrix perfection of other overtly pornographic vocalists (from the Lords of Acid to Christina Aguilera) or a rather perverse attempt to redefine the visual perameters of the sexually aggressive female – and I'm not sure those raisons d'etre are mutually exclusive either. But at a time when political correctness is returning in force, I love that her dirty lyrics celebrate sex in all shapes and forms - and that there's a young New York audience equally enthusiastic to share her nymphomania.

That said, there's only so many times you can listen to the refrain "Shake your tits, shake your tits" (cue upper-body work-out) followed by "shake your dicks, shake your dicks") (cue strategically placed microphone) without wondering what level of intelligent post-coital conversation you could have with Peaches if you woke up alongside her. Of course, if it's just the sex you're after, Peaches would surely 'Fuck The Pain Away,' as her truly monumental cult hit puts it. (That's the one superbly mixed with the Velvet Underground on the 2 Many DJs album.)

A couple of newer songs revealed some more intriguing musical approaches than the ghetto-tech electro that's defined her until now. But after four numbers, and with the warning that she wouldn’t be performing from The Teaches of Peaches, I felt like I'd got her message, smoked several packets of other peoples' cigarettes and besides, it was two in the morning already and I was ready to sleep the nicotine away.

I would post the 2 Many DJs interview to coincide with this review, but I'm awaiting completion of a new design template which should turn some of the Music pages into a digital version of the cut-and-paste fanzine of yesteryear. Along with a 1981 Killing Joke interview and, fingers crossed, the John Entwistle interview from the Moon book, it will be on the site before I go to London next week. I feel rather vacuous issuing platitudes like 'Have a great weekend' while people are dying in such great numbers in Iraq, so maybe I should just suggest you have a peaceful weekend instead. Please do.



While mainstream anti-war artists are posting protest songs on their web sites for free download, signaling one major development in the world of MP3s, a couple of record companies finally seem to embracing the format as a bonus, rather than a hindrance. Two albums released on April 8 will, for the first time that I'm aware of, include bonus MP3s "embedded" into the CDs.

Purchasers of the debut album by Elefant, Sunlight Makes Me Paranoid, to be released by Palm Pictures, will be able to hear, rip and burn the whole album as MP3s in addition to listening to it in their CD players; they'll also get a bonus track as an MP3-only.

A new compilation from NovaMute, meanwhile is entitled, in the label's typically understated, 2CD's & MP3's. The package features 16 rare/unreleased tracks, and some 28 bonus MP3's.

It's no surprise that the labels taking this brave new step forward are independents already known for their pioneering visions. The man behind Palm Pictures is Chris Blackwell, who made his fortune at Island Records, once the world's leading independent rock and reggae label. While Palm has yet to bag an artist on the level (musically or commercially) of a Bob Marley or U2, it has previously made music available for free downloading and released several projects as a combination of DVD and CD, including the magnificent and ambitious multi-media epic One Giant Leap. "Palm acknowledges that consumers enjoy music in different ways -- be it on their stereos, computers, iPods, Neuros or other MP3 players," states the press release announcing the new Palm format. "In support of this trend, Palm is taking the initiative to give listeners the ability to hear and access their favorite Palm albums in the highest quality MP3 format." (Elefant are one of the bands on the Shout! compilation for which I wrote the sleeve notes, and I may yet catch them in concert tonight.)

And NovaMute is of course a subsidiary of Mute Records, founded by Daniel Miller back in the post-punk days and which, thanks to its success with Depeche Mode, Erasure, The Prodigy and many others, has gone on to become the world's pre-eminent home to electronic-based alternative music, the very definition of a striving, artist-friendly independent. NovaMute explains that the 28 MP3s on its new compilation have been "especially included for those DJ's, musicians and producers currently using the myriad of software music packages available." It's also no coincidence that the Mute subsidiary's leading artist, Richie Hawtin, is, along with John Acquaviva, a partner in the FinalScratch system, which allows DJs to play MP3s as if they were vinyl. (Read an interview with Aquaviva about FinalScratch here.) Sounds like everyone's a winner.

Over in major label land, such consumer-friendly promotions move more slowly. I finally got to hear the new R.E.M. song only when someone sent me a hard MP3 (thanks – the streaming didn't work on my Mac), and a Macy Gray advance came with a warning that it would not play on a computer. Presumably this is only to prevent pirating prior to release (which is fair enough): copies of the new Ben Harper album, on Virgin, were apparently released with the copy protection intended only for the advance copies. Though these could be played in computers, they would not allow consumer to make MP3s or digitial copies and have since been recalled; I seem to have missed something in the chain of communication here but the recall indicates that consumers are indeed still legally allowed to make what copies they desire from a CD they've purchased. I wish the same could be said of my first eBook.

Just to follow up on yesterday's bloody quote about 'Chemical' Ali and his prior brutality in Basra, it comes as no surprise to hear that he's once again in command of Iraq's second largest city, instilling terror and repressing the civilian population. The latest uprising in Basra apparently began after the 62-year old cousin of Saddam Hussein executed a leading local politician. He then once again showed no compunction at firing into the protestors. Leopards don't change their spots. And to the people who are organising a demonstration this Saturday in Times Square under the heading 'Defend Iraq/Defend Palestine' (How the hell did Palestine get double billing in this supposed anti-war protest - unless of course it's NOT actually an anti-war protest to begin with, but rather an opportunistic demonstration?) - unless the NYPD take one of you off for execution and fires into the remainder of the protesting crowd indiscriminately, you might want to think twice about the nature of the regime you're so keen to defend.



I haven't had any luck listening to the new R.E.M. anti-war song 'Final Straw'. If anyone managed to hear a stream of the song, congratulations; if you were smart enough to figure out how to actually download it as well, maybe you want to send me an MP3.

Most of the other anti-war songs out there are available as actual user-friendly downloads, so while being frustrated in my attempts to hear 'Final Straw' I added John Mellencamp's 'To Washington' and the collaboration between Zack de la Rocha and DJ Shadow, 'March of Death', to the folder I began yesterday with songs by Billy Bragg and the Beastie Boys. This morning, I received notification of a Lenny Kravitz MP3 available at RockTheVote.org entitled 'We Want Peace' and downloaded that one too. I'm going to listen to these songs several times and digest their lyrics before maybe commenting on them.

I should note with great positivitiy that this sudden splurge of protest songs from mainstream acts, available for free via the web, may not make a difference to the war, but they do mark a major shift in the way artists have chosen to distribute their music. Some of you might remember the John Lennon quote along the lines of how he wished he could "write a song on a Monday, record it on a Tuesday, press it on a Wednesday, distribute it on a Thursday and have it on the radio on a Friday." Thanks to the web, people like the Beasties, R.E.M., Billy Bragg, Lenny Kravitz and co. can do better than that, writing, recording and making available a song, directly to their audience, in perhaps half Lennon's ambitious time frame. Assuming, of course, in the R.E.M. case, that listeners can actually hear the music.

Madonna has decided to go the entirely digital route for her new single 'American Life,' which is only available – but not for free – at her web site. I am confused as to whether this is her anti-war song, as the short lyric snippets, lopped ad infinitum, don't suggest as much. Someone may care to enlighten me on that one.

Staying with the web, culture, and, peripherally, the war, my debut experience with an eBook has not been as positive as I hoped. I'm all for the technology – as laptops and PDA's get ever lighter, I'm sure we will grow more familiar with the idea of reading actual books off a computer screen like we do our e-mails and, im my case, our newspapers too. As I reported last week, I decided to go the eBook route to purchase The Threatening Storm: The Case for Invading Iraq by Kenneth Pollack. The Adobe Acrobat eBook Reader was easy to install and the book – a couple of dollars cheaper than on paper (you'd hope so, wouldn't you?) - was downloaded rapidly; I was reading it on my screen within ten minutes of placing the order.

An hour later, trying to solve a very frustrating software problem (my desktop phone book wouldn't open and my laptop is still in the shop), I was advised by the producers of that software to, in computer jargon, 'zap my prams and rebuild the desktop'. But in fiddling with the hard drive like this, I apparently initiated the encryption software on my eBook Reader, which decided I must be trying to copy The Threatening Storm and closed it down on me. Result: two hours after paying for it, I could no longer open the book.

The user forums at the Adobe support page revealed that this problem extended to other innocent activities like simply backing up one's files before installing a new OS system - and offered no solution. A phone call to Adobe found me speaking to someone who made quite clear Adobe's dislike for the eBook and refusal to offer technical support. I love Adobe – I use Go Live and Photoshop all day long – but I ask in writing, as I asked the person on the phone, why design the software if you don't want to support it and develop it?

Barnes&Noble.com, from whom I bought the book, were more sympathetic, a support person explaining that the encryption software built into the eBook format is "some of the most advanced and protective" out there, going on to warn me that many eBooks are designed not only to avoid being copied as complete files, but with encryption to prevent printing and even the copying and pasting of any text. (The Threatening Storm is one of them.) As an author, I should perhaps be glad that my copyright is being protected so vigorously, but then a) I don't have an eBook on the market and b), as I've commented many times before over the whole MP3 business, I run into countless people who borrow my Moon book from the library, read it and return it. They get to enjoy my hard work for free. Of course I get paid for the initial sale from the publisher to the Library, but not for the continual loaning out of the book. I'm not complaining about that; I'm complaining that as an eBook purchaser, I don't see why I shouldn't loan my file to someone else equally willing to go through all the other hardships of reading a book on a computer screen, and particularly, that I don't like to risk losing access to my book every time I decide to clean up my hard drive.

Anyway, I received a fresh download of the book from B&N.com with an apology that the format is so user-unfriendly and a warning that they wouldn't be able to keep issuing me replacement copies. I therefore spent the last week unwilling to install the book on my hard drive before solving my phone book problem, in case I had to rebuild the desktop again. That particular software problem turned out to have been brought on by nothing more sinister than the presence of a CDR in my CD-tray and now I can now contact people and read my eBook at the same time. Technology! I'm even meant to be getting my laptop back today.

But I remain frustrated that I can not copy and paste text from this eBook over to the web site, nor print out any pages. (At least with a real hardcover, I could go to the copy store if I desperately wanted to redistribute a page or two.) I'm also annoyed that Adobe has not designed the software to work in OSX or OS Classic, which is why I'm stuck with the book on my desktop computer and unable, as I would like, to read it on my laptop while traveling. While I appreciate the ability to write, edit and delete annotations to the script, and to highlight (and remove said highlights) from the text, the cons outweigh the bonuses. I would have been better off with a hard copy.

To close out this subject, a frustrating admission from a Mac user: The Microsoft Book Reader (available only for Windows) allows for a number of downloads and redistributions while teh Adobe eBook Reader doesn't. I don't know how we got to a world where a Microsoft programme is more lenient about file copying than a Mac one, but then this is, as the Beasties say, A World Gone Mad.

Finally, though, I want to quote from The Threatening Storm now it's in front of me again. I'm not going to make many news-related comments on the war as it's moving so fast and it takes me all my time to keep up with it, but this is a passage I had wanted to post all along and it's particularly applicable today. This last 24 hours, there have been reports that the city of Basra(h), in the far south of Iraq, is rising up in revolt to Saddam's regime, but this has not served to quell the vocal questions about why the Iraqi civilians have not, in general, run into the streets to welcome Allied 'liberators' and overthrow their rulers. The answers should be apparent to even the most cynical of BBC World Service reporters: Saddam has placed his most murderous thugs among the civilian populations to suppress any hint of uprisings, and the people were let down by the Allies back in '91 and don't want to revolt unless they know they can count on military support this time. After all, they still have the memory of how Saddam quashed their revolution last time round:

"The (Republican) Guards maimed and slaughtered thousands of people, and ('Chemical') Ali Hassan insisted that the piles of bodies and severed limbs be left unburied throughout al-Basrah and its surrounding villages. On one occasion, Ali Hassan demanded that residents of the city turn out in Sa'd Square to show their support for the regime, but when he arrived he pulled out an AK-47 and he and his bodyguards began firing into the crowd, mowing down scores of innocent men, women and children. He executed some captured rebels by running over them with tanks, while others were drawn and quartered by trucks."

Last we heard, 'Chemical' Ali was still alive and leading Saddam's last stand.



Yesterday was something of a double post and I've a lot on my plate, so I'm going to let today pass without extensive commentary, except to say that R.E.M. have made available a rough mix of an anti-war song entitled 'Final Straw.' I'm having problems accessing it, which I assume is merely due to overwhelming demand. But it's spurred me to finally download anti-war MP3s by The Beastie Boys ('In A World Gone Mad') and Billy Bragg ('The Price Of Oil'). When I've listened to those two a few more times, and got the R.E.M. song too, I'm sure I'll have some comments to make.

In the meantime, I'm listening to the album Genetic World by Télépopmusik – the one whose opening song 'Breathe' has been used in the Mitsubishi Outlander SUV TV campaign – and pondering the irony of a French act promoting what the Americans call "gas-guzzlers", i.e. those big fat mini-trucks that hog the roads, block the visibility of those of us in more conventional vehicles, and get appallingly low miles per gallon. If, as Billy Bragg insists in his protest song, it's "all about oil", it might be work asking what Telepopmusik and FC Kahuna – whose music is also being used in an SUV ad - think about profiting from it.



I'm going to refrain from commenting on the war in Iraq this morning. All I ask as a concerned and conflicted citizen who longs for a more peaceful world is this: if you hold a particularly firm position on the morality, legality or methodology of the war, at least make an effort to understand why some people take an opposite view. Don't accuse them of being stupid or uninformed unless you're willing to face the same charges yourself. If you're reading this, you're obviously on the Internet: a little bit of surfing will bring you to many different news and media outlets by which you can receive more and deeper information than you may be getting from your preferred local newspaper or TV/radio station.

Next week, when I'm in London, it may be a different story – though I'll certainly try not to rush to any judgements. For now, I've just been looking at some upcoming shows I may be able to take in while I'm over - like The Inspiral Carpets at Brixton Academy. I didn't even know the Carpets had reformed, but as I wrote in my Very Best of the Stone Roses review, they'll always be cool as fuck to me. I hope to catch them in concert.

I looked a little closer at the British charts too. In recent years, it seems like the British music marketplace has gone very much the way of the American one: the singles charts represent the ephemeral pop fluff and the sensationalist tabloid stuff, leaving the album charts for those artists of some enduring quality, i.e. the ones we discuss on this site. Obviously, there's crossover, but generally speaking, I look at the singles charts to see the latest passing trends, and the albums charts to see who's likely to stick around.

Maybe I just chose a bad week to pay attention, but can anyone explain why, below the highly rated but now somewhat dated albums by Norah Jones and Coldplay, the Top 20 of the UK albums chart is dominated by best-ofs from outdated acts (Michael Jackson, Led Zeppelin, Tom Jones), new albums by glossy pop stars (Justin Timberlake, Jennifer Lopez, Sugarbabes), and even worse, best-ofs OF pure pop acts (Boyzone) or TV-advertised Irish trips down memory lane (Daniel O'Donnell)? The healthy showing by Turin Brakes, the aforementioned Coldplay and the enduring selling power of the Chili Peppers aside, one would be hard put to believe there's a rock revival going on.

One certainly won't find any proof of it over at the singles charts, and it's hard to believe it's represented by Busted, who seem to all intents and purposes a marketing man's dream 'PG'-rated version of the many Blink 182's and All American Rejects who go down a continual storm in the States. Furthering that suspicion, I invite you to check out the first few reader reviews on amazon.co.uk and tell me they haven't been posted by record company flacks. I won't knock Busted any more without hearing them, because I love power-punk-pop and enjoyed a real thrill when my personally touted Sugarcult took off last year, but maybe if Busted want to prove they're the real thing, they should get themselves booked on this year's Warped tour. The audience of 14-18 year old American punks are the real deal, and have built-in bullshit detectors the likes of which the Clash dreamed of

… A belated thumbs up to the new series of Six Foot Under. Third seasons are a notoriously difficult proposition: what was once a novelty can become mundane and in the search for high viewing figures, certain formulas are relentlessly repeated until plot credibility twists itself into ever smaller circles of impossibility. There is a reason why two of the greatest comedies of all time – Fawlty Towers and The Young Ones – called it a day after just two series of six programmes each, just as there's a reason why the Sopranos began to lose it with the third series. The first three weeks of Six Foot Under's third season left me somewhat disappointed: without spoiling the plot for British viewers, (by accessing the HBO web site they can do that for themselves) although it jumped several months ahead to introduce new situations, the characters didn't seem to be going anywhere emotionally that they hadn't gone before.

The above scene from Episode 30 of Six Foot Under - Claire staying up all night with her college friend Russell, who throws a spanner in their platonic relationship by informing her that he's "not gay" - brought back some vivid personal memories. And no, I won't elaborate!

But something clicked about last night's fourth episode. It may well be the ongoing on-air inclusion of Kathy Bates (who previously directed many of the best episode); it may eldest son Nathaniel's genuine attempt to become a decent father, his younger brother Michael's struggle to assert himself in his gay relationship, or their sister Claire's gradual artistic growth yet consistent romantic failures at college; and it may very well be their mother Ruth's increased independence.

Most likely it's the combination. When Six Foot Under works, like it did last night, it's addictive. And that's because of its underlying humanity: all the characters are fallible humans struggling in their indvidual ways to make meaning of their lives. Very rarely do they succeed for more than a brief moment - but they never stop trying to seek happiness even in the daily presence (given the family's job as funeral directors) of death. In troubled times such as these, their domestic struggles are a useful metaphor for our international issues. And the inclusion last night of an radio broadcast discussing Iraq, and of music by Weekend Players, demonstrates that Alan Ball's dark drama has its finger on the pulse in many other ways too.

MARCH 17-23: Röyksopp live, Transmission, Worn-Out War Talk
MARCH 10-16: Live reviews: Stratford 4, Flaming Sideburns, Joe Jackson Band, Linkin Park. Why I Oppose The War (For Now).
MARCH 3-9: The Pursuit of Happiness, Weekend Players, U.S. Bombs, Al Farooq, A New Pessimism, Brooklyn Half Marathon
FEBRUARY 24-MARCH2: Orange Park, Ali G-Saddam Hussein-Dan Rather-Bill Maher-Jon Stewart TV reviews, Stellastarr*, James Murphy, The Station nightclub fire, the Grammys
FEBRUARY 17-23: Village Voice Poll, Singles Club, Smoke and Fire
FEBRUARY 3-16: Snug, The Face, Pink, Supergrass live, Keith Moon, Phil Spector, Gore Vidal
JANUARY 27-FEBRUARY 2: Communist Chic, Spiritland, Daddy You're A Hero, Keith Moon, State of the Union, CPFC and more on Iraq
JANUARY 20-26: Divisions of Laura Lee, Burning Brides, Words On War, Child Abuse of a Different Kind, Losing My Edge
JANUARY 13-19: Pete Townshend, Pee Wee Herman, South Park and more Pete Townshend
JANUARY 6-12: Interpol in concert, Tony Fletcher's Top 10 Albums and Singles of 2002, More on Joe Strummer and The Clash, Fever Pitch and Bend It Like Beckham.
DECEMBER 31 2002 -JAN 5 2003: A tribute to Joe Strummer, Radio 4 live on New Year's Eve
DECEMBER 16-24: Metro Area, Breakbeat Science, Sting makes Wine, New York Downtown redesigns, Keith Moon anecdotes, Campbell's jokes.
Tiswas, pledge drives, The View from Up North
DECEMBER 2-8 MUSINGS CLICK HERE (includes Weekend Players and Snow Lit Piano Bars)
FOR NOVEMBER 25-29 MUSINGS CLICK HERE (includes Joe Hurley, Thanksgiving, Sven
Väth, Richie Hawtin)
FOR NOVEMBER 16-24 MUSINGS CLICK HERE (includes Longwave, The Pleased, Get Your War On, Powder, Radio 4, Supreme Beings Of Leisure, Ben Neill, Baldwin Brothers, Thievery Corporation)
FOR NOVEMBER 9-15 MUSINGS CLICK HERE (includes CMJ report including Datsuns, von Bondies and My Favorite, and political Eagles)
FOR NOVEMBER 2-8 MUSINGS CLICK HERE (includes Halloween, the New York Marathon, and British Cuisine)
FOR OCTOBER 26-NOV 1 MUSINGS CLICK HERE (includes live reviews of The Streets, Mooney Suzuki, Sahara Hotnights, Flaming Sideburns, Stellastarr*; Jam Master Jay; Halloween)
FOR OCTOBER 19-25 MUSINGS CLICK HERE (includes Underworld live, Atlantic Avenue antics, Girls and Boys night)
FOR OCTOBER 12-18 MUSINGS CLICK HERE (includes Bali Bombing and stupid editorials, the Electro-Clash festival, VHS Or Beta, Ballboy, Mindless Self Indulgence, 2 Many DJs, Tom Petty, The Streets, pointless stop-the-war e-mails)
FOR OCTOBER 5-11 MUSINGS CLICK HERE (includes Steve Earle and John Walker's Blues, Dreaming Of Britney, Girls Against Boys and Radio 4)
FOR SEPTEMBER 28-OCT 4 MUSINGS CLICK HERE (includes White Stripes live, Morel live, My Generation re-issue)
FOR SEPTEMBER 21-27 MUSINGS CLICK HERE (includes The Creation live, Village Voice, Wine not Whine and more)
FOR SEPTEMBER 14-20 MUSINGS CLICK HERE (includes Firefighter Andre Fletcher, Untamed, Uncut, and more September 11 Musings)
FOR SEPTEMBER 7-13 MUSINGS CLICK HERE (includes Sep 11 memorials, Did Bin Laden Win?, Scissor Sisters and Electro-clash)
FOR AUGUST 31-SEPTEMBER 6 MUSINGS CLICK HERE (includes The Strokes live, The Rising, Saint Etienne, Team USA, a.i., Tahiti 80, Dot Allison)
FOR AUGUST 17-30 DAILY MUSINGS CLICK HERE (includes holiday musings, wine reviews, Luna at Southpaw, and more)
FOR AUGUST 10-16 DAILY MUSINGS CLICK HERE (includes lengthy Who live review)
FOR JULY 27-AUG 9 DAILY MUSINGS CLICK HERE (includes Area 2, 24 Hour Party People Party, Hootenanny Tour, 2 Many DJs and more.
FOR JULY 20-26 DAILY MUSINGS CLICK HERE (includes Wilson Pickett, John Entwistle, rebuilding downtown NYC)
FOR JULY 13-19 DAILY MUSINGS CLICK HERE (includes Love Parade, Teany, RenewNYC, Femi Kuti, NRA, Londonisation of New York, Britishification of Global Rock)
FOR JULY 6-12 DAILY MUSINGS CLICK HERE (includes Mike Meyers as Keith Moon, the RAVE Act, John Entwistle, Michael Jackson, Southpaw, Moby Online, Layo & Bushwacka!,
(accidentally deleted)
FOR JUNE 29-JULY 5 DAILY MUSINGS CLICK HERE (includes World Cup Final, John Entwistle's legacy, The Who's decision to carry on, the meaning of July 4)
FOR JUNE 22-28 DAILY MUSINGS CLICK HERE (includes World Cup diary, Dr. John, Doves, Mermaid Parade, John Entwistle's death, Timothy White's death, Clinic Firewater and Radio 4 live, The Who's decision to carry on)
FOR JUNE 15-21 DAILY MUSINGS CLICK HERE (includes World Cup diary, Liars live, GiantFingers, the Big Takeover)
FOR JUNE 8 -14 DAILY MUSINGS CLICK HERE (includes World Cup diary, StellaStarr*, Jose Padilla, Dee Dee Ramone, suicide bombings)
FOR JUNE 1-7 DAILY MUSINGS, CLICK HERE (includes World Cup diary, Southpaw, Six Foot Under, Andrew Sullivan)

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The iJamming! Interview:
"We bypassed the record company and the industry - we just did this thing and it went off."

From the Jamming! Archives:
interviewed in 1981

as of March 11

20 ALBUMS, 5 EPs

Live at Mercury Lounge

HUGEL, Pinot Blanc Cuvee Amour 2000, Alsace



Ten Major Memories and a number of lists

INTERPOL in concert



the iJamming! Book Review
by Alan Dershowitz

The 'Other' Cabernet Grape Takes Root In New York
Part 1: The Basics/Regions
Part 2: New York Wines
Part 3: Loire Wines
Part 4: Conclusions

30 Albums 10 Songs

Tips for the marathon virgin.

From the Jamming! Archives:
Interviewed in 1979

The iJamming! Interview: UNDERWORLD

Coming and Going
Chapter 3: THE PALACE

The iJamming! Interview

From the Jamming! Archives:
Interviewed in 1978

Available Now!
The introduction to the new edition of my R.E.M. biography is here.

A Decade In Dance
10 Years (Apiece)

The iJamming! Wine Round Up October 2002, including:
Sauvignon Blanc
Pinot Noir
Rhône Rangers
Southern France

The whole 1990s catalogue

From the Jamming! Archives:
interviewed in 1978

The iJamming! interview:

GOLDEN SHOT hostess 'Lee Patrick' recalls her time as Keith Moon's amour

An intrigue of early 90s New York nightlife.
NEW CHAPTER now online

From the Jamming! Archives:
U2 interviewed in 1984.

iJamming! Wino/Muso:

The iJAMMING! interview:

From the Keith Moon archives:
the JEFF BECK interview .

The iJAMMING! chat:

Fran Healy explains why "you cannot own a song."

From the JAMMING! archives: The Story That Spawned Creation

The iJAMMING! interview:

The full iJamming! Contents