iJAMMING! is a music and lifestyle web site hosted by
author, journalist and dee jay Tony Fletcher.
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The Next DJ appearance is also a reading:

The Royale, 506 Fifth Avenue, Park Slope, Brooklyn, between 12th/13th Street. (718 840 0089.) Come early: at 9pm Tony and JD will be hosting a multi-media reading from HEDONISM. Admission free.

(Read about previous Step Ons here & here.)



An addendum to my comments about The Rapture album Echoes earlier this week: The Village Voice chose to review it alongside the new album by the UK's Basement Jaxx, rather than that by fellow New Yorkers The Strokes as did The New York Times. Makes sense, when you think about it: The Rapture have much more in common with house music than they do with New York rock'n'roll.

Absorbing the Sunday Observer on the return flight from the UK last weekend revealed a few interesting and disturbing bits of news and the shaping thereof. Car use continues to increase almost exponentially – with 3,000,000 more cars on the road now than a decade ago, and an additional 500,000 expected to further clog the crowded streets and motorways in the coming 12 months – and the Highway Agency is so concerned by the threat of all-out gridlock that it's setting up emergency support teams to bring in medical help and water supplies for what it clearly considers the inevitable crisis.

For all that the British clearly love their cars every bit as much as their American cousins, at least the government has some positive ideas on how to deter a move towards the oversized, heavyweight SUVs that dominate Stateside streets: tax vehicles according to their engine size. It may have been last Saturday's Times which rightly suggested that instead of simply pulling in extra revenue for the bigger vehicles, whose owners can afford it, the Transport Ministry would set a better example by reducing taxes for lower-polluting cars, thereby providing an incentive to keep the air as clean as possible. It's an idea I'd love to see put into practice in the States.

BTW, I had a pretty entertaining conversation with a London taxi driver on Friday afternoon, who complained that everything possible was being done to slow the flow of traffic through the capital city – this while we sailed right through the heart of town during the once impassable rush-hour. My favorite part of what I should best call a 'spirited debate' was when he decried the new pedestrianisation of Trafalgar Square and warned me that the traffic light we were approaching from the Mall lasted barely seconds and rarely let more than a few cars through at a time. We made it through on the second change of the lights and were up Charing Cross Road in two minutes. (This was at 6.00pm on a Friday night!) The driver had a couple of valid points about 'London Traffic' (altogether, Bruce Foxton fans, "state of confusion") that I should look into if I have time, but the bottom line remains: since the Congestion Charge was introduced, central London traffic has flowed smoother and faster than some of us thought we'd ever see in our lifetimes.

I took this picture while running just outside Beverley in Yorkshire last weekend. At first I thought the question was facetious, then I realised it was entirely serious. So here's my entirely serious answer: YES, OF COURE IT'S BARBARIC. The fact that this supporter is a nurse, who presumably works preserving human lives by day, only makes it worse.

Staying with the environment, for reasons I can't quite figure out The Observer appears to be mounting its own campaign to shift policy-makers and opinion-shapers away from fox-hunting, which it seems to consider a relatively benign method of pest control, towards the factory farming of meat animals. As a vegetarian for the last twenty years, I'm thrilled to see any media coverage on the appalling conditions in which pigs, cows, hens and lambs are kept before being slaughtered for the dinner plate. But two wrongs don't make a right, and I'll never have any sympathy for those who 'enjoy' fox-hunting. To the extent that mankind has to 'control' wildlife, it's a serious business best left to experts to deal with in the most humane manner possible; blood sports are blood sports, pure and simple. Barbaric? Oh yes. And if we can turn public opinion away from the thrill of the kill, maybe the next step will indeed be to reconsider the food on our plate.

After all, the manner in which we treat cattle has its repercussions. Yesterday, I decided to participate in my local Food Co-Op's Blood Drive. I was refused. Anyone who spent more than three months in the UK between 1980 and 1996 can not give blood in the States because of the long incubation period of Bovine Spongiform Encephalopathy and Creutzfeldt-Jakob disease, both better known on the streets as variants on Mad Cow Disease. Yes, I was surprised too, but then again, cast your mind back a few years and Mad Cow Disease was indeed being viewed as the new plague, and anyone who'd eaten cows or their by-products in the previous fifteen years were considered at risk. Continental Europeans are not left entirely off the hook: anyone who spent more than five years in Europe during those same years (which means most recent immigrants) likewise may not give blood in the USA.

Finally, the most disturbing item I read in the paper, something that seems like it should be front page news across all the media, concerns one of the worst terrorist attacks on British soil in the 20th Century: the Real IRA's bombing of Omagh in August 1998, which killed 29 innocent Saturday shoppers. Turns out that, south of the border, the Irish Garda had recruited an excellent informant in the Real IRA – Paddy Dixon, whose job it was to steal the cars used to transport weapons and for street bombings. Dixon routinely supplied information about his activities to the Garda and apparently five bombings were thwarted as a result. Then in August 1998 Dixon was ordered to steal a car for a "big one, a real spectacular," according to the Observer's report. He supplied this information to his handler at the Garda, John White, and as the size and scope of the imminent bombing became clear, White pressured his own superiors to let him thwart the attack. He was told no: that to preserve their contact's credibility within the IRA, "we are going to let this one go through."

"As late as August 14," writes the Observer's Henry McDonald, "the day before the Omagh bombing, Dixon was in constant contact with White. Dixon said that a car, a Vauxhall Cavalier, had been stolen. With hours to go before that car was eventually driven over the frontier and into Omagh, White implored his superiors to act. But he was simply told again that it had to go through….. The Garda should have run a check on all stolen cars on 14 August, especially those that had gone missing near the border. Moreover, Dixon had said the car was for a bomb… Dixon has since had to flee the Irish republic. His absence has been convenient for those Garda officers whom White claims played fast and loose with the informer's information. "

We all know that hindsight in 20-20. Which is one reason it's a popular game among both mainstream media and internet conspiracy theorists to suggest, for example, that the American Government knew about the attacks of September 11 and allowed them to go ahead regardless. (Such assertions have even been made by Labour MPs like Michael Meacher.) But here we have what appears to be genuine evidence of a police force having advance information of an intended terrorist attack on civilians across the border, and allowing it to go ahead all the same. How must it feel for the bereaved relatives of those 29 innocent people to pick up the Sunday paper five years later and read about this? Why is it not a major scandal? Hopefully, having broken the story, The Observer will stay on it.



I finished Bill Drummond's memoir of sorts, 45, while on the road last week. (First impressions were posted here.) I could have underlined almost every word of the book for providing some good wisdom (as opposed to his unreadable novel Bad Wisdom) but I settled for the following:

This from a chapter about Tony Blair's New Labour sucking up to Britpop in the mid-nineties, and Britpop suckered into returning the acceptance:

"The contemporary arts, be they techno, rock'n'roll, performance, film, those lot down at the 'Sensation' exhibition or wherever the farthest shore of creative exploration is found, should never have anything to do with the establishment. If the contemporary arts are to fulfil any positive function, other than as some sort of therapy for the artist involved, it is to provide an indefinable cultural Opposition."

And this trio, taken from several short chapters about the KLF's late 1990s 'comeback.'
First, the admission:

"No comeback has ever worked. The motivation behind the comeback has never and will never be the same as when the group or artist first crawled out of their sub-cult."

Second, the modern reality for a couple of middle-aged musicians after a long day in the studio recording their 'comeback' single (which involves looping the Chemical Brothers as the KLF can no longer produce such original sounds themselves).

"Outside in the car park, Jimmy (Cauty) and I climb into our respective rusting family saloons, each littered with devris left by young children. Young children who don't give a shit what their dads do, as long as they are at home to play with."

And finally, when the 'Comeback' fails to emulate the original success, as was fully anticipated, and when the media duly slams it for all the obvious reasons – yet seemingly without understanding that it's acting out its intended role – Drummond talks of meeting a journalist who, a decade earlier, had "got on board" with the KLF at the age of twelve.

"As our hands shook, I detected something in the glint of his eye: disillusionment, as real and pure as disillusionment can get…In our (Jimmy's and my) short journey through pop, that moment of disillusionment was maybe our greatest creation. Without that final state of disillusion, the power and glory of pop is nothing. And when it happens (and if it has not already happened for you, it surely will), savour it, because it very quickly slithers into disinterest and gets forgotten as life marches on."

Pure genius.



There's some bad blood oozing through the New York streets' music scene this week. In last Sunday's New York Times, the cultural and national influence of which can't be overstated, senior (some would say ageing) music critic Jon Pareles damned with faint praise the new albums by home town heroes the Rapture and The Strokes, and by extension, condemned the city's entire music scene.

"The New York rock renaissance is on its way into a broader, less forgiving reality," Pareles wrote in his opening, front-cover-of-the-Arts-section sentence. "These albums sum up a moment in New York rock when promise collides with the limitations of a scene built on memories," he elaborated in the next paragraph. After naming another seven acts, he went on to insist that "these bands" – without clarifying whether he meant all of them, or just the Rapture and the Strokes, are determined to "detour around…grunge, pop-punk and mass-market hip-hop," Pareles then concluded his intro (2000 words followed inside the paper) with the assertion that "Unlike even the crassest MTV rock pretenders, these bands [again, not sure whether he means all of them or just the two] don't want to absorb or acknowledge the music that has surrounded them for a generation."

That last accusation may ring true of the Strokes, whose refusal to recognize music made since their birth years is a major part of both their charm and their shame. But it's most certainly not true of the Rapture, or any other of "these bands" Pareles named in the previous paragraph.

The Strokes live in New York last year

The Rapture live in New York this year

No one would doubt that the current crop of New York talent has its collective roots in the post-punk heyday of 1978-1983, when the city's cultural cognoscenti grooved at the Roxy, Danceteria, The Ritz and elsewhere to the native sounds of Talking Heads, ESG, Afrika Bambaataa, James Chance and early hip-hop, while simultaneously forming a strong fan base for the British post-punk sounds of Public Image, Gang Of Four, Delta 5, Au Pairs, The Fall and The Cure among others. But it's evident from talking to almost any of the musicians involved in today's New York, that while they're mining that bygone era the same way all young people dig the last great scene before their time, they also readily absorb house music, techno, dub reggae, avant-garde and a healthy dose of hip-hop too.

Listen to The Rapture album and if you have a musical library in your head you will indeed laugh out loud at the note-for-note rip-off of PiL's 'Careering' on the title track 'Echoes', you will recognize The Cure's influence in 'Olio' and you'll hear the Gang Of Four's ghost haunting 'Heaven'. But if you don’t have these reference points, you may just find the music exciting on its own merits. Besides, to write the whole album off for these three misdemeanors is to deny their single 'House of Jealous Lovers' which, at the risk of sounding like an endlessly sequenced groove, I again insist is the most important single of the last several years. I have not witnessed such an impact on both a dance floor and a rock scene in at least a decade. It's also to deny the assimilation of house music on the song 'I Need Your Love' and the truly genre-defying sounds of the ballad 'Love Is All.' (Read my full review of Echoes here.) Yes, The Rapture album has one foot in the past – a great part of the past, mind– but its other foot is twitching eagerly in the 21st Century. It's that marriage of eras that makes Echoes so magical.

Similar comments/criticisms can be made of almost every act in New York, and most band members are acutely aware of them. Radio 4 could have chosen a better name if they were going to base their sound on the Gang of Four, but since expanding to a five-piece, they've edged their indie funk into a somewhat darker dance groove, they've experimented with dub, and they've embraced the concept of the remix. Besides, their album Gotham! is almost two years old now, and the band is as aware as any critic that their next album needs to take a solid step forward to establish a sound much more clearly their own.

Likewise, the girls of Northern State shamelessly hark back to boogie-down Bronx style hip-hop – and how refreshing they are for that. No 9mms, no violent feuds, no drug deals, no bling-bling, just the sound of New York youth having a good time with the beats and the rhyme. On stage, !!! appear to have mastered every riff Pigbag ever invented, but their 12" single 'Me and Giuliani down By The School Yard' and its superior flip-side 'Intensifieder' is entirely their own sound – and another guaranteed floor-filler. Interpol (who went unmentioned in the Pareles piece despite their considerable success) are obviously Joy Division fanatics, but with 'NYC' they proved they can write music of equal merit, gave their home city a new anthem – and have already lived to see a band of R.E.M.'s stature covers it at Madison Square Garden. Stellastarr* (also unmentioned in the Times) have much in common with The Cure, but I hear their album as distinctively their own. And as for LCD Soundsystem, whose superb live show I reviewed just before heading to Europe, any band that can write such a self-mocking anthem as 'Losing My Edge' is already several steps ahead of media criticism.

LCD Soundsystem: 'Losing My Edge' refers to critics as much as musicians.

Interpol: 'NYC' is already an anthem.

Still, the Times carries clout and the piece is sure to damage the scene's reputation among what the British call the chattering classes. (What DO we call them in NYC?) And that's what's causing the bad blood. If it's something of a standing joke that New York bands only need to play in London to get a good review, the bad joke is that the same groups feel they've had little to no support from the New York media. One well-known band's singer, who probably wants to remain anonymous (if he decides otherwise, I'll let you know) wrote to me after the Times piece was published to get two points off his chest.

"The idea that bugs me the most is that NME, Jockey Slut, Uncut, Mojo, Q -all gave Echoes 9 out of 10. The two real bashings I have seen have been from two of the biggest publications in NYC...The Times and Time Out are over intellectualizing the whole thing and missing the point. They're also trying to kill it before it has the chance to evolve into something unique."

(I should pause and point out that Jon Pareles – and my fellow Brit expat Simon Reynolds alongside him – both gave the new bands some highly positive publicity in the same section of the paper around 18 months ago.)

In the middle of the above letter, where I've inserted the three dots, our local musician offered his second point, which is yet more valid.

I think the main thing about this dance/punk/funk/ "movement" is that it brought a physical element back to underground music. Indie-rock had worked itself into a corner and had become really boring. This music has stripped things down and made people have fun again at shows. The music scene was missing it for too long. If you wanted to dance you had to go to electronic clubs, and a lot of us weren't that into the whole rave/ecstasy/scene. If you look at footage of the underground music scene from 76-82 the audience never sat still. If you look at footage of American underground shows from 91-2000 you see no movement whatsoever."

This response suggests that we may not just be talking about a generation gap with the current New York scene – whereby older people who've lived it all before, sneer at young people's habitual fascination with the past – but also a class conflict, or at least a cultural one. It's well known that rock critics, as a whole, can't dance. That's why they critique. But they shouldn't forget that music that gets other people dancing is already serving a large part of its purpose. (This might explain why Time Out's Clubs Section has repeatedly backed the local scene, whereas the magazine's Music Section has proven suspicious at best, cynical at worst.) Pareles – who has been, truly, one of the great rock critics over the years – doesn't realize when he quotes LCD Soundsystem's 'Losing My Edge' that the lyrics refer much more to his own type, he who's seen it all before and can't understand why the kids cast him aside regardless, than they do to the singer.

Anyone still paying attention may note that I haven’t yet jumped to the Strokes' defense. Reason number 1: I've yet to hear the new album Room On Fire and don't feel qualified to comment. Reason number 2: I was never that impressed by their debut album, Is That It. (Once the album took off, I was bowled over by the energy surrounding their live shows.) The Strokes' importance was in kickstarting a new New York scene; that for having done so, they may become remembered as the most retro of all the bands would surely not be coincidental.

It's a good week to argue this stuff. The annual CMJ Music Marathon kicks off today, and for the first time since the New Music Seminar's early 80s heyday, it does so at a point where the host city New York feels like it has as much to offer musically as the rest of the country combined. A smart gig-goer has the opportunity over the next four nights to see dozens of happening New York acts. A brief run-down of select performers - The Rapture, Radio 4, Elefant, Secret Machines, Enon, Northern State, Brendan Benson, The Fever, The Fiery Furnaces and Longwave – suggests that this city's sound stubbornly refuses to be pinned down.



During a very brief stop over in Yorkshire last weekend for pure relaxation and mum's home cooking (and a twelve-mile run through the local villages in preparation for next week's New York Marathon), I got to watch some good old new British TV. And yes, that is a deliberate contradiction. I was surprised on picking up the British papers to see that Absolutely Fabulous had returned, having been under the firm impression the show had enjoyed its glory days and the stars involved had all moved on to pastures new. But as any rock band can tell you, the temptation of returning for one more hurrah is usually too much to resist.

There are exceptions: The Office is following Fawlty Towers and The Young Ones in calling it a day after just two ground-breaking series. Jennifer Saunders, as some of us may remember, first shot to fame as an occasional part of the Young Ones, and she should maybe have followed that show's footsteps by knowing when to stop a good thing. The first episode of the sixth series had its moments, but most of them revolved around Emma 'Don't Call Me Baby' Bunton playing herself, namely a has-been Spice Girl desperate for a career boost. Kudos to Bunton for taking on the role, though the cynic might suggest that an appearance on Ab Fab was exactly what Jennifer Saunder's PR character Edie would have recommended - if only Ab Fab were post-modernist enough to name-check itself on air. Instead, after suggesting a series of ever denigrating Celebrity and Survival-style appearances, Edie got angry and demanded Bunton throw her nice girl image away and give the public what it really really wants: a picture of "your thumb up Justin Timberlake's arse wearing nothing but a Gucci belt."

It was the best line of an otherwise tired show. I was surprised how parochial Ab Fab has started to look, how reliant on old-fashioned pie-in-the-face end-of-the-pier humour its become. Joanna Lumley as Patsy remains a classic, but only because we don't ever expect her to change; her stolid reliance on Stoli is the bedrock of the show. By one of those perfect coincidences, the BBC channel on my flight back had Joanna Lumley visiting Kenya under her own name to present a documentary about the breeding and releasing of some rare giraffes. It was great television in all respects and Lumley, never more than a luvvy's breakdown away from tears, was revealed as just an old softy at heart. The hilarious Ab Fab highlights that followed, all from the early series, merely confirmed that the best is now behind the show. Time to move on – though not before Elton John and a number of other real-life stars play cameos through the new series.

I couldn't keep focused on either Have I Got News For You or Never Mind The Buzzcocks; both seemed similarly out-dated and small-minded. But then I'm not a big fan of TV anyway. I instead sat back and watched Michael Parkinson (at left) host a serious A-list of stars: Billy Connolly, Pamela Stephenson, Michael Caine, and music from R.E.M. Parky is one of the well-deserved legends of British TV; along with Melvyn Bragg and David Frost, he's been able to pry open the most reserved of British celebrities. But all he had to do for this show was sit back and watch the clock: Billy Connolly, now well into his fifties, was like a hyperactive teenager, completely commandeering the show despite his protestations that he never pre-plans what he's going to say. (It occurred to me watching Connolly at his exuberant best: has anyone ever tried to get him and Robin Williams on the same show together? That alone would be worth the license fee.) Parkinson, looking his age more than his guests, gained only slightly more control once Connolly's wife Pamela Stephenson joined them, ostensibly to promote her new book about their marriage. But when Michael Caine then took to the proverbial couch, Parkinson wisely retreated again. There are stars and then there are real stars, and when you've got Caine and Connolly on the same show, the public don't want to watch anyone, not even Michael Parkinson, getting in between them.

Like Connolly, Caine is unique, an institution, an icon, and the two of them balanced each other perfectly, the big yin and the cockney yan, if you get my reference points. Connolly credited Caine with helping him get sober. Caine admitted to greater control over excess: borrowing a line from some other celeb, he explained how he'd never wanted to be so dependant on alcohol that he could ever be forced into giving up the enjoyment of a good glass of wine. I'd quote you word for word, but I'd been drinking my own fave wines – a Loire white (the 2001 Château Tracy Pouilly-Fume, Sauvignon Blanc in a different class than most of its peers) and a Rhône red (a 1998 Domaine de la Charbonniere Gigondas, a typically fiery, spicy and aromatic Grenache-Syrah-Cinsault-Mourvèdre blend). Anyway, Caine's advice is solid: all excess in moderation.

The highlight of the Parky show came with Caine present, when Connolly, apropos of nothing it would seem, and with his wife sitting next to him, declared his belief that "the female orgasm is a myth." Stephenson's open-mouthed expression of embarrassment was worth freeze-framing; so was Connolly's affectionate stroking of her cheek as an apology.

R.E.M. in Bad Day guise: you can watch the clip and hear the song - their best in a while - from here

And in the continued spirit of old things that declare themselves new, at least R.E.M. got to perform their 'new song' 'Bad Day' from the brand new Best Of. You don't need written confirmation that 'Bad Day' hails from the same sessions as 'It's The End of The World' – it's patently obvious on first listen - but it's a fine era to mine all the same. I'm more than happy that 'Bad Day' and the other 'new song' 'Animal' rock out in a way we haven't heard from the band in years. Plus, I much preferred hearing something supposedly fresh than yet another rendition of 'Losing My Religion' as played earlier on the Parkinson show, and on Later With Jools Holland less than 24 hours before that.

The format of Holland's show is of course a proven winner: committed music fans want to watch quality live music and they'll sit through acts they don't know or think they don't like to enjoy those they already love. But why does Holland continue to sit bands down and supposedly interview them? He actually asked R.E.M. what advice, after 15 years together (sic), they would give other bands. R.E.M. fans know that they've been asked this question in almost every interview FOR the last 15 years, and the answer hasn't changed: "Don't take any advice, including ours."

But then at least R.E.M. weren't treated like poor old Yoko Ono who was asked, with a straight face, "How did you meet John Lennon?" She took a breath and responded, with a fixed smile on her face, "You really want to hear the story again, after all these years?" Holland, apparently unashamed, responded that he did, and Ono, like the pacifist she is (others would have walked out in anger), duly told him. (Art gallery. London. What music fan hasn't heard it told at some point over the years?) Does Holland persist with the interview portions of his show purely to make Parkinson look innovative? Or are both of them shamed by a new generation that wasn't on TV this weekend? Ali G would certainly have gotten more out of Yoko than did Jools, anyway you dressed him up. And despite what the press says back home, Ali G has been a success in the States, as indeed was Ab Fab. After all, success is relative, and heavily accented cult characters based on European cultural mores can only expect to make so much of a dent on the mainstream. Graham Norton, I noticed, is the latest British comic to attempt an American talk-show invasion. Here's hoping he's encouraged to ask genuinely provocative questions of his guests.



I felt a little like one of those mid-American tourists last week, doing a 'Six European Capitals in Seven Days' whistle-stop trip where you barely get to notice anything but the passing road. Except I was on a proper rock'n'roll tour bus, the kind with bunk beds on which you struggle to get any sleep whatsoever. Plus, I spent 17 hours traveling from Yorkshire back to New York yesterday. So excuse me if I'm too jet-lagged and all round shagged-out to contribute much by way of words today. Proper service will hopefully resume tomorrow. In the meantime, here are some pictorial souvenirs. Name the cities and win yourself some good karma.

OCT 6-19: LCD Soundsystem live, Renewable Brooklyn review, Blind Acceptance is a sign...
SEP29-OCT 5: New York w(h)ines parts 1 and 2, Bruce Springsteen at Shea Stadium.
SEP 22-28: Atlantic Antic, Pacifists for War: General Wesley Clark and the Democratic Debate, Danny Tenaglia, Running Wild, Steppenwolf
SEP 15-21: Radio 4/DJ Vadim live, Manhattan Mondaze, Circle of Light, Renewable Brooklyn
SEP 8-14: Central Park Film Festival, Roger (Daltrey) and me, September 11 Revisited, The Raveonettes/Stellastarr* live, Recording Idiots of America,
SEP1-7: Film Festivities, Party Monster, Keith Moon RIP
AUG 25-31: Punk Planet, Carlsonics, Copyright Protection, Cline Zinfandel, BRMC
AUG 18-24: Black Out Blame Game, John Shuttleworth, British Music mags, Greg Palast, The Thrills live.
AUG 11-17: The New York blackout, Restaurant reviews, The Media as Watchdog, What I Bought On My Holidays
AUG 4-10: Step On again, Shaun W. Ryder, Jack magazine, the BBC, the Weather, Detroit Cobras, football and Rock'n'Roll
JULY 28-AUG 3: De La Guarda, The Rapture, Radio 4, Stellastarr*, Jodie Marsh, A Tale of Two Lions, Hedonism launch photos,
JULY 14-27: Manchester Move Memories, Hedonism is Here, Holiday postcard
JULY 7-13: Chuck Jackson live, Step On, Beverley Beat, British Way of Life
JUNE30-JULY6: David Beckham, Geoffrey Armes, Happy Mondays, Step On at Royale
JUNE 23-29: Ceasars/The Realistics live, weddings and anniversaries, Cabaret laws.
JUNE 9-23: Hell W10, The Clash, Big Audio Dynamite, Nada Surf live, Field Day debacle
JUNE 2-8: Six Feet Under - Over, Field Day, Siren Fest, Crouching Tigher Hidden Cigarette
MAY 19-JUNE 1: Ian McCulloch live, New York's financial woes, Six Feet Under, Hedonism, Tommy Guerrero.
MAY 5-18: Live reviews of The Rapture, De La Soul, Carlsonics, Laptop, The Libertines, Echoboy, The Greenhornes; observations on Chris Coco/The Blue Room, The Apple Music Store, Alan Freed, Phil Spector, The Matrix Reloaded, Rare Earth, Tinnitus and Royale!
APRIL 28-MAY 4: Flaming Lips, Madonna, Bill Maher, The Dixie Chicks, the war
APRIL 21-27: Rotary Connection, War(n) Out, Cocaine Talk
APRIL 14-20: Belated London Musings on Death Disco and CPFC.
APRIL 7-13: London Musings: Madness, Inspiral Carpets, the Affair, the Palace, the Jam
MARCH 31-APRIL 6: Music be the spice of life, London Calling: Ten Observations from the Old Country
MARCH 24-30: Six Foot Under, Peaches/Elefant live, MP Frees and Busted Boy Bands
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.
DECEMBER 9-15: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)

iJamming! Site Copyright Tony Fletcher 2003

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This page last updated
Fri, May 28, 2004 11:11 am)

The biggest night out that you'll ever have in." Jockey Slut
"Hedonism will have you gripped from start to finish, guaranteed." International DJ

Tony Fletcher's debut novel HEDONISM is out now in the UK. For more information and to read excerpts, click here.

Mail Order available through amazon.co.uk and Musicroom.com


Albums from UK, USA, Canada, Australia, Iceland, Denmark, New York and New Jersey.

The Good, the Bad and the Ugly

Bruce Springsteen at Shea Stadium

'Take Them On, On Your Own' by Black Rebel Motorcycle Club


What I bought on my Holidays (CDs, 12"s, books and magazines from the UK)

What, Where, How and Why...

A report from a proper Field Day Festival (includes R.E.M., The Charlatans, Inspiral Carpets, and Badly Drawn Boy)




2 CD's & MP3's

live at the Brixton Academy

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


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

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