iJAMMING! is a music and lifestyle web site hosted by
author, journalist and dee jay Tony Fletcher.
Click on the buttons above to access all areas of the site.
For the newest additions, see index at left.
For the iJamming! mission statement click here.
Tony's daily musings are posted on this page.



The Rapture, Stellastarr*, Fountains Of Wayne, Carlsonics, Dandy Warhols, Leaves, BT, Party Monster, The Raveonettes, Chemical Brothers and DFA: just some of the 24 albums reviewed in the October Hitlist. Go read. Go buy. Go borrow. (Just don't steal.)

And Goodbye...I'm in Europe for the next week, on the road with a band (I'll explain later) and there's too much travel and not enough likely online opportunity to take the laptop. So this is the last post until October 21. If you're new to the site, there's plenty to keep you occupied. If you're not, there's STILL plenty to keep your occupied.




1) No Industry. LCD Soundsystem are hip. Painfully hip. Their front man James Murphy is half of the even-more-painfully hip than hip DFA Production duo, forchrissake. You'd think their Bowery headline show would be full of A&R men, music journalists and supposed tastemakers scratching their chins and passing judgment on the next big thing. It wasn't. It was full of punters instead.
2) No Trucker Caps. Actually I did see one of those embarrassing foam-fronted caps, but at least it didn't have some white trash logo on it. This means that either New York is finally moving on from its worst fashion statement in years, or that LCD Soundsystem draw a smarter set of people. Either way, it's good news.
3) A DJ between bands you could hear. Most groups that use DJs as their warm-up keep the volume down, as if they're scared the audience might wear out its dancing shoes before the headlining band gets on stage. Not LCD Soundsystem. Murphy came on stage instead to insist the DJ was turned up. Once he had the vinyl was at maximum volume – with a powerful progressive house set that drew whoops of approval from the surprisingly footloose crowd – the five-piece group joined in on their own instruments and segued him out. The way it's supposed to be.
4) A crap front man. And I mean that in the nicest possible way. As something of a singer, Murphy makes a lousy band leader. But that's his charm. Chugging from a bottle of Jameson's – at one point he fell over the monitors like a drunk who didn't see the kerb - he kept trying to over-introduce his songs with way too much information. When someone in the audience pointed out that a good magician doesn't give away his tricks, Murphy confessed: "Hey, I'm a bad magician." Meantime, the band knew better and started up every song before he could finish talking. That's the spirit.
5) Totally Wired. LCD's 7" single, 'Give It Up,' sounded surprisingly like The Fall for a group whose previous record had been a 12" dance track, and on stage, this influence is emphasized, as Murphy leans heavily on the end of each vocal line. Nowhere was this more apparent than on a brilliantly aggressive new song called 'Moving.'

LOSING THEIR EDGE: The hometown crowd gives it loads for LCD Soundsystem at Bowery.

6) Rock music. Between the drummer, the bassist and the guitarist, LCD Soundsystem is a conventional rock band that knows how to kick-start a wiry indie groove. 'Everybody Makes Mistakes' offered particularly potent evidence.
7) Dance music. Between the synths and modules, the bongos and syn-pads, and the bassist's evident flexibility, LCD Soundsystem is a dance act that knows how to get the floor moving. It's not often you see so many white people at the Bowery dancing without shame – and without disgracing themselves either. Proof: 'Daft Punk Is Playing At My House.'
8) Daft covers. And I don't mean the one about Daft Punk; that's their own. LCD Soundsystem can dig up a conventional Harry Nilsson song – 'Fire in The House' – and make it sound like a gleeful joyous mess all of their own.
9) 'Losing My Edge.' The group's first single will be remembered in years to come as an important companion piece to 'House of Jealous Lovers' (which Murphy co-produced): a song directed at the hipsters by the hipsters for the hipsters. I can never play the record when I'm DJing because it's so embarrassingly self-referential, but when a stoutly drunk Murphy delivered the words at the Bowery (without messing them up), the good humor was apparent. For all its stinging commentary, 'Losing My Edge' appears not to be directed at anyone LCD Soundsystem can't recognize in the mirror.
10) Join Together. On record, the 'Losing My Edge' 12" and 'Give It Up' 7" make an incongruous pair, like two different bands fighting it out for bragging rights. On stage the punk-funk rock-disco congeals perfectly; rather than exhibiting any differences in style, LCD Soundsystem claim their own. One of the best live shows I've seen this year.



When the World Wide Web first kicked off in a big way, in the mid-nineties, there were two schools of thought as to its potential:

1) The free exchange of information would enable an open forum for interesting, sometimes argumentative, but ultimately important transGlobal debate like nothing the world had ever seen.
2) Participants would be able to tailor their use of the web to their own personal desire, either to receive online newspapers and magazines that only catered to their pre-stated interests, or by hooking up with like-minded people across the globe to form a bigger audience for a particular niche.

I always prefered the former model. My hope for the web was – and still is – that people could find information they never knew exist, could debate people on all kinds if matters and prove open to new ideas - or at least to being challenged on their conventional wisdom. More and more though, it seems that the Web is a world wide collection of cliques and special interest groups, where participation is allowed only on the understanding that criticism is forbidden.

I'm not going to name names here, but when I trawl round some of the use-net groups and fan sites on the web, it stuns me the degree to which criticism of a band or solo musician is considered treasonous. People who suggest that an artist (one they already think highly enough of to spend time discussing in online forums) may possibly have made a wrong move (let alone a bad record) are flamed, shouted down, and abused. The majority of fans, it seems, want to believe their hero(es) can do no wrong, but the simple fact of the matter is, that even the greatest of our heroes, even those we genuinely believe to be better people than ourselves, will make mistakes. And usually they'll make them in public. To borrow a euphenism from the current political arena, pointing this out is NOT unpatriotic; to ignore it and pretend it isn't happening would be. After all, we all know what can happen when our leaders come to believe they are infallible…

Again, I'm not going to name specific names. But to people who stop by here only because their fan sites have provided a link, and who then react to such comments as I may offer by launching a verbal lynching squad (most of which, fortunately, are kept to their own specific sites), I can only ask you to grow up and get a life. That you learn to appreciate the differences we all have in the world. And that you perhaps question whether there might not be genuine reasons (other than that "the world is against them") for your heroes' decline in popularity and/or credibility. I love music, I love life, and because someone makes a bad record, puts on a bad show, or makes an idiotic comment in public doesn't turn me against them for all time. It does, however, give me the right to offer my opinion. You're welcome to have yours – and I'm still trying to get the Forum back up so you can have it on my dime. Peace.



It's never been my intention to make iJamming! your first stop for Music News. There are so many other sites that have the infrastructure – which means the staff and their workhours – to do that job better than myself. I visit different sites for different resources, and when I want to know what's going on in that part of the American rock'n'roll world that pushes my buttons, I usually head on over to pitchforkmedia.com, where I'll inevitably get a laugh in the process. Check this lengthy news report about the Flaming Lips and White Stripes touring together, and the former act's surprise commission to remix Chumbawamba's 'Tubthumping': "They better not mess up my #1 jam with their lame symphonics, or I'm going soccer hooligan on their asses."

Maybe this is the same journalist who does the New York Press listings and wrote up our Step On night last week by suggesting that we would make "Park Slope more like Manchester w/ baggy grooves, brit-pop, northern soul, hacienda classics, soccer hooligans & rain." What is this American fascination with soccer hooligans? Are they jealous?

In other news, I've refrained as yet from commenting on the announcement that Pete Townshend and Roger Daltrey are heading into the studio next year to record a new album as The Who. According to the Townshend/Who web sites, "The songs will be based on (Townshend's) story, now complete, The Boy Who Heard Music. He and Roger plan to demo the new material before the end of the year prior to going into record the album in March 04. This of course will be the band's first studio album since 1982 'It's Hard.'"

I think it's wonderful that Pete and Roger have decided to record together again, especially as they appear to be doing so for all the 'right' reasons. (Subjective as that definition may be.) I wish they could follow the Page/Plant route and go out under their own names; it was never The Who without Keith in the studio, and it will be even less so without John. And if some of us thought the bass player would have turned in his grave to hear that the band had decided to tour within 48 hours of his death, I'm sure his ghost will be even more affronted to discover that after twenty years of his begging the band to return the studio, they finally decide to do so after his demise. Read into that what you will. Whatever name they release the music under- and that decision appears to have been made – I await it with real anticipation.

I've yet to get my hands on the newly issued The Kids Are Alright DVD, which Who fans are raving about. I'm probably more excited that October 28 sees the release of a Tommy double CD, the first which features the "complete original album in 5.1 Surround Sound, SACD Stereo and CD Stereo," digitally remixed from the original 8-track tapes by Townshend himself and then remastered by Jon Astley. The second disc features "12 rare or previously unreleased outtakes (such as 'I Was' and 'Miss Simpson') and alternate versions (such as for 'Tommy Can You Hear Me?,' 'We're Not Gonna Take It' and 'Christmas') in SACD 5.1, SACD and CD Stereo, plus five never-before-released demos ('It's A Boy,'Amazing Journey,' 'Christmas,' 'Do You Think It's Alright?' and 'Pinball Wizard') in SACD and CD Stereo." This long overdue revision of Tommy will leave Quadrophenia as the lone Who album without the remix/remastering/repackaging/bonus cuts treatment; Who fans will be pleased to know that shouldn't be the case much longer.

While still kicking myself for missing out on R.E.M.'s performance of 'NYC' at the weekend, I'm making up for it by reading Ethan Kaplan's excellent interview with Michael Stipe at the former's Murmurs.com, possibly the most complete and authoritative fan site on the web. I don't know how he does it. (Ethan, that is. Though come to think of it, I don't know how Stipe does it either.)

R.E.M. fans know to expect the occasional different song on different nights. Springsteen fanatics gleefully anticipate vastly varied set lists. Turns out I was right about 'Who'll Stop The Rain' being applicable purely to Wednesday's brief shower at Shea; I'm sure, given my soggy experience ten miles down the road at Prospect Park that he would not have got away with the same cover on Saturday. Instead, his encores for the last night of the global tour included Dylan's 'Highway 61 Revisited,' 'Land of Hopes and Dreams,' 'Twist & Shout' and a final finale of 'Blood Brothers.' None of these songs were in the set Wednesday night. I don't know how he does it. Except that I'm glad that he does. And I'm so glad I made the impulse purchase last week and saw him with the E Street Band one more time.



You couldn’t question the concept: Gather an eclectic collection of cutting-edge artists, place them in a public park in the most happening borough of the city, power the performance by wind-generated electricity, and use the occasion to promote green consciousness, be it with fair-trade organic coffee, organic beer served in biodegradable cups, a 64-page program/manifesto printed on recycled paper, or 100% recycled toilet paper in the portaloos. Renewable Brooklyn, held at the Prospect Park Bandshell in Brooklyn last Saturday October 4, should have been remembered as a textbook case in ‘Thinking Global, Acting Local.’

Where, then, do we begin to examine how it all went wrong? At its most basic level, Renewable Brooklyn failed to present the acts it advertised or the entertainment value it assured. The press release, issued less than three weeks in advance of the show, announced that “For a nominal admission price, an estimated 5,000 attendees will enjoy performances by a host of groups including Radio 4, Out Hud, 2 Many DJ’s , UNKLE (James Lavelle), Head Automatica (Glassjaw and producer/DJ Dan the Automator) and Handsome Boy Modelling School (Dan the Automator and Prince Paul).

At least one of those groups was assured that this “nominal price” would be $15; but when tickets went on sale, perilously close to the actual event, that price had increased to $25. Such a sum may seem trivial alongside concerts for halls and stadiums, but it’s pushing the budget for a motley crew of new and/or cult acts aimed at a young crowd forever short of money. As a result, even at its peak – assuming there was one – there were less than 500 people present at the Prospect Park Bandshell, and that’s including the bands and their guests.

And they weren’t happy campers. Somewhere between the press release and the ticket sales, UNKLE pulled out. On the day, ticket-holders showed up to find out that headliners 2 Many DJs would not be performing either. No reason was given publicly; privately, I’ve heard both that the Dewaele Brothers never officially confirmed their appearance, or/and that they simply didn’t deliver on their verbal assurance of support, which I suppose amount to the same thing. Ticket-holders were stuck with the loss: as is often the case with benefits, the promotion came with the caveat that ‘All Bands Are Subject to Change.’

There was more bad news once inside. Soundchecks had been jinxed by electricity surges that caused all manner of equipment to blow out. (There was something of a running gag about whether the wind-powered electricity ran out of steam; certainly, the Prospect Park Bandshell handles these events on a regular basis, so it’s hard to see what went wrong.) When Outhud’s mixing board was smoked in the process, they had no choice but to cancel their performance too.

And then there was the timing. You can never predict perfect weather for an outdoor gig, but if a summertime festival gets rained on, the temperatures are usually warm enough to offset the dampness. On this first Saturday of October, it was cold, it was wet, it was windy. In short, it was nasty. The disappointment brought on by the cancellations and no-shows was duly exasperated by exposure to the elements.

But on to the music. Legendary New York DJ Arthur Baker had already performed by the time I got to the Bandshell, just after 5pm. God knows who he played to, because less than 100 people paid attention to Soviet, the New York-based synth-pop revivalists whose Depeche Mode influences are just a little too transparent. In ‘Candy Girl,’ which you can find on the Stargazing compilation, Soviet prove they have some good songs underneath the synthesizers and occasional use of both synth-guitars and syn-drums (not to discount the ever-cute Hofner bass); I didn’t notice them play it. By the end of their short set, three urban hippies were dancing as if they’d landed at Woodstock. Some of us joked that they must be on drugs to make such a good time out of such a desperate situation; later, as one of them was seen tripping over her own shoelaces, looking extremely dazed and conused, we realized we were probably right.

SOVIET try and drum up support from a sparsely-attended Bandshell


Head Automatica, a new group comprised from the ashes of Glassjaw, and produced by Dan the Automator (who huddled over a mixing board at stage right) upped the musical ante with an edgy, good-humored set. Songs like ‘The Negro Spiritual’ mixed a pummeling, Killing Joke-like bass with some serious Flying V guitar riffs, Daryl Palumbo's engaging vocals and enough looped grooves to suggest some dancefloor potential. The group will be releasing their debut album in the new year, and we’ll presumably be hearing more of them round that time. Theirs was a fun show, but not something you drop $25 for on an October Saturday in the park.

As darkness gathered and the rain came down, just about everyone who knew anyone who had anything to do with the event blagged their way into the VIP tent. There, Brooklyn Brewery were pouring their new, darkly bitter, fully organic Brewmasters Reserve for free. The Brewery, already a great source of pride in the Borough for its superb beers and community consciousness, recently switched to 100% wind power at its Williamsburg headquarters, and so were natural partners for the event. (Gorilla Coffee, which roasts its own fair-trade beans in its newly-opened store on 5th Avenue and Park Place in Park Slope, were also rightly represented.)

Whole Foods of Chelsea, meanwhile, had been kind enough to provide free food in the VIP tent, though by the time I came along the only wrap sandwiches left all contained meat: the vegetarian food had apparently been snapped up earlier. The staff at Whole Food apologized but insisted that “lots of people prefer meat” to which I responded that such people were not in the majority at this event. I know I sound cranky in complaining about free food, but I’m one of those who believes that conservation, the environment and vegetarianism are all connected: rampant consumption of meat without a thought as to how the food is raised or provided is, to my mind, much the same as rampant consumption of fossil fuels with similar disregard for the details. And it’s all very well to raise animals "organically" (as Whole Foods advertises), but when they’re still intended for the slaughter and our dinner plates, then I still want no part of it.

Oh well. Outside, Richard Fearless from Death in Vegas mixed up electro, industrial, techno and break beat on the turntables to some stunning visuals, courtesy of dark.light, the British team that also directs the Chemical Brothers’ light show. It was reassuring to see some people from overseas live up to their promise of support. Thanks boys.

Radio 4 had less distance to travel. And surrounded by so many cancellations, and given their current credibility, the Brooklyn band became the de-facto headliners. They powered through a reassuringly energetic set that included all the obvious numbers from Gotham! for the event – ‘Save Our City,’ ‘Calling All Enthusiasts’, ‘Dance To The Underground’ and ‘Struggle’ – as well as two new songs, 'No Reaction' and 'Party Crashers,' that I struggled to take in due to a well-meaning and much-loved local bar owner bending my ear. The crowd responded with as much excitement as it had shown all day, and vocalist Anthony Roman made sure to talk up Radio 4’s support for the event even as he found himself announcing, to perhaps the first laughs of the day, that “maybe it should have been held in August.”

Following another brief DJ set by Southpaw’s residents Mikey Palms and DJ Kear, the event was closed out by Handsome Boy Modeling School. In theory, any live show featuring old school New York hip-hop legend Prince Paul and currently heralded producer Dan The Automator should offer up some seriously phat beats. And the presence onstage of Glassjaw’s drummer, guitarist and keyboard player (the latter two in nothing but their undies, throwing caution, literally, to the wind) suggested we should be in for some serious musicianship along the way. But it was not that kind of day. Handsome Boy Modeling School is more of a verbal riff than a musical one, and though Silky La Rue’s fashion critiques got us all laughing, we were treated to but one proper rap – and that a humorous rhyme about circumcision – and a few improvs before the concert concluded. The audience could hardly wait to get out of the Bandshell and off to somewhere warm.

Tommy, Anthony and P.J. of RADIO 4 call in all Enthusiasts during what passed as Renewable Brooklyn's peak.

HANDSOME BOY MODELING SCHOOL close out Renewable Brooklyn: the musicians at right are modeling only their undies.

Was Renewable Brooklyn a total failure? I suppose that depends on your definition of total. The event got considerable press across New York in the week leading up to the show, which should help spread its core message of consumer conservation and renewable energy. The Park’s Tennis House is hosting an art exhibition (Sustain) for a full month in support of Renewable Brooklyn. But for those who attended, especially those who bought tickets to support the cause, it was hard not to feel crushingly disappointed.

In retrospect, it’s easy to see that the Renewable Brooklyn concert could have been a triumph if held indoors over a typical five-hour evening. Southpaw, which hosted an after-show as part of their regular Saturday night hip-hop party The Rub, would easily have filled their 500-capacity room at a $15 ticket for the same acts, ensuring good vibes all round. I realize that it was important, even necessary, to host the event in a City Park, with the Borough’s full co-operation, ensuring that all vendors and sponsors were environmentally conscious, and utilizing city space for the exhibitions, and so it’s perhaps better to write this one off as a bad beginning and consider what lessons can be drawn from the experience. From the perspective of the promoters, they appear to be as follows:

1) Don’t hold an outdoor event in New York City in October. It’s too risky.
2) If you don't have enough time to advertise an unusual event like this properly, postpone. You'll be better off in the long run.
3) Don’t advertise bands or DJs until you have their confirmation in writing. You’ll only disappoint your paying customers when they fail to show.
4) Keep ticket prices low enough to draw people in the first place. If you can get most of your talent and equipment for free, consider also making the event free and demanding donations as a way to raise funds. These events rarely make money for anyone, anyway; it’s better to spread the word to a full house than play to an empty one.

I’m posting this on Tuesday, under a sunny sky, with the temperature likely to hit the 70s over the next 48 hours. The irony will not be lost on anyone who took part in or helped organize Renewable Brooklyn – all of whom should be justly proud of their involvement in such a noble concept, regardless of the consequences.

We make our choices and we must stand by them. I chose Renewable Brooklyn over R.E.M.’s show at Madison Square Garden. I’ve seen R.E.M. on every tour of their career since 1983 and had a great time outdoors at Manchester's Old Trafford in July. (Read review here.) But I don’t desperately love arena concerts and felt like I belonged at Renewable Brooklyn. The wisdom of my decision has not only been challenged by the disappointment of the Bandshell experience but by finding out that R.E.M. covered one of the best songs ever written about this city: 'NYC' by Interpol.



Renewable Brooklyn was a disaster. But more about that tomorrow. I don't want to be too much of what the Yanks call a Monday Morning Quarterback. The presentation of Hedonism over at Halcyon on Thursday night was relatively good fun; I enjoy that these readings are a little more like 'gigs' and appreciate the opportunity to talk to people who buy books. And Step On at the Royale was probably the best night we've had there yet. There was a point somewhere between 1am and 2am where it just went OFF. Found myself mixing the likes of !!! with A Guy Called Gerald, that Rapture-Happy Mondays mash-up/bootleg mix (see picture below right) went off perfectly (sometimes it's a train wreck), and I even dug out 'We Call It Acieed' for those who remember when smiley faces stood for something other than an IM icon. As the Pet Shop Boys' mix of Blur's 'Boys and Girls' filled the floor, my spinning partner DJ JD and myself each searched out a suitable successor and to our great amusement, came up holding different copies of exactly the same record: Leftfield-Lydon's 'Open Up.' Bring on the first Friday night of the month, Baby!

If he was called Felix, he'd be a real House Cat. Halcyon's resident feline keeps tabs on the grooves.

American and Britain remain separated by a common language? Halcyon offers its own comments on Anglo parlance.

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

Enter search words here 


This page last updated
Mon, Oct 20, 2003 11:49 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


24 Albums newly reviewed

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