iJAMMING! is a music and lifestyle web site hosted by
author, journalist and dee jay Tony Fletcher.
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Tony's daily musings are posted on this page.

Next DJ appearance:

511 Greenwich at Spring Street. 10pm.
with NICK MARC and JUSTINE D. Playing Live: Surefire and The Go Station.

Next Reading:

376 9th Street at 6th Avenue, Park Slope, Brooklyn. 7pm. Free.
With Amy Sohn and Ned Vezzini. Tony will be reading from Hedonism.



In my April Hitlist, I raved about Worm Is Green's delicate cover of 'Love Will Tear Us Apart,' noting how their choice of backing track was actually closer to Joy Division's 'Atmosphere.' No surprise, perhaps, that yesterday I found myself listening to a cover of 'Atmosphere' itself by Technova, off his imminent album Electrosexual. It's almost the inverse of the Worm Is Green cover, with a solid 120bpm tempo designed for the dancefloor yet still restrained enough to allow the song its morbid message. (I certainly wouldn't call an album Electrosexual in the year 2004 but, while other tracks like 'My Pussy Is A Cactus' fall into the campy and now trily dated electroclash territory, the 'Atmosphere' cover is reassuringly respectful while suitably different.)

I was thinking what a nice 7" single these two JD cover versions would make but then, checking out Techonova's record label web site, HydrogenDukebox.com, I see they've already done it. 'Atmosphere' made its first appearance – at least in Technova's incarnation – on a split single with A1 People's cover of, yes, 'Love Will Tear Us Apart.' Anyone heard it? The more astute (anorak?) among you may recall, by the way, that Technova first showed up in 1994 with the Tantric Steps album, after which founder David Harrow hooked up with the eminent b as Blood Sugar. I don't pretend that I maintained that info in my head all those years; I just cribbed it from the web site.

There are enough covers of 'Love Will Tear Us Apart' out there to make an album, and maybe someone should think about producing it. (For charity?) I've always preferred the idea of a one-song covers album to the usual Tribute album, which is typically so diverse in its choice of artists – and then those artists' choice of material - that the listener struggles to make sense of it. (I could count the number of essential tribute albums on one hand – if that hand was missing a few fingers.) A dozen versions of the same song might bore some people, but not me: I'm the kind of guy who makes up hour-long tapes of 'Silent Night' and 'The Little Drummer Boy' and sends them out as Christmas presents. Aren't you glad you're not on my Santa list?

Current candidates for 'Love Will Tear Us Apart: The Album' include the above-mentioned obscurities Worm Is Green and A1 People, of course, but also Paul Young, Squarepusher, Bis, and Swans. I've just unearthed live versions on Limewire by The Cure, The Frames and New Order with Billy Corgan on vocals. And allmusic.com lists at least a dozen others. Anyone want to start a thread?

By the way, I appreciated Brendan's thread asking how people discovered this site. I learned from Jamming! the magazine that people hate being asked to fill out demographic forms, so I've been careful not to ask too much of you here, but it's interesting to know what brought you here. I'm proud that iJamming! attracts 50-year old Who fans, 20-year old New York rockers, those few winemakers who obsess about the Style Council as well as, judging by the e-mails, a fair number of my old schoolfriends who will all be turning 'middle-aged' somewhere around now. Speak up!

Got my first airing of new Streets single 'Fit But You Know It' the other night – on Woodstock hippy-jam band station WDST of all places. To say it sounded incongruous while winding my way up a deserted mountain road late at night is an understatement. FOund the album A Grand Don't Come For Free waiting for me on return and it made a little more sense blaring out my Brooklyn stereo – but only barely. Could any record be more English? There's another thread for you.

We're the famous Crystal Palace and we're on our way to Cardiff… doesn't have the same ring to it, does it? What chants have people come up with to replace the old three-syllable'd Wem-ber-lee? (There's another… ah, don't worry.) I had to miss our first televised game in years with car trouble: one of those things. I do however, fully expect to spend part of Monday afternoon locked in a dark bar with the other dozen New York diehard Eagles, hopefully celebrating our taking ourselves one step closer to the Premier. My own footie team plays an hour later, so I'lll either be raring to go or ready to be sub; after winning 5 games in a row, we got an 8-1 thrashing from the bottom team last week, a reminder that football can be a funny old game, Brian…

On which subject, congratulations to Arsenal for going unbeatan for an entire season. I don't care for any other team but my own but that's one hell of an impressive achievement any which way you look at it.



Some photos of Radio 4 in action at Southpaw last night, the group's first show at our local venue since New Year's Eve 2003. The band was on great form, reinvigorated by recording the new album, well-rehearsed from a recent mid-western tour, and granted a highly enthusiastic near sell-out crowd. The set itself was equally split between 2002's Gotham! and the upcoming Stealing Of A Nation, as follows, if my notes are correct: 'Shake The Foundation,' 'Party Crashers,' 'Our Town', '(Give Me All Of Your) Money,' 'The Death Of American Radio,' 'FRA Type I & II,' 'Pipe Bombs,' 'Struggle,' 'Transmission,' 'Eyes Wide Open,' 'Dance To The Underground,' with 'Save Your City,' and 'Calling All Enthusiasts' as encores.

The new songs are a natural progression for the group, but more fully rounded, more ambitious, better arranged and clearly aided by the involvement of keyboard player Gerard Garone and percusssionist P.J. O'Connor in the recording process. Several – but certainly not all – are clearly aimed at the dance floor; 12" white labels of 'Party Crashers' were seen doing the rounds at Southpaw. That's a great song, and a strong first single. I think 'Transmission,' itself a celebration of dance music with a deliberate nod to the Joy Division song of the same name, could be a bigger club anthem with the right remixes. Expect to hear at least one of these at Tiswas Saturday night.

The set will be complete when they introduce the second single, the straight-ahead singalong 'Absolute Affirmation,' and especially the new album's cornerstone, 'Nation,' an unforgettable, politically charged, surprisingly commercial six and a half minute dub extravaganza… Which raises the question: why is no other new New York band exploring the dub connection? Surely Radio 4 aren't the only Clash fans out there? Or are they the only ones with the balls? Whatever, those other groups' loss is Radio 4's gain. And ultimately, ours. Next New York show, June 10 at Spirit, once known as Twilo.



Came across this photo of John Entwistle celebrating the release of the Quadrophenia movie at The Mudd Club in New York, 1979. I don't think I need say more; Pete Townshend surely provided the caption in that recent Uncut interview (for which he subsequently apologised). Clearly, 'new wave' was much in vogue at the time; the mod revival came much later.

The photo is copyright Allan Tannenbaum; I found it at a recently relaunched site for the venerable, influential and long deceased New York paper Soho Weekly News. There are scores of interesting photos there by Tannenbaum, featuring all manner of stars from the fabled New York scene of the late 70s and early 80s. (A book Nightlife: Studio 54 to the Mudd Club is apparently in the works.) I'm particularly intrigued by the pictures that show currently bustling areas like Soho itself as a desolate cavern. The pictures of disco decadence - porn stars getting blown on the dance floor, etc. - make for amusing entertainment too. Check it.

I'll be back by end of the week.



On the evidence so far, I can tell you that turning 40 does absolutely nothing to slow down the body. I can also tell you that if you do insist on spending the working week out in the woods, with no living creatures to talk to but the moths and spiders (and occasional bears and frequent deer), there will be a temptation to live it up back in the big city come the weekend...


I didn't take the camera Friday night to Step On, a shame as some of you might have gotten a kick from the sight of so many scooters parked up outside The Royale which is, after all, a mere Park Slope, Brooklyn bar, not the Hastings waterfront. Yes, our mod theme got a nice little turn-out and for my own part, I enjoyed dropping 'David Watts' (by The Kinks), 'Billy Hunt' (by The Jam), 'Ghosts' (by Ted Leo), 'Tom Tom' (by The Creation) and 'You Better Believe It' (by The Small Faces) along with just about all the other artists I had tenuously connected to mod as a "state of mind." Trouble with the scooter crowd, of course, is that they go everywhere by Vespa/Lambretta but can't drink and drive, so after a couple of lager shandies it's home to bed in time for the big scooter run in the morning.

Anyway, Tim Cook from Headquarters dropped some welcome Sleeper, Suede and Elastica, Posie threw in some Divine Comedy, Chills and Pete Shelley. And that Plump DJ's track 'The Gate' got its usual mega response. By rights we should have been celebrating Baggy's ultimate victory: 'Altogether Now' by The Farm has been chosen as England's "Official Euro 2004" song. But I don't think there were enough England fans in the place to know what we were talking about.


Saturday night saw more of the same. A friend of mine who long ago passed the 40-mark still throws himself an elaborate birthday party every year in (and out back of) his Boerum Hill brownstone, and when I can, I spin. It's the kind of party where you can play anything and I dropped everything from new Mooney Suzuki to old Nitzer Ebb, Urban AllStars and Replacements. I was joined in the downstairs music room by fellow 40-something Steven Blush, the author of American Hardcore and veteran promoter of the Rock Candy nights at Don Hill's. Living proof that you can't judge a an author by his book covers, Blush dropped a set straight out of The Roxy, New York, circa 1983 – all Blondie, Tom Tom Club, Madonna and Shannon. Let the music play, indeed. While waiting for our veggie kebabs (the host insists on barbequeing the meat first), the two of us polished off a fine bottle of Mendoza Malbec. By the time we emerged from our underground cavern, it was three in the morning and, along with our 40-something host, we were the last ones standing.

Don't judge him by his book covers: hardcore anthologist Steven Blush plays New York disco, drinks Malbec, eats vegan.

Judge this bed by its cover: Dumbo-based home furnishings store West Elm offers a Queer Guy makeover for all of us.


So, yes, wine. I haven't been around the city many weekends of late and despite the lack of sleep after Step On, couldn’t pass up the temptation to attend two of Manhattan's better wine stores Saturday afternoon for the kind of free tastings that make this city worth living in. (The wife and son made the most of the city themselves by attending the Brooklyn Waterfront Artists Coalition opening in Red Hook, an event that grows in stature every year along with the improvements along the waterfront.) The trouble with Union Square Wines – apart from their prices – is that they're so well-situated and so eager in their promotions that their events are a little like being at North Six in Williamsburg – lots of people giving you attitude and telling you you're standing in their space while knocking back alcohol and watching the live music. (See what I mean here.) Yes, USQ chose to match its multi-table multi-national tasting with a screening of Led Zeppelin's The Song Remains The Same; I might have chosen something a little less heavyweight if I'd wanted to keep the crowd calm and collected.

Not that it deterred me from tasting the wines, all part of Michael Skurnik's excellent portfolio. (Tasting is different than drinking. I think I only encountered all that attitude because I kept asking for the spit bucket.) A 2002 Willi Schaefer from the Mosel and a 2003 Leitz from the Rheingau indicated that while 2001 may have been an exceptional year for German Rieslings, it was not exactly a fluke. Because of Germany's own appalling marketing of industrial swill in the 70s, the country's wines continue to be underpriced; not only do the better Rieslings offer crystalline acidity and piercing fruit flavors at prices comparable to Rieslings from here in New York State, but they're so low in alcohol (9% and 8% respectively for these two) that you could drink them for lunch and still function.

Marquis Philips has been in the news of late for its heavyweight Shiraz wines that top 16% alcohol and taste like stewed port, all of which naturally encouraged US wine guru Robert Parker to rate one of them a whopping 96/100 points (the kind of score normally reserved for a first growth Bordeaux in a classic vintage, assuming you care about points) and ensure a stampede on this frankly undrinkable swill. MP's Sarah's Blend 2002, from SouthEastern Australia though, is a much more friendly wine, offering the peppery nature of Shiraz balanced by the softness of good Merlot and the backbone of some Cab Sauvignon. I wasn't so taken with the Hare's 2002 Chase Red from the Barossa Valley, which has the same three grapes as the Sarah's Blend but also some Cabernet Franc and Tempranillo in there as well. At least one of those 5 grapes upset the balance of the others.

A new Costieres de Nimes wine simply labeled VT (in big letters) and thereby clearly aimed for the American market offered a very friendly dose of 100% Syrah for $8; I was served some in a Manhattan bar recently for the same price, which tells you why you don't see too many bar owners going out of business. At the same table there was a 100% Grenache 2002 Mas Amiel Le Plaisir from the Languedoc, which only confirmed my opinion that this Southern Rhône mainstay is too high in alcohol to make an attractive aperitif. Oh, and let's not forget the aforementioned red from Mendoza, a Nativo el Felino 2002 Malbec offering blueberries, purple plums and black cherries. Malbec is definitely my new tipple of choice; they're uniformly well-priced and it seems almost impossible to go wrong, especially in the 2002 vintage.

A couple of Italian 2002s confirmed the problems with that vintage (an oddity almost right across Europe and one to approach with caution), though the Boccadigabbia 2001 Rosso Puceni from the Marches region was a lovely combination of Montepulciano, Sangiovese and another indigenous Italian grape that I couldn't make out above the sound of John Bonham's drum solo in 'Moby Dick.' In comparison to all this, the Californian wines showed rather badly, especially the Three Thieves 2002 Cabernet Sauvignon which is a brash marketing attempt to relaunch the 'jug wine.' Simple maths tells you that a 1L bottle at $15 equates to more than ten dollars for the regular 750ml size, and for what Three Thieves offers at that price, you can find better Cabs from all across the world, including from California itself.

It was a far more restrained atmosphere down at Chambers Street Wines near the site of the World Trade Center, where Joe Dressner of Louis/Dressner was pouring some of his latest Loire imports. The Loire remains one of the great bargain regions in wine: the Domaine De La Pépière Muscadet 2003 (of which I've written about in past vintages) is the finest example of the Melon de Bourgogne grape you can hope to find and yet the market still won't bear a cost above $10, even with the steep dollar. The Clos Roche Blanche 2003 Touraine Gamay is a similar story: this 100% organic, unfiltered wine offers a beautiful expression of this classic but frequently under-rated grape, a voluptuous nose of bananas and raspberries that simply can't be confused with anything else. As discussed when writing about the Beaujolais Nouveaus, the 2003 vintage, with its unprecedented early summer heat, has offered the opportunity to enjoy some of the most intense Gamays in history, and the Clos Roche Blanche is living proof. Only 200 cases make it in to the States, and yet it's still priced at just $11. As all us fans of indie bands know, popularity does not always equal quality. Snap it up while you can.

The Domaine de Bellivière 2002 Coteaux du Loir Rouge Gorge, made from the little known Loire grape Petit d'Aunis, offers a lesson about tastings. I tried this in the midst of Chambers Street's Wine Makers Weeks tasting a couple of months back and like several others around me, was immediately put off by its distinctive, seemingly unattractive, taste. Saturday, in a much more relaxed environment, I tried it as my first red and was immediately dazzled by its distinct aroma of pure white pepper. That followed on the palate with a very well- rounded body, an instantly intriguing wine, again 100% organic, and one that the importers assured me matches well with a variety of food. My dislike last time round was purely a matter of placing – it didn't fit in. You can have too much of this stuff, you know.

A man of impeccable good taste: Exhibitionist Jeff Mills gets ready to read about exhibitionists.

Halcyonandon: Shawn and Sean celebrate the almost opening of their Dumbo-based record store.


Sunday afternoon found more of the same under the guise of retail promotion. Halcyon offered a sneak preview of its new store in Dumbo by showing Jeff Mills' new DVD Exhibitionist on its 37 ft wide-screen projector. There were rumors Mills would DJ, but instead he simply, um, milled about as dozens of bleary-eyed music lovers enjoyed the early summer sunshine, the free wine and cheese, and Halcyon's new front-door view – a typically curious Dumbo combo of Brooklyn Bridge, Manhattan Skyline and abandoned cars. The store proclaims it will be open this week on Pearl Street; I'd recommend giving them a couple of weeks to get truly together before checking it out.

Dumbo – acronym aside – is one of the more exciting neighborhoods in New York. Though some of the original frontiers people have been forced out of their converted warehouse lofts as the area gradually conforms to legal requirements, it's currently maintaining an enticing mix of cheap and chic. And because there is so much old factory/warehouse/ docking space going begging, it's an ideal location for large homeware stores. We blanched at the prices at ABC's supposed outlet store – young Campbell, examining a tasteful Indian hutch going for a gaudy $7990 expressed loudly "They must be mad if they think we're going tro buy anything at this place." We had a much better time at West Elm, which offers stylish simplicity of the kind that has made Queer Eye For The Straight Guy an overnight television sensation. No surprise then that the store, staffed by impeccably beautiful Brooklyn melting pot types, sells the Queer Eye book at its front counter, nor that all manner of sexual mixed and integrated couples were trying out the feel of the beds. House music pounded from the speakers, and some young couples – many with babies in tow - were seen dancing their way round the store. Unlike Williamsburg, however, there was a sense of humor about the whole set-up, an understanding that we were all laughing at the ridiculous trendiness of it all. That, or too many people had consumed too many Bloody Marys at Mother's Day brunches. Unlike ABC with it's Wall Street pricing, West Elm is for everyone: I mean, you can buy the stuff online for a song (and a dance, presumably). And maybe we will.

We just made it to the end of Atlantic Avenue's weekend-long promotion, which involved various antique and clothing stores posting balloons outside as a sign that they might have free wine and cheese inside. We only got as far as Silk Road Antiques, where a jazz trio was performing outside, and a jovial partner was holding court inside, offering us free Vinho Verde and baklavas, and encouraging Campbell to feed her fish out back. She too was selling vintage Asian hutches and I don't have $2000 to spend on one any more than I have $8000, but given the opportunity, I know which store I'd buy from.

Some of the classy objects on display at the Brooklyn Waterfront Artists Coalition opening, Saturday in Red Hook.

Some of the classy jazz musicians playing outside Silk Road Antiques, Atlantic Avenue, Sunday.


A closing comment on the Frontier issue. Deadwood has become our new Sunday night addiction, but as with The Sopranos, which it follows, it's getting a little too violent to make a pleasant end to the weekend. Last night, it killed off two precociously young characters who had only made their entrance a couple of weeks earlier, and in the kind of manner that would have made Paulie Walnuts happy. There's a temptation to get all profound on this HBO double-bill and suggest that if Deadwood indicates how this country got started, The Sopranos shows how little it has changed.

Someone would then be bound to put up their hand and say "It's just TV. It's fiction." And then I'd be bound to respond I wish we could all say the same for the photos that have made their way over from Iraq this last couple of weeks. But we can't. We know it's 4Real. And we feel sick for any number of reasons that others in the media can express far better than I. This sentence, off the front page of Sunday's Week In Review section of the New York Times, is as straightforward as any. "The world is asking what sort of liberation is represented by an American woman holding a prone, naked Iraqi man on a leash in Saddam Hussein's Abu Ghraib prison, of all places."

I'm struggling to follow that sentence with anything remotely appropriate. I know that these violations are not on the level of dropping people into the wood shredder, nor of forcing parents to watch their babies smashed against a wall – as were frequent occurrences under Saddam's regime - and I appreciate that in open societies, when we hear of something like this we express our horror in public and demand that the perpetrators pay a price. But none of that excuses any of it from happening in the first place. I just feel like all the arguments for being in Iraq, including the ones we reluctantly, begrudgingly supported as being the lesser of various evils, have been instantly negated.

And I am certain, in my heart, that these incidents were not just undeducated, untrained American reservists or recruits reliving their Animal House frat initiation rites. This stuff doesn't go on without people higher up the chain either condoning it, or encouraging it. So to see, as I just did, that Bush has given Rumsfeld what looks suspiciously like a free pass on the matter provokes even more disgust. And I don't see that court-martialing a few bullies whose IQ must be immediately called into question for the simple fact that they allowed themselves to be photographed in the first place is going to fully account for all the parties responsible.

Damn. And where's John Kerry in and on all t his? I have a message for the Anyone But Bush crowd. Kerry is your Anyone. We need(ed) a Someone. I am seriously worried that, rather than showing us his so-called 'electability,' come November, he's going to be a liability.


On one brighter note, Crystal Palace are in the Play Offs. Only three games away from the Premiership. And we didn't even have to win on Sunday to get there. (Thanks, West Ham.) Do I have to eat my words about Simon Jordan? I don't know. Let's revisit the matter at the end of the month.


And reading up the thread about new music, I do have to ask, here as well as over at The Pub, what is it with the Brits getting new music before the Americans? It doesn't surprise me that, for example, I only just got my American copy of the Athlete album – that's a UK band and it takes time for a breaking British band to go through the American release process. But why are British music fans able to talk about the new !!! album when its release date in its New York homeland is still a month away? (Ditto LCD Soundsystem: I didn't even know there was an album in the works, let alone one available in the UK.) No wonder, perhaps, that others are nostalgic for Britpop. Because Steve Lamacq's argument of a couple of months back is more relevant than ever. Unless the British music business starts promoting its own artists, rather than allowing itself to serve American labels' marketing needs, it continue electing decade-old Baggy anthems as football theme songs from here to nevermore.


I've written such a big blast here on Monday for the simple reason that I have to take another working week in the woods. I love posting at the site, I'm aware how many people pay attention. I'd like to be doing it every day right now. But I can't. I'll be back later in the week, and I think I'm attending gigs three nights in a row. Keep busy till then.

APR 26-MAY 9: Twenty Twos, Morningwood, French Kicks, Ambulance Ltd all live, More Than Nets, Mod, Turning 40
APR 19-25: 5 Boroughs Rock, The Number 3 Bus, Orbital split, MC5 reform
APR 6-19: British Press Cuttings, More Than Nets, Art Rockers and Brit Packers
MAR 29-APRIL 5: The Rapture/BRMC/Stellastarr* live, The Chinese Beatles, Freddie Adu
MAR 22-28: Singapore Sling live, Kerry on a Snowboard, Pricks on Clits, Eddie Izzard, Who's Two
MAR 15-21: TV On The Radio live, Tracking Terror, Bloomberg's Education Bloc, The Homosexuals,
MAR 8-14: The Undertones live, Winemakers Week, Madrid Bombings, Just In Jest
MAR 1-7: Rhone-gazing, Pop Culture Quiz answers, Who's Hindsight, March Hitlist
FEB 16-29: Lad Lit, American Primaries, New York novels, Candi Staton, the Pop Culture Quiz, World Musics In Context
FEB 9-15: Grammy gripes, Spacemen 3, Replacements, Touching The Void, Moon myths, Voice Jazz & Pop Poll
FEB 2-FEB 8: Suicide Girls in the flesh, Johnny Rotten's a Celebrity...So's Jodie Marsh
JAN 26-FEB 1: Starsailor/Stellastarr*/Ambulance live, Tiswas, Wine Watch, Politics Watch
JAN 19-25: Brooklyn Nets? LCD Soundsystem, Iowa Primary, The Melody, TV On The Radio
JAN 12-18: The Unicorns live, New York w(h)ines, Sex In The City, Curb Your Enthusiasm, S.U.V. Safety, Bands Reunited
JAN 5-11: Tony's Top 10s of 2003, Howard Dean and his credits, Mick Middles and Mark E. Smith, Mick Jones and Don Letts,

DEC 22-JAN 4: Blind Boys of Alabama live, Joe Strummer, Year-End Lists, Finding Nemo, The Return of The King
DEC 15-21: Placebo live, Park Slope, Angels In America, Saddam's capture
DEC 8-14: The Rapture live, Guardian readers change lightbulbs, Keep iJamming! Thriving
DEC 1-7: Cabaret Laws, Ready Brek, Kinky Friedman, Sir Ranulph Fiennes, Jonathan Lethem, Julie Burchill, Blizzard running
NOV 17-30: Lost In Music, Lost In Translation, Neil Boland, Political Polls, Press Clips, Australian Whines
NOV 10-16: Ben E. King live, Hedonism readings, A***nal, Charts on Fire
NOV 3-9: Brother Bear, Oneida, P. Diddy, Steve Kember, Guy Fawkes, Iraq, the Marathon
OCT 27-NOV 2: CMJ Music Marathon report, NYC Running Marathon preview, Prey For Rock'n'Roll, Yellow Dog, Gen Wesley Clark, Halloween
OCT 20-26: Television Personalities, defending New York rockers, Bill Drummond Is Read
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 Feet 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

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Live in New York


Live at Tiswas
Live at Bowery Ballroom
Live at Mercury Lounge
Live on the Hudson River
With Joe Strummer
Stellastarr* album review

SUICIDE GIRLS just wanna have fun

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Down But Not Out

THE OTHER NEW YORK MARATHON: 10 Live Reviews from the CMJ Music Marathon, October 2003

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

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. For more information and to read excerpts, click here.

HEDONISM is available mail order in the USA from Barnes&Noble.com. It's available mail order in the UK from amazon.co.uk or musicroom.com.

American residents can also receive signed copies direct from iJamming! for just $20 including shipping and handling. Click on the PayPal button below. Please allow 7-10 days for delivery.