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With guest DJ Nick Marc of TISWAS

This Month's Happy Hour, from 10-11pm:
Beyond Madchester: groups who didn't quite get their name in the Baggy Hall of Fame. Think Paris Angels, New Fast Automatic Daffodils, World Of Twist, Dylans, Northside, Flowered Up, Mock Turtles and other brilliantly named icons from a glorious era in Indie Dance.


DJs Tony Fletcher and Posie take you "Back to Madchester with baggy grooves, Brit-pop, northern soul and Hacienda classics" on the first Friday of every month. The Royale, 506 Fifth Avenue, Park Slope, Brooklyn, between 12th/13th Street. (718 840 0089.) 9pm-3am.



Synchronicity. I love it. The same week that I find myself – for work reasons! - listening to almost nothing but London Calling turns out to be the same week The Observer Music Monthly ranks it number 3 in the Greatest British Albums of all time… and the same week that Sony announces an impending 25th Anniversary Deluxe Edition, featuring two CDs and a DVD. According to the press release I got yesterday (by e-mail of course), the original album will remain untouched on the first CD, while the second will be titled "The Vanilla Tapes" for the rehearsal space off the Vauxhall Bridge Road where the band wrote and demo'd their landmark 1979 album; it features "previously unheard demos for the album which were recently discovered in vocalist/guitarist Mick Jones' storage house. Among the demos that will feature on "The Vanilla Tapes" are a number of tracks that never made the final cut of the album."

"Previously unheard Demos" are not always the treat that fans hope for. But in the case of London Calling, the Vanilla recordings supposedly contained enough energy and excitement that Joe Strummer long insisted they form the basis for the finished album. That should make them well worth hearing.

The DVD, FYI, has a "newly-created 45-minute documentary by the band's longtime biographer and collaborator, Don Letts" [an Old Tenisonian, it should be stated for the record], which "includes newly discovered footage of the band in the recording studio with producer Guy Stevens, as well as previously unseen live performance footage, interviews with band members Joe Strummer, Mick Jones, Paul Simonon and Topper Headon, and for the first time ever, band manager Kosmo Vinyl telling his side of the story." Circumstances – i.e., Joe's death – suggest that the interviews will be the same ones that formed From Westway To The World but I, for one, would be happy to watch as much of that footage as Letts chooses to release. The release date is set a few weeks ahead of the official 25th Anniversary, September 21 here in the States.

By a truly divine piece of synchronicity, that's exactly the same day The Poster Children, whose most recent album I included in my April Hitlist, release On The Offensive, "a mini-album of cover songs inspired by the United States’ current political climate." The opening track? None other than that London Calling highlight, 'Clampdown.' (Of the six cover songs, two more are by British groups: Heaven 17's 'We Don't Need This Fascist Groove Thang' and XTC's 'Complicated Game.' Not quite sure what this proves, but it's worth noting.

The Clash were themselves fond of a protest cover version or two, one of the finest being 'Pressure Drop' by Toots & The Maytals. I've also just received news that Toots and a gang including The Marley Family, Blackalicious, Common and Nappy Roots, are setting off on a "Bob Marley: Roots, Rock, Reggae Festival." Coming the same week that Lollapalooza canceled might seem an ominous omen, but there's more sense to this tour's choice of venues, including an August 10 date at the Celebrate Brooklyn series in Prospect Park. It's already marked on my calendar.


So, the other day I wrote about attending the movie Young Adam at the local cinema, being one of only about five people there and having two old ladies come in late, and loudly, only to then sit right next to me. (They didn't know I was there.) I asked here whether I should have moved to give us all more space, or whether doing so might have offended them. For fear of the latter, I chose to stay where I was. About a minute later, Ewan McGregor had his first shag of the movie. About two minutes after that, we got our first breast shot. Five minutes later, another shag. Then a full frontal. Then a different woman, another shag, another full frontal. Hey, in this movie you even get to see McGregor's own meat and two veg...

I'm not easily embarrassed by this stuff, but sitting next to the two likely grannies... let's put it this way: I couldn't get turned on. Nor, not surprisingly, could they. "Oh, not again," they'd mutter each time there was another sex scene. But then again, they didn't walk out. Not even when the entire screen was filled, for the best part of a minute, by a naked breast with a fly nibbling around it. Myself, I saved us all having to offer some kind of post-coital, I mean, post-cinematic discussion, and escaped over the row behind me as the final credits came up. I should add, by the way, that the extremely unromantic sex neither added nor detracted from the film, which was an immense bore and further reminder why I rarely go to the flicks... If I'm not going to get my money's worth, I'd sooner not get it at a gig.



I paid the price for my rural retreat and had to listen to the England-Portugal game on the headphones at a local Catskills computer store after calling round various upstate "sports bars" and being treated with as much confusion as if I was asking for Chinese arm-wrestling. You can't watch them all, though can you? And given how many great games I've been fortunate enough to witness in person, I can't complain about not even being able to watch this one on TV. But, nail-biting stuff, eh? I'm signing off now as Portugal's goalie has just scored the winning penalty. England go home. As usual. And the non-footie fans at iJamming! can breathe a sigh of relief for a few days. I can't think of anything good to say except what I've just heard on Radio 5: "honour in defeat." At least I'm not in England itself where the mood will no doubt be suitably morbid for the rest of the tournament.

Hats off to the England NYC crew who were photographed, in the "Ribiera area of Porto", by iJamming!'s man on the ground, Sheffield Jamie.

In case you were wondering why I haven't taken the opportunity of Euro 2004 to review a Port or two, there's a good reason: I don't like them. They're too high in alcohol and give me headaches (probably because I've usually preceded them with copious amounts of red wine already!), though I recognize that some of them are considered works of liquid art. Myself, I prefer a good dessert wine.


So there I was yesterday, reading a cutting kindly sent my way by Sheffield Jamie, all fond reminiscences of Glastonburys past by the likes of Fatboy Slim, Rolf Harris and festival promoter/farmer Michael Eavis himself. Meantime, I'm busy planning a summer holiday in the old country, in which I hope to take in both the V and Leeds festivals, and I'm wondering to myself, Do I leave after Lollapalooza comes to New York City this August, or before? Is three festivals in three weeks one too many, or is it just about right?

Then I go online and it turns out the decision has been made for me. Lollapalooza is canceled. Founder Perry Farrell offers a typically confusing letter of apology that talks of "taking on huge losses." Jim DeRogatis at the Chicago Sun-Times hits on the real reason: lack of ticket sales.

Lollapalooza has struggled to maintain relevance and popularity since, in its first few truly groundbreaking years as an all-encompassing touring festival, it played a major part in bringing 'alternative rock' to the mainstream. (After which, of course, the truly alternative avoided Lollapalooza like the plague.) It took some years off, it came back, it wasn't quite the same. But this year's line-up, audaciously stretched to a two-day event at each destination, seemed like a slam dunk. (An open goal?) Morrissey, Sonic Youth, PJ Harvey, Modest Mouse, Le Tigre, Black Rebel Motorcycle Club, The Flaming Lips, Wilco, Gomez, the Polyphonic Spree, to name but a few – and in New York and LA, The Pixies too…

So why the failure? It's hard to explain low ticket sales, except to suggest that splitting the admittedly attractive bill over two all-dayers – most of which, given that Lollapalooza is a tour (un)like any other, take place during the working week - may have also split the audience. The $44 ticket (plus service fees) probably looked like good value on paper, but for those who wanted to see acts over both days, the investment was considerable: over $100 for tickets, plus transport twice over, expensive food and drink on-site and the cost or mere inconvenience of taking two days off work. It's also worth noting that while Farrell has always tried to make Lollapalooza more than just a rock festival, and this year had already offered up a third, Solar-powered stage and a Revolution Solution tent, the musical line-up no longer reflected the brazen gathering-of-the-tribes of the early years. Those tours proved that hip-hop, alternative rock and industrial dance all drew from the same underground audience; looking at the above line-up – and despite the inclusion of The Coup and Michael Franti's Spearhead – you can't help but conclude: white rock, white rock, white rock.

Summer festival UK style. The Move festival in Manchester last July.

Summer festival, U.S. style. Area 2 at Jone's Beach in 2002.

It's likely that promoters Clear Channel played a major part in pulling the plug because of these 'low ticket sales' some several weeks up front of the opening dates - and a full eight weeks before the New York shows. Clear Channel did the same thing with a New York Creamfields a few years back, for the same reasons, making no allowances then or now for last-minute and walk-up sales. After all, it's easier and more convenient for a massive concern like Clear Channel to cut its losses up front than see the event through and run the risk of yet greater losses. And therein lies a prime difference between Glastonbury and Lollapalooza, despite certain surface similarities of intent. Glastonbury is run by a farmer who, according to the new book Glastonbury Festival Tales, took such a significant loss the first year out that he had to put money aside from his milk cheque every month just to pay off the headliner, Marc Bolan. Lollapalooza may be fronted by an equally maverick figure (Farrell), but the actual concerts are run by a multi-national multi-media concern that has no interest in the festival's spiritual ambitions. Clear Channel, remember, is the same radio conglomerate accused of various anti-Dixie Chicks protests and an anti anti-war playlist blacklist. When it comes to an outdoor, alternative music festival, it'll get its hands muddy for one reason only: the bottom line.

Following the collapse of Creamfields, the idea of an American dance music festival was abandoned for good, the acts and agents alike rightly concluding, Once Bitten, Twice Shy. The collapse of Lollapalooza this year will surely herald the same result. Around three dozen acts suddenly have a six-week hole in their calendar during the prime touring season. Can you see them agreeing to simply try again next year? Goodbye Lollapalooza; you played your role and we’ll never forget you for it.

So is the rock festival a non-starter in America? No. And for the most obvious of so-far unstated differences. The Californian festival Coachella, set out in the desert, has gone from strength to strength these last few years; I've yet to attend, but I know many in New York City who consider the 5,000 mile round-trip well worth it for the breadth of music and lengthy breath of fresh air. And Lollapalooza's cancellation comes just a week after the triumph of Bonnaroo, a three-day camping and music festival sixty miles outside of Nashville which this year sold out all 90,000 tickets in advance. Bonnaroo caters primarily to the jam band scene – you figure that headliners Dave Matthews Band could sell that many tickets on their own – but this year, only its third, it widened its mandate to include Patti Smith, Praxis, My Morning Jacket, The X-Ecutioners and Danger Mouse. That's a line-up Lollapalooza would have strived for in its early years.

The moral? Americans want a festival scene. But they want it as they know it to be true, which includes the option to stay overnight on the festival grounds, and the belief (even if it's spurious) that they're opting out of the typically tightly-controlled rock'n'roll concert scene. Give them that freedom and they'll lap it up. Keep it controlled by the Clear Channels of this world and they'll stay at home.



Looks like I chose the right day to start watching Euro 2004, doesn't it? England's 4-2 win over Croatia was the perfect use of truancy time on Monday, a thoroughly entertaining game from start to finish, and while it was a victory England deserved – if only for continuing to play a sharp passing game despite being 1-0 down most of the first half – the triumph was all the better for Croatia giving England such a good run for the money. Has Michael Owen told Wayne Rooney he knows how it feels to take over a tournament as a teenager, and that Wayne should enjoy it while it lasts? And does David Beckham feel like actually playing for England in Thursday's Quarter-Final against tournament hosts Portugal?

(The many iJamming! readers who could barely care less for football may want to know that the Daily Musings came into being two years ago this month - during the 2002 World Cup. Until then, iJamming! had been more of a magazine with occasional features, and a repository space for my past work. I was struggling to get diary entries up while they were still relevant; the excitement of watching World Cup matches at seven in the morning inspired me to come straight home and post a daily observation before getting on with other work. And the traffic at iJamming! shot up overnight.)

I watched the England game in the downstairs pub of a neighborhood place I hadn't previously known existed, Village 247 on Smith Street in Cobble Hill. Since my local 5th Avenue began taking off these last few years, I've had less reason to venture over the Gowanus Canal to South Brooklyn's original pioneering strip for dinner, drinks or DJs. But I'm pleased to see that Smith Street continues to flourish. If you're round that way, the pub is underneath Village 247's ground floor restaurant, and access is only achieved by walking past the dining tables. It's a cosy set-up, a classically New York embrace of Alpine tankards, American micro-brews and British woodwork. Nice.


Just when you think there are no more musical lists to be compiled, along comes the obvious: The Observer's 100 Greatest British Albums. And those who wonder why we still celebrate Madchester once a month at Step On in Park Slope might find their answer in the combined critics' number one choice: THE STONE ROSES. As we all know, every list is open to criticism, whether it's a personal opinion or a collective poll, and probably most of us here change our minds on such matters according to our moods, but it really is hard to argue against The Stone Roses as the perfect album.

(Oddly enough, despite its acid house influence, on there aren't that many tracks on The Stone Roses suited even for the Step On dancefloor. 'She Bangs The Drums' is possibly my favorite indie dance song of all time, and the evergreen 'Fools Gold' made it onto later American pressings, but beyond that there's only really 'Elephant Stone,' after which 'I Am The Resurrection,' 'This Is The One' and 'I Wanna Be Adored' work only if your audience is either totally obsessed or patient enough to put up with such lengthy anthems. But I digress, as always)

(And to stay with my digression, another reason we celebrate Madchester once a month at Step On in Park Slope is in the following statement: "Bez from the Happy Mondays gave us a list in which 6 of the 10 acts involved are not British. For reasons that remain obscure, he felt unable to revise his selection...")

Appropriately enough given that I'm hardly listening to other artists right now, London Calling comes in at number 3, with the debut Clash album also right up there at 13. Neil Spencer points out in the accompanying feature that London Calling already has a higher accolade, having been voted Best Album of The 80s by Rolling Stone's writers back when that magazine still counted for something. Sadly, when Joe Strummer died, the now near-tabloid mag could barely manage a paragraph inside while Britney Spears dominated the cover. Those who point out that London Calling was released, in the UK and USA, in 1979, are of course merely being pedantic...

...At which point I'll pause and note that, if the chart does propose to list the 100 greatest British albums, one might imagine that such albums need to be not just great, but ineffably British in character. (The poll is instead based on a mere 100 experts asked to list the best of British.) Were that the case – and we could be excused such rank nationalism in the middle of bi-annual football fever – then the chart would surely be more fun, and more open to good-natured debate. 1977's The Clash would, for example, have to swap places with 1979's London Calling; the former is told from a purely British (make that English, no, make that a London) perspective, while the latter album is evidently influenced by the group's global travels. Likewise, were we talking the greatest, most British albums, The Queen Is Dead would rank higher, as would The Jam's All Mod Cons, The Who's Quadrophenia and The Kinks' Village Green Preservation Society. The Housemartins would have to have a look-in and, let's be honest, The Streets' Original Pirate Material would surely earn a place in the top 10. And yet, when all said and done, if that was really the criteria by which this chart was compiled, there would be even less reason to dispute Stone Roses as a valid contender for number one.

Sticking with the Clash one final minute, I was listening to Woodstock station WDST's late-night Indie Flux show Monday night while driving upstate after my own footie match, when I got to hear another new !!! cut – and the DJ's assertion that it sounded like The Clash. Never really thought about that when playing the group's 12" singles at various club gigs, but I suppose I can see the connection. Especially if your reference to The Clash is based on Sandinista! and Combat Rock. Brits, even those like me who've lived almost half their lives in America, sometimes underestimate the influence those later albums had on America.


Went to see Young Adam last night as a mid-evening retreat after a day of hard work. As expected, only half a dozen people showed up for this indie movie showing in the Catkills on a Tuesday night (we're incredibly fortunate that our local cinema offers an art screen as well as a mainstream one), and understandably enough I chose my own spot away from the other four. A few minutes in, the place gets surprisingly noisy: a couple of very old ladies are trying to make their way down the stairs in the darkness, and being noisy enoughabout it that other old ladies – namely, the other four people in the cinema - start telling them to be quiet. They finally find a row – mine – and shuffle along completely oblivious to my presence until I feel compelled to shout "There's someone here!" just in time to avoid the lead granny from falling into my lap! I figure they'll move back along one seat, to give me breathing room, but they don't. They just sit right alongside me instead, which must look hilarious for the other four people in the 100-seater cinema. I think about moving to give them space, but I don't really see why I should need to, and besides, I'm worried it will appear rude. What would you have done?



Given that my income hours right now are spent in the years 1977-82, with The Clash, I think I can be excused for having fallen just a few weeks and days behind in other areas of culture. To wit:


Scrap my provisional 'In Rotation' comments from the June Hitlist. The more I Listen to this, the more I think this might be his finest solo album… period. Caustic where it should be, witty where it's merited, and saved from occasional lyrical desperation by the band's evident enthusiasm, You Are The Quarry doesn't just suggest that a career in the toilet can be rescued by taking seven years off; it proves that Morrissey's music benefits from having time taken over it. (Remember when he was delivering an album a year? Remember much about the music? No? Exactly.) Even those lyrics that seem, on first listening, desperately dated ("Where taxi drivers never stop talking, under slate grey Victorian skies") resonate with a few more plays. I doubled the album up to Strangeways, Here We Come over the weekend and You Are The Quarry more than held up its own.


We forgot to tape the last episode of this latest monumental HBO Sunday night series, and I finally caught up with it last night, in what would have been its usual 10pm slot. Phenomenal. Such series often suffers a serious identity crisis when forced to wrap for a year or so – witness The Sopranos again and again – but Deadwood tied up so many of its subplots, and then left so many more wide open for a future series, that I am heartbroken at the thought of going without for the next several months. Bear in mind I'm someone who has never been a fan of Westerns. Also bear in mind, if you're in Europe or Australia/New Zealand and haven't yet been introduced to Deadwood, that I was equally enthusiastic about Six Feet Under, and no one's yet come back from overseas to tell me I was wrong. (With classic HBO planning, the new series of Six Feet Under overlapped with the end of Deadwood, so we can't stop planning our Sunday nights around that 9pm slot. So far in Six Feet Under, so depressing, but as yet, not disappointing.)

Deadwood, based on a real 19th Century town of the same name that managed to avoid falling under American law due to a typically circumspect series of dubious deals, has all the settings, characters and plot twists you would expect from a (literally) lawless frontier town: the saloons, the hookers, the murderers, the gamblers, the cheats, the legendary outlaws, the widowed beauty, the reluctant sheriff, the orphaned child, and so on. But apart from a few of the strongest characters to emerge on American TV since, well, The Sopranos, and apart from containing more swearing than a football terrace in the Seventies, and just about as much blood, it's side-splittingly funny. The humor is deadpan in the extreme, which means that this classic line from the final scene of the final episode does not play out so well on computer screen as TV screen. Still, it may give you a hint of what's involved.

Seth Bullock (played by Timothy Olyphant, who has now moved way beyond his past peak role, as Blood Pollution's guitarist in the Mark Wahlberg vehicle Rock Star): "There's a blood stain on your floor."
Al Swearengen (played by Ian McShane, the Blackburn-born veteran of TV whose past roles include Benjamin Disraeli and Judas Iscariot):
(Looks bemused, betrays no emotion.)
"Yeah, I'm, er… gonna get to that."


It's taken some evenings off on my own to catch up with Seymour Hersh's important reporting on the Abu Ghraib prison scandal, as published in The New Yorker through the month of May. Hersh, who won a Pulitzer in 1970 for his reporting on the My Lai massacre, not only uncovered much of the original sordid information about what went on at Iraq's dreaded Abu Ghraib but has been able to follow it back up the American chain of command, all the way to Donald Rumsfeld. The details stick in the craw of anyone who wanted to believe that the USA went into Iraq with anything approaching noble intentions. Try this paragraph from page 41 of the May 17 edition:

NBC News later quoted U.S, military officials as saying that the unreleased photographs showed American soldiers "severely beating an Iraqi prisoner nearly to death, having sex with a female Iraqi prisoner, and 'acting inappropiately with a dead body.'"

Later in the same week's magazine, George Packer writes a lengthy 'Letter From Baghdad.' Much of it is based around his interviews with a Dr. Bashir Shaker, whom Packer uses as a depressing example of the intellectual Iraqi "moderates" on whom so much military effort has been expended. Shaker works mostly at the Baghdad morgue, but he has also frequently been called to the Medico-Legal Institute, where women's bodies are examined for proof of their virginity. (That's a big business in Islamic society.) Shaker recounted to Packer the following story which, I think, speaks for itself.

"In March 2003, a week before the start of the war, a sixteen year old girl whom the Baathist police had found wandering disoriented through the streets was brought to the Medico-Legal Institute. Upon examining her, Shaker found that her virginity had been recently and violently taken… He gently persuaded him to tell her what had happened…
Raghda had gone to audition as a television announcer at the studio owned by Uday Hussein, Saddam's psychopathic son. Along with the six other finalists, she was taken toa room where Uday – crippled from a 1996 assassination attempt – was seated in a chair, holding a pistol in his lap. He ordered the girls to undress and walk in a circle around his chair. When one girl begged to be excused, Uday shot her dead. After that, the other girls, including Raghda, did as they were told. In the following days, Uday… raped the girls, then threw them out on the street, drugged, with a wad of cash, which was how Raghda was found by t he police. When she told them her story, they have her a beating and then took her to the Medico-Legal Institute.
"'If you want to help me,"' Raghda told the doctor, "go tell my parents their daughter was found dead."
On March 18th, two days before the war started, Shaker completed Raghda's paperwork…. Raghda was returned to the police; Shaker never learned her fate."

On which note, I hope to find time today to actually watch England play football. Here's hoping it brightens the mood from the above.

JUNE 14-20: Fast Food and Cheap Oil, Party Prospects, More Clash, Radio Indie Pop
JUNE 7-13: MP3s vs AIFF, Step on, June Hitlist, The Clash,
MAY 31-JUNE 6: Benzos/The Hong Kong/Home Video live, Tribute Bands, Lester Bangs, Glad All Over
MAY 24-30: The Clash, Fear Of A Black Planet, Marvin Gaye, Sandy Bull, Richard Pryor, Stoop Sale LPs, Michael Moore, Nat Hentoff
MAY 17-23: 5th Ave Street Fair, James, Surefire/The Go Station live, Crystal Palace
MAY 10-16: Radio 4 live, John Entwistle, Jeff Mills, Wine notes, Joy Division covers
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

iJamming! Site Copyright Tony Fletcher 2004

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Tue, Jun 29, 2004 1:03 pm)

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Why Fast Food depends on Cheap Oil

12 featured albums, 15 more in rotation, three 12" singles and a handful of books.

Foris Vineyards Gewürztraminer and Witness Tree Pinot Blanc.


Aziano Chianti Classico 2001 .

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

Rhône, France,

Ten That Got Away


Tony's Top Tens

updated and re-designed

Bruce, Bowie, Iggy, Joe and Jodie...

From the Jamming! Archives

Global Techtronica

TRIPPED OUT BRITS: Nine albums of vaguely psychedelic bliss

Eargasm by Plump DJs

Paul Durdilly Les Grandes Coasses Beaujolais Nouveau 2003

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.

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