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R.E.M. – AROUND THE SUN (Warner Bros.)

Opening song and first single 'Leaving New York' is the R.E.M. mid-tempo ballad at its finest. Second song 'Electron Blue' comes close to repeating the trick. 'The Outsiders' continues in similar but less effective fashion – Q-Tip's rap has turned some off – and by the time 'Make It All Okay' comes along in exactly the same style, there's little incentive to listen further. R.E.M. fans don't come much more loyal, long-term, patient and respectful than this man, and so it pains me to say the following: with their thirteenth studio album, the group have run into a creative dead end.

It's not just the tedium of hearing so many songs so desperately similar that disappoints; it's that Around The Sun arrives (belatedly) on the heels of Reveal, an album of equal mid-tempo uniformity, albeit one performed with slightly more exuberance. R.E.M. have never consciously repeated themselves from one album to the next; to do so now smacks of either complacency or – and they're entitled to it, after all these years – contentment. Stipe, Buck and Mills are stuck in a middle-aged groove and they can't get out of it.
Not to be misunderstood: Around The Sun's 13 tracks all stand up on individual merit. Jump from one to another at random and they're all agreeable enough, with variously subtle merits gradually unwrapping themselves. 'Wanderlust,' 'The Worst Joke Ever,' and the closing title track are none of them so dreary you would want to turn them off. But neither do you clamor to turn them up, and that's the problem: Around The Sun is so relentlessly pleasant, so consistently harmless, that it's over barely before you know it's begun. As such, it is - and furiously frustratingly so - the closest R.E.M. have come to an album of wallpaper music.
The lyrics are almost as non-committal. Is 'Leaving New York' inspired by September 11, a day Stipe spent near the site of the burning World Trade Center? Or is it just another tale of romantic departure? And does it matter? Not if the whole album fails to deliver a single inspirational couplet that merits digging through the lyric sheets for further elucidation. (And it doesn't.)
We apparently can't expect R.E.M. to sign a slogan as direct as "Let's start a new country up" in their mid-forties. And they've clearly no desire to return to the volume of the 80s and 90s. (Though it's a shame they teased us otherwise with the recycled rockers 'Bad Day' and 'Animal' for last year's Best Of.) But is middle age itself any reason to abandon the variation and innovation that made them the greatest American band of their generation? Or does Around The Sun's numbingly inoffensive sameness suggest the group is finally Out Of Ideas?
Highlight: I'm not the only who was deceived by 'Leaving New York's charming simplicity into hoping the whole album would be as emotionally powerful. Only title, final track Around The Sun comes close, with Stipe at his most plaintive, Mike Mills playing grand piano and gradually descending bass, Peter Buck trying to get his experimental edge in, and a string section dissolving into a quiet conclusion: equal parts hope and resignation.


If you like your mid-tempo ballads delivered with total emotional involvement and naked lyrical honesty, then venture not Around The Sun but into the third album by Chicago's Kevin Tihista. Following a (typically) brief sojourn with a major label, and a second album comprised of leftovers from his independently re-released debut, Wake Up Captain sees Tihista finally finding his musical feet and holding them firm to the floor as he sings of a life listing precariously from side to side. (And that's the sea-faring word-play over with.)
It’s an intensely beautiful and frequently painful album that plays adult infatuation ('Oh') off against childhood insecurities ('Family Curse') and a certain amount of drug paranoia ('Freakshow'), to the varying sounds of synthesized string orchestras, drum machines, grand pianos, lone trumpets, fuzzy guitars and the traditional live rock band. Tihista's vocals often recall the under-rated Stephen Duffy during his Lilac Time creative heyday; his arrangements clearly borrow from Brian Wilson (Wake Up Captain is, like Smile, a 17 track "song cycle,"); his eccentricity will appeal to fans of Badly Drawn Boy; and on the few occasions he perks up for a singalong (as on 'Good Wings'), it's with the commercial sensibility of (alcoholic) Harry Nilsson.
If you're wondering then why he isn't better know, it's because Tihista has chosen it that way. His label can barely get a photo out of him, and the stories they tell of his everyday actions suggest a personality perilously close to the idiot savant. This surely means he will never be a superstar. But given the suicide of critic's idol Elliott Smith, with whom Tihista has also born many comparisons, this may be just as well. We should be grateful he shares as much of himself as he does.
Wake Up Captain is sufficiently smooth and subtle that you may not initially recognize its greatness, but fortunately it's the kind of semi-acoustic, mid-tempo album that, when played in the background, you want to turn up for greater investigation. It's the type of album that improves almost exponentially with every listen. It's the type of album that will still sound superb in a dozen years. Just don't wait that long to make its acquaintance.
Highlight: 'Oh' and 'O.K.' appeal to the Lilac Time fan in me, and 'Ride' is a gorgeous ballad. But the centerpiece is surely 'Family Curse' a portrait of the artist as the silent young student. Arpeggiated strings act as a disconcertingly optimistic counterpart to the minor key verse, the fuzzed-up chorus and a backward-vocal fadeout. Tihista's tale of self-imposed isolation reaches a frightening climax in the third verse with a well-placed swearword. "I don't talk/Who cares/I don't fucking talk/But you know I love hard/I love harder than you."

BRIAN WILSON Presents SMILE (Nonesuch)

Those of us who are Beach Boys fans - but, crucially, not obsessives - are entitled to some confusion surrounding the legend of Smile. We hear the Beach Boys' Pet Sounds, we recognize its genius, then we hear The Beatles' Sgt. Pepper's, and we recognize the stratospheric difference; when we hear what The Beach Boys followed with, Smiley Smile, it's hard to understand how Brian Wilson ever thought he could rival match Lennon and McCartney's brilliance. Was the unreleased precursor to Smiley Smile – the infamous Smile – ever a serious challenger to the title of Sixties champion?
37 years later, we finally have our audio answer. Smile has been re-assembled just about as originally intended, performed live for a few months, and then recorded from scratch. And the result is, if not exactly worth the wait (what could be for those of us who live in the present?), then certainly worth its weight in gold. Unencumbered by the egos of his once fellow Beach Boys, Brian Wilson is now credited not only as songwriter and producer, but as singer too, and the angelic quality of his voice totally belies his 62 years (and belies, too, the mental health problems that rendered so many of those years redundant). Aided in no small part by the return of Van Dyke Parks as lyricist, and the continued contribution of his youthful musical director Darian Sahanaja from his touring band the Wondermints, Wilson's Smile manages to keep one musical foot in its 1967 origins while coming across as an entirely contemporary piece of work.
If the re-recorded finale of 'Good Vibrations' does not have the majesty (or, at this point, the sonic impact) of the original Beach Boys recording - but that's compensated for by the superior new version of 'Heroes And Villains.' In between these epics, 'Vega-Tables' no longer sounds as juvenile and 'Wind Chimes' not as fleeting as those previously released on Smiley Smile; 'Surf's Up,' meanwhile, is rescued from its dated inclusion at the end of the 1971 album of the same name to provide Smile's baroque ballad center-piece. Elsewhere, Wilson's vocal experiments transcend pop music into something closer to madrigals and hymns, while the symphonic arrangements lean closer to classical than they do to sixties (or indeed, noughties) rock.
David Leaf's sleeve notes are disappointing: an album of Smile's status deserved a truly reputable author. And here and there, Smile's musical and lyrical nursery rhymes suggest that the supposed superiority of the Sixties is often the result of a rose-tinted rear-view mirror. It doesn't top Sgt. Pepper's now, and it surely would not have done so back in 1967, either. But as a unique exercise in re-recording rock music's lost classic, Smile masterfully supplies the final piece to the decade's musical puzzle.
Highlight: Closing out the first part of this trilogy, 'Cabin Essence' mutates from a simplistic verse to a heavenly chorus, in a style so clearly belonging to The Beach Boys but – makes no bones about it – so much better executed. The middle eight, delivered in multi-harmonied waltz tempo, similarly harks back to Smile's origins in psychedelia, while suggesting a sound truly eternal.



No new post today. I know many people only check in every few days anyway. And I'm hoping that more of you may instead take an opportunity to respond to the Keep iJamming! Thriving campaign. In simple form, details are in yesterday's post, below. If you have time to meander around online, you can read more of the reasoning behind it here, here or here. Many thanks to those who've contributed. It means a lot - more than just monetarily. It encourages me to keep finding those extra hours to work on the site. Fresh reviews coming tomorrow.

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Wednesday is usually web friends day, when I link to other websites. Today I'm keeping the focus on iJamming! Mega major thanks to those who've responded to the Keep iJamming! Thriving campaign and thrown a few dollars into the pot. The response has been far greater than this time last year and it will help pay for the bandwidth and other hosting costs, and encourage me to keep investing time and money into the site. But only a small fraction of the thousands of readers have responded, not nearly enough for me to call an early halt to the fund-raising campaign.

The concept of web hosts ("bloggers" in some peoples' terminology) asking for contributions is a relatively new one, though I'm far from alone in my request. Certainly, nobody asked us to host these sites; it's entirely our own choice to put in so much time and energy. But that's the beauty of us: we are beholden to no-one – not to advertisers, publicists, editors, or lobbyists. We are the truly independent media of the 21st Century.

If we were to close down because we could no longer afford the backbone costs and the time, you would presumably find other sites to replace us. That's the nature of the free market. Or would you? If you come to iJamming! – or, indeed, any other non-commercial web site – on a regular basis for your news, opinions, reviews, interviews or discussion boards, please consider a small contribution just as you would to a good musician who plays for free and passes the hat later; as you would to a beloved building in need of upkeep; as you would a non-profit, listener/viewer-funded public radio or TV station on which you rely; or as you would to a shareware company that lets you use its software first and pay for it later. If you find you're spending less on print media because there's so much free information on the web, perhaps consider putting some of the money you save back into that new media. And especially, if you're frustrated that your usual media is controlled by a combination of its advertisers and its corporate owners, consider supporting those who stay independent.

It doesn't need to be iJamming! I thoroughly believe in non-commercial web sites as a vital new form of media, and would love to see others feel similarly appreciated so that they too continue putting in the hours to inform us all. Many sites now have a contribution button on their home page; all they ask from you is the impulse to take two minutes and donate. Here are iJamming!'s contribution buttons: you can click on either and Keep iJamming! Thriving.

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Thanks. The drive will continue through October.

One result of this site's relative success is the amount of e-mail coming my way. I can't reply to it all without sacrificing my paid work or time spent on the site. Unless what you need to say is intensely private, please post it in The Pub: you'll know it's been read and I'll be more inclined to reply. Thanks again.



I had fun playing the Atomique party last night at Eleven in Manhattan. Early night and a real interested crowd, almost all of whom seemed to have arrived with their own music or party passes in hand. Unlike Step On or many of the other parties I spin at, this one was not primarily about the dancefloor, and I got to play all manner of records that too frequently stay in the box. A quick run through of the more contemporary ones might give you an idea of what I'm listening to at the moment, alongside The October Hitlist posted below (for which I have more albums to add, when time allows):

Loaded Chalice – Nuffwish (White Label)
In A Submarine – Home Video (Warp)
Love Will Tear Us Apart – Worm Is Green (Arena Rock)
Atmosphere – Technova (Hydrogen Dukebox)
Tomorrow's Clowns – Uter (Oscarr)
Yoga Is Union – Ambulance Ltd (TVT)
The Football Factory Fight Scene – Chris Coco/Sascha (white label)
Legal High – The Mooney Suzuki (Columbia)
Feel The Pressure – The Charlatans (Universal)
Feelgood By Numbers – The Go! Team (Mephis-Industries)
Fields In Glass – The High Dials (Rainbow Quartz)
She's Lost Control – Agent Provocateur (Sanctuary)
Any Minute Now (Vote Whitey Mix) – Soulwax (PIAS)
The Devil – TV (White Label)
Party Crashers – Radio 4 (Astralwerks)
Pardon My Freedom/Hello? Is This Thing On - !!! (Touch & Go)
I Need Your Love (Manhead Dub) – The Rapture (Output/DFA)
Crazy Love (Rework mix) – Colder (Output)
I Can See Clearly Now (Tiga mix)– Seelenluft (featuring Jim Reid) (Klein)

Thanks to Audrey and Dennis (pictured here in the booth) from Melody Nelson for having me.



In pausing to assess this web site over the last couple of weeks – yes, I'm talking about the Keep iJamming! Thriving campaign, which will continue through October – I tried to think what made iJamming! unique. Truth be told, there are plenty other sites that post far more words – and possibly more words of wisdom– on such subjects as music, wine, media, and politics. There aren't many that do all of them, and I'm not sure I've seen another that spends so much time on the Anglo-American angle. If iJamming! has a niche, then, it may just come from my role as a Brit who's chosen to live in New York, USA, these last 17 years, but who retains a genuine fondness and fascination for their home country. If nothing else, the considerable British contribution to our Forum - The Pub – demonstrates that people seem to enjoy the trans-Atlantic conversation.

So it seems only right I comment on The Guardian's American election campaign. The G2 section of the paper decided last week that, as the American election affects the British public (the same way, to some extent, it affects the public around the world), the British public should have a say in the outcome. From a possibly altruistic perspective – though my instincts tell me it was probably more to do with some good old journalistic mischief – the paper encouraged readers to write to 'unregistered' voters in Clark County, Ohio, a key 'swing' county in a key 'swing' State. The editors left the content of those letters up to the readers, though it made no bones about which candidate they hoped these loyalists would encourage Americans to vote for.

Another G2 Coup: the Fuck Cilla Black cover

(The Guardian makes a crucial mistake today of referring to those voters as 'undecided.' Americans are asked to name their party affiliation when they register to vote, but many choose not to, as they consider it no-one else's business. That does not make them undecided, only non-committal.)

I read some of the replies before hitting the sack last night. Some seemed to be coming from American Guardian readers in Europe, some from American Guardian readers in Clark County or Ohio or elsewhere in the States (The Guardian is available in its entirety, online, for free, and read by many in America), and many seemed to be coming from the Far Right – the kind of Americans who would be highly unlikely to bookmark the Guardian's web site on any sort of daily basis.

Let's think about this. The paper only launched the campaign on Wednesday, and it plans to print the best of its own readers' letters this Wednesday, but as it asked those readers to send the letters by air mail, the vitriolic attacks could not have been the response of the actual "non-committal" voters who received them. Besides, they are "post-marked" (by e-mail) from all across the States. If they're not from the voters in Clark County, and they are not from your average Guardian reader, where do they come from? And what do they represent?

It didn't take long, back online this morning, to figure out a possible explanation. Other ways The Guardian suggested its readers 'Make Your Voice Heard' included tuning in to the Rush Limbaugh show online. This is tantamount to torture for anyone of even a slightly humanist nature, and I can only surmise that Limbaugh's vile on-air bile encouraged Guardian readers to jump into his show via e-mail and telephone. Did this, in turn, encourage the powerful radio host to launch a letter-writing campaign all of his own? How else to explain a number of so-called letters that include references to "bad teeth" and "tea-sipping"? How else to explain repeated references to the Revolutionary War and 1812? How else to explain the poor and bad language and the shouty capital letters? They're all an absolute trademark of Limbaugh listeners heeding their master's call.

There's a perfect irony about this (though it's hardly a poetic one): left-wing British newspaper asks its readers to write voters in America, and encourage those people to vote against the right-wing; right-wing radio host in America promptly encourages letter-writing campaign of his own, asking listeners to write the British newspaper and tell them to mind their own business.

I hope then that Guardian readers will be smart enough to realize that the most vitriolic and xenophobic responses are not those of the 'average American'... Even though The Guardian chooses to use one of these responses as its headline. ("Dear Limey Assholes": see what I mean by journalistic mischief?) There are many, other, well-reasoned responses from Americans scattered across the Globe – and several of them warn the paper, in polite language, that attempts to influence voters from outside the USA could well backfire. (That is, truly a tough call: a magnificently well-written letter to a truly undecided, open-minded voter may resonate sufficiently for them to vote Kerry. It may not. We may never know.)

My one complaint, and it's a serious one, is this: why can I not read, online, any confirmation or even an insinuation that the most negative of these letters are the result of a right-wing radio host's own letter-writing campaign? Is it because I'm wrong? If so, where did they come from? Certainly not thin air. Dear G2 Editors, in the name of a free press and an informed public, can you supply the answer? Maybe then, your British readers will understand that, while these responses reflect a point of view in America, they do not reflect the point of view. Thank you.

Americans, especially New Yorkers, know and love The Onion as a fake newspaper that skewers right- and left-wing American attitudes alike, with a sometimes wayward but frequently laser-like humor. This past week they magnificently blasted both Vice-Presidential Candidates: Dick Cheney, who "vows to attack America if John Kerry is elected," and John Edwards, for his vapid smarminess, in "You Want To See Some Goddamn Optimism?" In contrast to such satire, their A/V (Audio-Visual) Section is a real attempt to muscle in on the New York media's entertainment's guides, though it too is not without wit. Each week they ask a comic to 'Say Something Funny.' Paul Tompkins, currently performing in the UK, responds with some rather caustic comments about his current hosts.

American political satire on TV has reached a high point these last few years with Jon Stewart's Daily Show, to the point that Stewart's 'Indecision 04' lampooning of the election has become a must-watch for anyone who will be holding their noses when they vote in two weeks. Stewart, who formerly hosted a chat-show with MTV (presumably canceled for being both funny and intelligent), has risen this year to a point of influence far beyond his ratings. That's not just because it's funny, but because Stewart has become a champion for everyone who's pissed off with politics as usual and with the mainstream media's portrayal of such. Last week, Stewart went on CNN's Crossfire show and shocked his two hosts – left-wing Paul Begala, right-wing Tucker Carlson – by refusing to play the genial comic.

CARLSON: Wait. I thought you were going to be funny. Come on. Be funny.

STEWART: No. No. I'm not going to be your monkey.

(You can watch the whole clip here. You can also read the transcript here.)

Jon Stewart holds court with Paul Begala (left) and Tucker Carlson (right) on Crossfire, Friday October 15.

Apart from stooping to call Carlson a "dick" – a tempting observation of any 35-year old Republican in a bow tie – Stewart put in one of the strongest political performances of the year. Yes, we know that Stewart gave John Kerry an easy ride when hosting the Democratic Candidate the other week – though that didn't stop Kerry putting his foot in it anyway. But as Stewart points out, his show is on Comedy Central ("The show that leads into me is puppets making crank phone calls,"); Crossfire is on CNN, which once stood for the Cable News Network. Can Tucker Carlson spot the difference? And is it too late to nominate Stewart as our Write-In Candidate for President?

And to end on something almost completely different, I watched John Cleese's wine show on the Food Network last night. The one-hour show (minus commercials) claimed to be about removing the snobbery from the world of wine, to which extent it more or less succeeded. Which also translates as, I didn't learn much I didn't already know. (I'm such a snob!) Except for this: John Cleese, who always seemed to me the most English of comedians and actors, lives in California, around the Santa Ynez valley wine region. Damn expats: we're everywhere!

OCT 11-17: Fiery Furnaces, Green Day, Bowling For Soup, Paul Weller, The Go! Team, Fatboy Slim, New York Wines and Dines, Dick Is A Killer,
OCT 4-10: Best of Best Of New York, Keep iJamming! Thriving, WebFriends, October Hitlist
SEP 26-OCT 3: This Sporting Life Parts 1 & 2 (football and Olympics), Full Court Music Press, Rudi, The Clash, Apocalypse
SEP 19-25: The Zutons/Thrills live, Brian Clough RIP, Iraq, Hunting, Virgin Trains, Punk Voters, Step On Steps Down
SEP 17: The V Festival Review: Pixies, Charlatans, Scissor Sisters, Fountains Of Wayne. Basement Jaxx, Audio Bullys, Freestyler, The Killers, Pink - and camp cameraderie.
SEP 12-16: Johnny Ramone, Village Voice vs. New York Press, Love Parades
SEP 11: Absolute Affirmation: A New York Hitlist.
SEP 3-10: The Futureheads live, The Good News, Step Off, No Sleep Till Brooklyn
AUG 23-SEP 2: No postings: On summer holiday.
AUG 16-22: 33 Notes on 45 Bands: Little Steven's International Underground Garage Festival
AUG 9-15: Step On, The Summer Hitlist
AUG 2-8: Crystal Palace are shirt, Crazy Legs are back, The British are Rapping, Losers Lounge, Step On
JULY 26-AUG 1: Farewell to Orbital, the Nike RunHitWonder, Pere Ubu in the Park, Devo, Dave Wakeling, Berger & Wyse
JULY 19-25: Live reviews: Mission Of Burma/Electric Six/The Fever/Van Hunt/Brazilian Girls/Apollo Heights/L Maestro; Crime Watch, Book Watch, TV Watch, Booze Watch
JULY 12-18: Jeff Mills' Exhibitionist DVD review, Midweek W(h)ines, Los Pleneros de la 21/Kékélé live, The Homosexuals,
JULY 5-11: Nick Hornby's Songbook
JUNE 28-JULY 4: The Streets/Dizzee Rascal/I Am X/Funkstorung live, Wine, Football and festivals,
JUNE 21-27: Lollapalooza, Morrissey, Deadwood, London Calling, Stone Roses, Euro 2004,
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,


iJamming! Site Copyright Tony Fletcher 2004

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A report from THE V FESTIVAL, Stafford, England, Aug 21-23

Leitz 'Dragonstone' Riesling, Rüdesheim, Rheingau, Germany, 2003

(10 new Albums)

Rhône, France

More culture than makes sense

From the Jamming! Archives



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.

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.