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Ever since reading Iain Banks' rock'n'roll novel Espedair Street, I've been aware that in this gun-hungry country (or indeed, any other) a music fan with a grudge could shoot down a celebrated rock star – and not just in an encounter on the street, as per Mark Chapman and John Lennon, but from the audience. Wednesday night, precisely twenty-four years after the former Beatle was murdered outside the Dakota in New York City – and was that merely coincidence? – Damageplan guitarist Darrell Abbott was shot dead onstage at a gig in Columbus, Ohio.

The attacker, Nathan Gale, was himself shot dead by a policeman several minutes later, by which time Gale had also gunned down two 20-something fans and a 40-year old club employee. No, it's not as high a death toll as the fire at the Great White show in February 2003, but in many ways it's more horrific. According to a report in the NY Times, "As Mr. Gale, 25, began to shoot Darrell Abbott…he yelled angrily about the breakup of Mr. Abbott's previous band, Pantera."

Granted, he may not have been iJamming! material, but Darrell Abbott was still just a musician trying to make the most of his talents. He was shot dead on stage by a disgruntled former Pantera fan Wednesday night.

We all get a little upset when our favorite bands call it a day, but tracking down a former member to a club show four years later so as to shoot them dead seems a little extreme, does it not? And though we can afford some black humor and think of all the groups that will take this incident as an excuse to stay together when they've stopped doing it for anything but the money, it's going to provoke a lot of bands to add a lot of new clauses to their contracts regarding their security.

I don't know that such incidents can ever be fully prevented; a film-maker was viciously murdered in Holland by a Muslim militant a few weeks back. But let's just hope that this incident is a one-off. And next time you have to go through a metal detector or a pat-down at a gig, just remember why.

God knows what it is about Ohio. The State was also home to the stampede at The Who's Cincinnati concert back in 1979, in which 11 people were crushed to death.

Ohio was also, of course, the battleground state in this year's election. John Kerry conceded the Presidential Race on November 3, the day after Polls closed, before the State's votes had been fully counted, and even as many discrepancies and concerns were being reported. To some extent, I understand Kerry's haste: Bush appeared to have won the national vote by some 3,500,000, and if Democrats truly believed, as they stated they did after 2000, that the Candidate with the most votes should become the President, then dragging out the Ohio count for weeks would not alter the perception that Bush was truly (though regrettably) the more popular candidate. All it would serve would be to further widen the national divide.

Still, earlier this week, Ohio's Secretary of State, Kenneth Blackwell, a staunch Republican, officially certified the vote count – and it showed that President Bush won that swing state by roughly 119,000 votes, some 18,000 less than had been previously claimed.

That, you might think, is that. But if you take a look at this letter, addressed by four Democratic Congressmen to Blackwell and made public to the press, you will see SO MANY discrepancies and irregularities that you may be left wondering whether the official certification truly represents the Peoples' Will. And then you might ask yourself whether, if other States were similarly suspect, that 3,500,000 margin is itself accurate. Will we ever know? Not if we don't keep asking questions, that's for sure.

Jeff Smith was kind enough to bring me some British music papers for me when he came over to DJ at Step On last week. (Not that we can't get them here, but they always seem like an expensive luxury by the time they've been marked up.) I'm intrigued by the NME's Cool List CD, featuring 15 mostly new and up-coming acts, especially so by Kaiser Chiefs, The Rakes and Art Brut, none of whom I'd heard before. The latter act's 'Bad Weekend' is especially interesting, throwing its Cool List cachet ight back at the weekly newspaper with the line "I haven't read the NME in so long, don't know what genre we belong…"

Dig the Kasabian album for its music, not for stating "the truth "obvious.

I love the Kasabian album, which is to first-time Baggy fans what The Futureheads album is to the original new wavers – déjà vu all over again. But you've got to wonder where their heads are at that they manage to spout the following in their NME cover story:

"…What we're saying is the truth," says Tom. "No-one's said it, and we're saying it. It's quite deadly. No-one's done it."
Which lyrics are the deadly ones, exactly? [asks The NME's Mark Beaumont.]
"Y'know, 'terrorist on a day of rest.' You've got to have balls to say that. A lot of balls."
But what are you actually saying?
"We're saying that there are people out there that wanna blow up the world, man. That's it."

Um, that's it? From here on in, I'll just focus on the Kasabian's tunes…

The back of the NME carries ads for the following tours: The Rezillos, Pop Will Eat Itself, Violent Femmes, The Undertones, and The Wedding Present. What year is it, again. (Though for this fan, it would be wonderful to see The Rezillos and Undertones share the bill again, as they did back in 1978.)

Some news about those still making new music. Underworld have announced that they'll be doing "a live broadcast" from the lemonworld studios on their dirty radio station at www.dirty.org, next Tuesday Dec 14 at 6pm GMT (1pm EST). I'm assuming "a live broadcast" means live a Underworld gig, as per Orbital's farewell gig via the Peel show. (To which, now, sadly, it's RIP Peel AND RIP Orbital.) (Read the iJamming! Underworld interview here.)

And Ian Brown has just announced his first New York gig for over five years: it's at Webster Hall, Feb 26 next year – the same week his new album Solarized is released here, conveniently enough. Coincidentally, Webster Hall was where Brown's old band The Stone Roses played their one-and-only New York shows, after the release of Second Coming. They were absolutely bog-awful that night, stunningly disappointing. It was obviously all over bar the shouting at each other. Brown solo can only be a step up.



The fun part of Grammy Nomination day is receiving the instant press releases from the industry publicists. While Kanye West is the man of the Mo for his debut The College Dropout (which seems to be topping almost every 2004 List I've come across in the States), I was surprised how rapidly I received e-mails alerting me to Grammy Nominations for many of the acts we write about here. And then I saw that, at least seven years too late (hey, it's the Grammys!), there is now a Best Electronic/Dance Album award to accompany the ongoing one for Best Dance Recording.

The first nominees for this new Award certainly read like a Who's Who of the Genre – albeit one that peaked a few years back. Any which way, congratulations to The Prodigy, Basement Jaxx, Paul Van Dyk, Paul Oakenfold and The Crystal Method for being nominated in this belated category. Likewise, respect to the aforementioned Jaxx, The Chemical Brothers and The Scissor Sisters for making it into the Best Dance Recording category. Will any of these three beat out Kylie Minogue and Britney Spears? Do we really care? I do. I'm particularly pleased to see one of my closest friends, Neil Harris, receive a Grammy Nomination as one of the 'Mixers' for The Scissor Sisters (whom he also manages). We'll all agree to overlook the fact that the song in question, a cover of Pink Floyd's 'Comfortably Numb' was first released several years ago. Hey, it's the Grammys. Or did we already say that?

Kish Kash by Basement Jaxx. Nominated for Electronic/Dance Album of The Year. Reviewed at iJamming! here last year.

American Idiot by Green Day. Nominated for Album of The Year. Reviewed at iJamming! here.

Brian Wilson presents Smile. Nominated for Best Vocal Album. Reviewed at iJamming! here.

The third category to cover the dance scene is that for Best Remixed Recording, and it certainly reflects the incestuous nature of the genre. Felix da Housecat gets a nomination for remixing 'Motor Inn' by Iggy Pop with Peaches, while Sasha gets one for remixing Felix Da Housecat's own 'Watching Cars Go By.' The Basement Jaxx get a third nomination (kudos) for remixing 'She Wants To Move' by N.E.R.D.; and Jacques Le Cont gets a nod for messing with No Doubt's 'It's My Life.' As they say in this part of the biz, it's good work if you can get it.

The mainstream nominations are typically mainstream, but all the same, it's good to see Green Day, The Killers, and Franz Ferdinand up there in certain categories to compete with the Ushers and Alicia Keys (and indeed, the U2s and Elvis Costellos) of this world. It's pleasing that two of our deceased heroes, Johnny Cash and Joe Strummer, are nominated together for their version of Bob Marley's 'Redemption Song.' And I particularly look forward to seeing who wins Best Solo Rock Vocal Performance: Bruce Springsteen, Tom Waits and Steve Earle join Bryan Adams and the lone female, Melissa Etheridge, in a category that shows some political leanings. For while Waits is nominated not for 'Sins Of The Father' but the less controversial 'Metropolitan Glide,' Springsteen gets the nod for 'Code of Silence,' and Steve Earle for the title track of his album 'The Revolution Starts Here.' Well, the revolution will never likely start at the Grammys, but we appreciate the thought.

OK. So The Grammys suck a big one and besides, we the record-buying public don't get to vote. So head on over to the website for the Plug Independent Music Awards. They're supposedly nominated by a "collection of music lovers – writers, DJs, webmasters etc." Despite the fact that I fall into all those categories and nobody asked me my opinion, I'll only pretend to be insulted and point out that the nominees reflect closely the "independent" element of my music tastes – and presumably some of yours. You can vote for !!!, Tom Waits or Ted Leo for Album Of The Year; TV On The Radio and Dizzee Rascal for Artist Of The Year; and The Futureheads and Bloc Party for New Artist of The Year. What are you waiting for?

Desperate Youth, Blood Thirsty Babes by TV On The Radio. Nominated for Plug's Album of The Year. Reviewed at iJamming! here.

Louden Up Now by !!!. Nominated for Plug's Album of The Year. Reviewed at iJamming! here.

Real Gone by Tom Waits. Nominated for Plug's Album Of The Year. Reviewed at iJamming! here.

Oh, and when it comes to Electronic/Dance Album Of The Year, a category worded precisely as the new one in the Grammys, Plug flatly refuses to honor the old guard. The nominees, instead, are Colder, Cut Copy, Kid606, M83, Miss Kittin, Mouse On Mars, and Ulrich Schnauss. If anyone has heard all these albums, they’re a more fanatic music lover even than myself. And they should let us know which they think to be truly the most innovative and exciting.

A reminder: I'll be at Southpaw tomorrow night (Friday) spinning for Radio 4. I'm armed with all manner of new music, including as-yet-unreleased albums by Chemical Brothers and LCD Soundsystem, a number of crossover records I didn't get a chance to play at Step On last week (I'm looking forward to airing such diverse talents as Ted Leo, Kasabian, Ian Brown and Head Automatica) and the spanking brand new remix of Radio 4's own 'Nation' by none other Lee 'Scratch' Perry. I'll probably play that one after The Occasion leave the stage and prior to Radio 4's own set- meaning somewhere around 10.30pm. After Radio 4, I'll be playing a second set, very much aimed for the dance floor. Looking forward to it.



"In the world of rock music, Pete Townshend is an anomaly, because he is an intellectual. And rock prides itself on being dumb. But he's found a way to work in this game and to do it as an artist… He single-handedly raised the bar in what was considered a dumb teenage fashion trend."

For a Q magazine Special Edition on Icons, just published, I was commissioned to write profiles on Pete Townshend and Joe Strummer. To distinguish these pieces from the dozens of other similar features already out there, I was asked to interview musicians who were either similarly minded to or clearly influenced by my subjects. For the piece on Pete, I talked to Matt Friedberger of The Fiery Furnaces and Wayne Kramer of The MC5. Kramer proved particularly eloquent, and I'm happy to reprint our phone conversation in near enough its entirety. You can read the interview in the iJamming! Music Section here.



Saturday was cinema day. At mid-day, all bleary-eyed from Step On, I took Campbell to The SpongeBob Squarepants Movie. We'd been feeding our anticipation for some weeks thanks to the soundtrack (more of which in a minute), and during the film itself, we fed ourselves on the remains of his Halloween 'candy', reveling in the joy of a chocolate-coated Saturday matinee.

We hardly needed the sugar rush. The SpongeBob Squarepants Movie is a riotous and colorful celebration of all things juvenile and several things adult, too. What unifies these age groups is primarily gender – by which I mean that this is a classic buddy/road movie, and therefore of appeal primarily to the male of the species. Girls were thin on the ground.

Simple synopsis: our porous, yellow, absorbent hero SpongeBob and his lovably dopey star-fish friend Patrick venture from Bikini Bottom to Shell City to recover the crown of King Neptune and save SpongeBob's boss, Mr. Crabs, falsely accused of its theft and subsequent sale, from execution. Along the way, they get drunk on ice cream, have battles with bikers, fall for Neptune's daughter Princess Mindy and, inevitably, after departing as mere kids, return as something approaching grown men. As befits all the best kid movies, many of the jokes appeal subtly to grown-ups, especially the pair's bender in the ice cream parlor and their subsequent hangover. Though I'm not sure that the legion of adult-but-childless SpongeBob fans will fell comfortable attending solo, I'm certain that they'll be fully satisfied if they can borrow someone else's kid to laugh (and lunch) along with.

One of my neighborhood dad friends subsequently told me his Sociology teacher frowned on The SpongeBob Squarepants Movie as a glorified ad for the fast food burger industry. (This view had apparently been aired as comparison to the more subtle, adult morals of The Incredibles, which I have not seen.) I won't go near a McDonalds and would surely not love a Crabby Patty either, but I think the Sociology Professor may have been reacting just a little too, well, professorially. If there was any fast food subliminal messaging, it was merely as the audio-visual equivalent of a Saturday morning sugared-cereal feast. Note to self: skip the chocolate next time.

The SpongeBob Squarepants Movie Soundtrack: One of the most enjoyable soundtracks of the season, with some of the most exlusive recordings. Order it here.

But back to the soundtrack which, like the movie, serves to satisfy both the hipster parents and their hyper children. The former set will be enamored by exclusive tracks from The Flaming Lips ('SpongeBob & Patrick Confront The Psychic Wall of Energy'), Wilco ('Just A Kid'), and The Shins ('They'll Soon Discover'), along with my own favorite, Ween's seven year old Roxy Music-like 'Ocean Man.' The kids will fall for the series of perfect pop pastiches – though these are also of appeal to the adult musical trainspotter. SpongeBob's solo effort 'The Best Day Ever,' for example, is equal parts The Monkees and The Beach Boys, while Patrick's lead turn 'Under My Rock' would surely pass the Little Steven Garage Band seal of approval. (Both songs were co-written by Andy Paley, whose credentials include producing for Brian Wilson and playing guitar with Jonathan Richman.)

'Now That We're Men' is written in a male chorus style such as frequently practiced by Monty Python over the years and 'Goofy Goober Rock' is a cover of The Tubes' "I Wanna Rock" with even more juvenile lyrics than Dee Snider's original. Watching SpongeBob zap robots with his guitar solo while Patrick prances around in fishnet tights during this climactic song is one of the film's undisputed highlights.

Did I miss anything? Well, there's also Prince Paul and friends doing 'Prince Paul's Bubble Party,' Motorhead's exclusive biker bar anthem 'You Better Swim,' B-52's impersonators Electrocute with 'Bikini Bottom,' and the purposefully trashy minute-long sixties go-go dancer's delight 'The Jellyfish Song By the Jellyfish Band.' In other words, name a genre of rock, and chances are the soundtrack has it covered. As per the movie, it's best enjoyed in small doses – and with a SpongeBob fan on hand.


Saturday night, Posie and I ended our long and awful week by going to a comedy of an entirely different bent: Sideways. For a certain sub-set of society of which I consider myself a fully paid-up member, Sideways has been anticipated with almost as much fervor as the second and third parts of The Lord Of The Rings trilogy. Yes, Sideways is a wine movie and proud of it.

Sideways stars Paul Giamatti as failed novelist, two-year divorced, self-loathing misanthrope Miles Raymond, who takes his college buddy, the self-absorbed former soap opera star and now generic voice-over actor Jack (Thomas Hayden Church) on a week-long trip through Southern California wine country, prior to serving as Jack's Best Man the following Saturday. Along the way, Miles hopes to educate Jack about the one thing that still turns him on: wine. Jack, however, is primarily determined to get laid as often as possible before supposedly getting married.

The movie truly gets going when Jack hones in on sexy Asian wine-pourer Stephanie (Sandra Oh) and arranges a double date with Maya (Virginia Madsen), a waitress and wine geek whom Miles clearly has the hots for. It's testament either to the film-makers Alexander Payne and Jim Taylor, or original novelist Rex Pickett, that while both Miles and Jack are, in their distinctly different ways, prize pricks each, we find ourselves rooting for them regardless. (At least, we men do. I'm not so sure about the women!)

Miles teaches Jack how to sniff and swirl in Sideways

Along their journey through the Santa Barbara and Santa Ynez Valleys, Sideways displays, discusses, deifies, debates and even occasionally disses wine with as much attention to detail as did 24 Hour Party People focus on music. Even if you don't fall in love with the vineyards (including Sanford, Foxen and Kalyra), fail to recognize any of the bottles that pass across dinner tables and living rooms (among them Kistler and Andrew Murray), you'd have to have a heart of stone not to appreciate Miles' rhapsodic ode to the Pinot Noir grape and Maya's subsequent soliloquy to wine as a living, breathing thing.

Reviews of Sideways have been almost uniformly generous, but it's interesting that Giamatti's character Miles has often been referred to as a 'snob' and 'elitist.' We wine geeks prefer the word geek. One of the most hilarious moments in is when Jack lays out the conditions of their double-date dinner, stressing that "If they want to drink Merlot, we'll drink Merlot," to which Miles turns and starts walking. "No way. No fucking Merlot." At least half our Brooklyn audience collapsed in knowing hysterics.

But while Brooklyn obviously has it share of oenophiles, it's got an even larger fill of novelists, which is why the biggest laughs of the night were reserved for when the ever-optimistic Jack tries to encourage the permanently depressed Miles by suggesting he self-publish his novel. "Get it reviewed. Get it in libraries," Jack states, believing, in his superbly superficial manner, that it's merely that simple.

For all its focus on the apparently mature subject matter of wine and writing, Sideways is NOT some sappy Merchant-Ivory romance; it's got enough full-frontal tits, ass, dicks and course language to rival the best of them. Imagine the aforementioned 24 Hour Party People's ecstasy obsession switched for wine consumption and you may have a sense of its appeal.

What weed goes with this wine? The Sideways quartet get stoned to good stuff.

Sideways is an independent movie, and was therefore originally confined to major markets like New York and Los Angeles. For some reason, New York only meant Manhattan, and as we have so many fine cinemas here in Brooklyn, I played patient until it finally crossed the water this past weekend. My screen of choice was always the cinemas within the Brooklyn Academy Of Music but the timing seemed off, so we tried for the 8pm showing in Cobble Hill. There was already a queue snaking round the corner, and by the time we got tickets, the movie had started and we were stuck in the front row; we managed to snag a refund and decided on the later screening at BAM Rose, after all.

With an hour now to kill, I finally got to check out the Fort Greene wine bar, Stonehome, on Lafayette Street just up the road from BAM. This tastefully designed year-old basement bar serves 140 bottles from all over the globe, an equally impressive 30 by the glass, offers eleven different flights (i.e. three 2-oz pours of complementary – not complimentary - wines) and serves many different cheeses. I prepared for Sideways in suitable style, with a Domaine Alfred Chamisal Vineyard Pinot Noir 2001 from the Edna Valley, which is just up the coast from the movie's Santa Ynez locale. (You can download a map of Sideways' wine route frm the movie's web site, here; I wouldn't recommend doing so until you've already seen the movie.) Credit Stonehome not only for serving this in an appropriate Burgundy glass, but for charging just $9 for a large pour of a wine that retails, where you can find it, for $30 a bottle. Most bars in New York readily relieve me of $7-$8 for a wine that rarely costs them that much for the bottle.

I can't really review the wine here and do it justice after i. I will simply say it was more powerful and less delicate than the Babcock of which I've recently enthused, but an artisanal Pinot Noir all the same. I will add that Stonehome is in for a repeat visit some time very soon. And I'll stress that Sideways is a wonderful comedy, a marvelous date movie – and the biggest thing to happen to wine in the cinema since The Grapes Of Wrath.



There were moments on Friday night when I joined others at Step On in questioning why we've decided to close down such a great party. Then again, struggling through Saturday on three hours sleep reminded me that it's not easy running these nights when you're forty and the father of a boisterous nine-year old. It wouldn't get any easier next month with a baby competing for late-night attention. Besides, I always like the idea of quitting while on top.

And Step On at The Royale often felt like the toppest monthly party in the City. We've had some brilliant memories, of which this last Friday's will surely rank among the best. Jeff Smith came in from Manchester itself to beat-mix – off CDs, no less - the usual baggy suspects along with some of the less obvious ones like Black Grape, Mock Turtles and Pete Shelley; he also had up-to-date mixes by Kasabian, The Killers, and Franz Ferdinand. A DJ who plans ahead, Jeff brought his own dancers with him – including girlfriend Emma, celebrating her 30th birthday that night, her "Uncle Jamie" and his partner John, all of whom I met at The V Festival this past summer and all of whom I hope to know for a long, long time.

Jeff Smith twists our Melons (man!)

Desko 2000 rolls out the (Inspiral) Carpet for us....

Dan Selzer stopped by to play the likes of Medium Medium and Bow Wow Wow alongside Factory stalwarts A Certain Ration and Joy Division. Desko 2000 opened up the night with a fine collection of low-tempo baggy hits – including an Inspiral Carpets Peel session complete with the dulcet tones of the much-missed Peelie himself – and Posie played a short set, largely in memory of her brother, which included 'Love Is Stronger Than Death' and 'Uncertain Smile' by The The as well as two cuts from the new Ian Brown album, Solarized. For my own part, I remembered to play new(ish) tracks by Tim Booth, The Chemical Brothers, The Go! Team, and The Futureheads alongside the anticipated anthems, which as well as all your usual Baggy Bands included a floor-lifting mix of 'Rez' and 'Cowgirl' by Underworld, 'Adrenalin' by N-Joi and the all-time German acid classic, 'Acperience' by Hardfloor.

I had less time on the decks than usual at Step On - which gave me time to talk with the regulars for once. I initially had trepidation about ever doing this party because I know that many friends my own age (especially the parents) simply can't come out and party like they used to. The most satisfying aspect about Step On then has been in watching people come down and build the night of their own accord – and getting to know them as friends along the way. Some of you are regulars to the iJamming! Pub; others probably don't even know this site exists. All of you made Step On worthwhile. Eternal thanks.

...Mancs in the House: Emma & her Uncle Jamie, whom I met at The V Festival flew in for the party...

...This Mancunian couple were in NY on holiday and came to Brooklyn for coals from Newcastle, to (beat) mix a metaphor...

Our decision to raffle off some posters proved more popular – and controversial – than I had expected. Two winners drawn at random just after midnight had to fight off the bar's owners for choice of souvenir, after which I was frequently accosted by people asking when we'd raffle off the others. We'd actually planned on taking them home with us, but I kept having vision of Tony Wilson in 24 Hr Party People telling everyone at The Hacienda's last night to empty the club of everything. We did another raffle at about 2.30 in the morning, and when a dozen tickets pulled out the hat failed to find an owner (people do go home occasionally), some bright spark decided we should give a poster to "the last person dancing." Perfect: it kept the floor until it became obvious that one couple would outlast all the others. Only at four in the morning did I find out they weren't actually a couple, but only dancing so intently together because they each wanted to be the last one standing. They each left with a Stone Roses poster – and may have even left together. Somewhere in the midst of all this, a couple of fools who'd obviously had too much to drink and were disappointed not to have won anything decided to try and make off with the super-size Stone Roses poster; fortunately, I was standing right by the bar as they did so, and got it back from them outside The Royale without a struggle. Silly boys.

Stepping On: The dance floor shows no sign of decline at 3am...

Stepping Down: The last couple on the floor, determined to (each) win a poster.

Last two songs of the night seemed perfectly appropriate to the spirit of the occasion: 'This Is The One' by The Stone Roses and 'Hallelujah' by Happy Mondays. Step On has stepped down. Those who were worried I might be doing the same thing need not fret. I'll be spinning with Radio 4 at Southpaw next Friday, December 10. It's their last gig of the year and probably mine as well. Hope to see some of you down there.

NOV 29-DEC 5: Leonard Cohen/John Cale/Tom Waits album reviews, Dear John, 2004: Tops or Turkey?
NOV 22-28: Nick Cave album review, U2 in Brooklyn, Thanksgiving Wine Reviews
NOV 15-21: Album reviews of Freq Nasty, DFA, The Scumfrog, Plus Gentrified Brooklyn, post-Marathon work-outs, First Gigs....
NOV 8-14: Post-Marathon Musings, Post Election Stress, Songs of Hate,
NOV 1-7: The Futureheads live, The Election, Bono Vox, Step On, The Marathon,
OCT 25-31: John Peel tribute, Park Slope update, Expat Commentators for Kerry, The Libertines/Golden Republic/Sondre Lerche/VHS Or Beta/Concretes live
OCT 18-24: R.E.M., Kevin Tihista, Brian Wilson, Atomique. Anglo-American Angle, Jon Stewart,
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,


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Wayne Kramer on Pete Townshend

Six all-Americans for the Season

JOHN PEEL: A Tribute

Fiery Furnaces, Green Day, Bowling For Soup, Paul Weller, The Go! Team, Fatboy Slim, R.E.M., Kevin Tihista, Brian Wilson

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.

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