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Sat, Oct 5, 2002 4:34 pm)
A Decade In Dance
10 Years (Apiece)
The October Hitlist
30 Albums 10 Songs
The whole Bloody 1990s cataloge
The Last Great Mix CD?
2 Many DJ's As Heard On Radio Soulwax Pt. 2.
Last of The Summer Rosês: Goats Do Roam, Vin Gris de Cigare and Rose of Virginia.
10 Reasons To Fear The Worst
From the Jamming! Archives:
interviewed in 1978
"A number one single would be a bit scary."
New York's rock'n'roll rescuers play Lowlife - loudly
Local legends and international influence come home to party
28 Albums Rocking Our World
The Who at Madison Square Garden
A wash-out
The Movie
The Party
Cedell Davis, Tuatara, and The Minus 5 atthe Knitting Factory
Still 'A Man And A Half'
30 Albums, 5 Songs, 5 books and a handful of movies
An obituary by Chris Charlesworth
Back On The (Flying Saucer) Attack
The iJAMMING! interview
Why I re-wrote the book: The introduction to the new edition of my R.E.M. biography.
30 Albums, 10 Songs, 5 books and a handful of movies.
Eight Days in A Week's Music:
Ed Harcourt, Vines, Candy Butchers, Timo Maas, Ashley Casselle & Adam Freeland, Aerial Love Feed, and enough little club nights to shake several sticks at.
Tony's (lengthy) trip down nostalgia lane from his visit home at the end of April. Stop-offs include Death Disco, old Jamming! Magazines, life-long friendships, road trips to Brighton, Damilola Taylor and political frustration, Morrissey-Marr, Zeitgeist, Oasis, Dexys, Primal Scream, the current British music scene and more.
The iJamming! interview:
"'Acid Trax' by Phuture came out and I was just 'Okay, forget all hip hop and all old school rare groove right here, this is it.'"
hostess 'Lee Patrick' recalls her time as Keith Moon's amour
An intrigue of early 90s New York nightlife.
NEW CHAPTER now online
From the Jamming! Archives:
U2 interviewed in 1984.
"It's not U2 that's creating this great art. . .There's something that works through us to create in this way."
iJamming! Wino/Muso:
"New world wines are just too techno for me."
"I don't think people realize that life can become so exciting and interesting that it can draw you away for long periods of time from creating music - & why not?"
From the Keith Moon archives:
the JEFF BECK interview .
The iJAMMING! chat:

"If I was asked why Sniffin' Glue was so important, it was the way we conducted ourselves, the style of it, just the attitude. It had attitude in abundance didn't it?"
Forgotten Classics:
THE CHILLS: Brave Words
From the JAMMING! archives: PAUL WELLER ON POP
Featured wine region 2:
Fran Healy explains why "you cannot own a song." (And why Liam Gallagher "is going to turn into a really great songwriter.")
Featured Artist Web Site:
From the JAMMING! archives: The Story That Spawned Creation
The iJAMMING! interview:
"Once you've had your go, what-ever it may be, they want you to piss off, and they can't bear it if you come back, they can't bear it."
The full iJamming! Contents
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. . .But I can't not comment on this. Last week's Village Voice, its September 11 anniversary issue, featured as its front cover a drawing of a weeping George Washington and the headline 'America's Vanishing Liberties'. Let's leave aside for a moment that the inside story (titled 'Things We Lost In The Fire', though human lives and property went unmentioned) was essentially a provocative rehash of various 'worst case scenarios', which only in its final section actually admitted how American courts are currently insisting on precisely the 'checks and balances' that the rest of the feature insisted had already 'kick(ed) over'. Let's also leave aside the fact if free speech were being 'flouted' to the extent that the Voice insists (and to the extent that is all too common in middle-eastern dictatorships), the paper would never have been able to run its story in the first place. Let's take seriously, though perhaps in a less hyperbolic manner, the claim from an Arab leader in Brooklyn that "it’s like a third world country here" for the fact that illegal immigrants were indeed detained after September 11, and some deported. (But let’s not forget that Arab-Americans organized their own commemorative marches this September 11 in Brooklyn to again demonstrate their support for their home country, to again disassociate themselves from terrorism conducted in the name of their religion, and that such marches were supported by their neighbors and went off peacefully. Let's also not forget the Americans of all creeds and colors who have campaigned for full disclosure of those arrested and detained.) And finally, let's certainly allow that the few, well-publicized instances of what Voice writer Alisa Solomon calls "outlandish cases of repression and neighborly ratting" - i.e. wasted FBI time following up on erroneous rumors of potential terrorists in our midst - reveal a chilling reminder of what life must be like in too many other countries.

On that last note, let's move on to this week's Village Voice. The cover story is entitled 'I Thought My Driver Was A Terrorist – So I Called The FBI,' in which Voice writer Sarah Goodyear reports on how, in the wake of the September 11 attacks, she anonymously shopped an Egyptian livery car driver to the Feds for comments he made to her a couple of months before that horrible day. Wait a minute; a Village Voice reporter called in the Feds? Anonymously? And the previous week's paper had taken considerable amounts of its First Anniversary special to decry the FBI's increased powers of surveillance, to denounce the INS's racial stereotyping, and to ridicule those "outlandish cases of repression and neighborly ratting" in which innocent citizens had found the Feds knocking on their door for remarks they'd made at the gym or the pub? (Or, presumably, in the cab?) The irony is too magnificent.

And while we're talking of the pot calling the kettle black, so to speak, the Voice cover drawing shows a turbaned Bin Laden lookalike in a licenced NYC taxi with the meter running - not the "tight curls" of the driver from the Brooklyn livery cab (i.e. town car) such as she actually reported to the FBI. Though far be it from the Voice to engage in racial stereotyping.

(The picture to the left substitutes the word 'Cabbie' for what the print edition calls 'Driver.' I'd be interested to know why.)

Perhaps the last words here should go to the cab driver himself, Ameen (obviously not his real name), who agreed to meet with Sarah Goodyear a year later to tell his account and provide her with quotes for her cover copy, all without any apparent animosity towards his informant.

"Ameen told me the FBI had contacted him first when he was still in Egypt, a few days after September 11," writes Goodyear. "He said they told him they wanted to question him and he told them it would be no problem. Agents met him at JFK when he returned to the United States and subjected him to a lengthy interrogation; he was angered by their suspicions, but claimed he never worried that he would be held for something he hadn't done. He was a legal immigrant with a green card. He trusted the United States system to protect him. He seemed to have much more faith in that system than I did."

(Though of course Goodyear had enough faith in the system to shop her cab driver to the FBI in the first place – without even giving her name.)

Before I left, I asked him one last thing. "Are you mad at me for calling the FBI?"

"Mad? No, not at all," he said, looking at me sideways, a half-smile on his face. "Why should I be mad? I'm clean. If I wasn't clean, then I would be mad."

There are several lessons here that put the hysteria of the previous week's cover story in perspective. I trust the Voice editors don't need them spelled out. (And if they do, maybe they should just stick to cartoons - assuming they're always as good as Ward Sutton's Visitors.)



Finally got my copy of Steve Earle's much-discussed new album Jerusalem - and I'm going to listen several times before I add anything to the debate. In the meantime, I wouldn't mind pointing you to three different online articles about Earle and the overtly political Jerusalem, just to show how widely peoples' responses can vary. In the British newspaper the Independent, Andy Gill interjects Earle's honest and balanced interview thoughts with lazy anti-American potshots that only betray his own ignorance. (Does Gill know the first thing about John Walker's ongoing court case?) In the American online magazine Slate, Josh Daniel takes offence not with 'John Walker's Blues' but with Jerusalem's opening cut 'Ashes To Ashes'; he ultimately concludes, at his most complimentary, that Earle's head is "muddled." And over at Rolling, Anthony de Curtis takes a more sober look at the media's response to Jerusalem as compared to Bruce Springsteen's The Rising, and notes how the latter's song 'Paradise' takes much the same stance as 'John Walker's Blues' and got away with it. Springsteen's triumph, though, the first thing I noted about the Rising, is that he doesn't name names, not even dates or places: his songs, though influenced by September 11, are intended to be universal and to be listened to over the long haul. Earle is deliberately and unapologetically specific, and for that reason must be willing to bear closer scrutiny. He clearly welcomes the attention, and I'm happy to listen to what he has to say - and sing. I'm just trusting that the music matches the intensity of his lyrics.



Two of the greatest British mod bands of the sixties played American clubs last night. And no, one of them was not the Rolling Stones. The Who played the House of Blues in Chicago, and The Creation played Southpaw in Brooklyn.

The Creation comes to Brooklyn, Monday September 23

For all their enormous differences in fame and fortune, The Who and The Creation have much more in common than last night's small venues. Both groups made enormous and lasting impressions with their first singles. Both groups were instrumental in the musical adoption and adaptation of the term 'pop art,' each act decorating their clothes accordingly, one band choosing to smash its equipment on stage, the other spray-painting across canvas during its shows. Both groups were led from the front by revolutionary guitarists, one of whom pioneered the windmill chord, the other who invented the 'violin bow' technique of playing the instrument. Both groups have seen their drummer and bassist pass away in recent years, leaving just the aforementioned guitarist and vocalist as founding members, accompanied these days by younger, hired rhythm sections. Um, both groups were on the Rushmore soundtrack. Oh yeah, and both groups still know how to rock a club.

I was fortunate enough to see The Who at the Chicago House of Blues three years ago, their 'comeback' club shows as a five-piece, and so I don't begrudge not being there last night. And I appreciated seeing The Creation last year on their American debut, some 35 years in the making, both at their official Warsaw headlining gig, and the following night at Manitoba's in the East Village. (Read lengthy review here.) That might have been enough for me, but last night, they played my new local venue, Southpaw, and there was no way I couldn't attend. This show was, in more ways than one, right up my street.

Eddie Phillips shows off the bow-playing technique he pioneered years ahead of Jimmy Page, Tony Barber watches him. Bob Garner spray-paints behind them.
There's not a lot, however, to say about The Creation show last night that I didn't say a year ago. Founding guitarist Eddie Phillips is still phenomenal, the most under-rated guitarist of his generation – and not a mean singer, either. Bob Garner plays the Daltrey to Phillips' Townshend, willingly accepting second fiddle status, readily engaging the audience, a little too much the able entertainer, a little slow on his feet, but clearly a nice person. Tony Barber and Kevin Mann are a sufficiently tight rhythm section to do the founding duo justice. The Barber-sung 'I Am The Walker' was missing, and if Phillips sung both new songs 'Red With Purple Flashes' and 'Shock Horror' last time out, I didn't make note of it. Otherwise, the set was almost identical to that of a year ago, showing less innovation than even your average Who show (I gather last night The Two played 'Don't Even Know Myself' last night, to keep things interesting). Last night at Southpaw, as per last year at Warsaw, remained firmly rooted in the 1966 era, back when the Creation looked every bit like The Who's able competitors.

"We were just kids back then, we didn't really know what we were doing," said Bob Garner at one point during his magical history tour. This would have been true of the Who too. The real reason The Creation never rose to the prominence they deserved was largely the same reason that The Who did: the latter put aside its intense personal animosities and feuds in the name of the collective goal, the former band instead allowed those relationship issues to cause continual line-up changes, rapidly losing their initial momentum in the process. It was hard enough for any band to make it to the end of the sixties as a credible force, as Townshend and co. can well testify to; The Creation weren't consistent enough or committed enough to stand a chance. Still, an album of The Creation's best dozen songs would just about rival any random collection of Who songs up until Tommy, and it says plenty for The Creation's brief run that they could play over an hour last night and still leave out songs as good as 'Ostrich Man', 'I Am The Walker', 'The Girls Are Naked' and 'Can I Join Your Band?' (Then again, think of what the set did include: 'Painter Man,' 'Making Time,' 'Life Is Just Beginning', 'Biff Bang Pow' and 'How Does It Feel To Feel,' to name but a few of the sixties' greatest cult classics.)

For The Who, the House of Blues show was a detour back to a favored small venue. For The Creation, this is as far as they've come in 35 years: a Monday night at a new venue in Brooklyn. But as I wrote last year, perhaps the nicest thing about seeing this band (or at least its founding duo) finally play the States is its absolute lack of bitterness. For Phillips and Garner, introduced to most Americans only recently via the Rushmore soundtrack, the cup of life is currently and certainly half full. It occurs to me now that another former Creation member, Ron Wood (who was in the barely functioning Creation line-up that plodded through 1968), is also playing New York this week, at Madison Square Garden and Giants Stadium, as a fully-fledged member of the Rolling Stones. That probably never even occurred to Garner and Phillips. And even if it did, judging by their enthusiasm last night, I doubt if they care.



I expect to keep this week's Daily Postings brief, as there's a lot of long-term postings I've been wanting to get up, and there are only so many hours in the day. Added to the site today is a new Featured Mix CD: the 2 Many DJ's epic As Heard On Radio Soulwax Pt. 2. And to accompany it, The Last of The Summer Rosês: Goats Do Roam, Vin Gris de Cigare and Rose of Virginia.

A quick note to say that I finally received and read the current Uncut, the one with The Jam on the cover and myself quoted inside. For various reasons some of you may understand, I'm usually apprehensive about how I might be quoted, more so about The Jam than other matters. This time round I felt pretty good about everything everyone said - and of course, listening to The Jam's Greatest Hits while reading the feature got the nostalgia nerves going big time. I see Paul Weller's new album Illumination is straight in at number one in the UK this week. There was a time that might have seemed so unlikely as to have been impossible...

...Something else I would never have predicted, as recently as a year ago even, is The Creation - yes, that Creation - playing at the top of my street. But such is the case tonight. Trying not to think about the weirdness of it, and setting out instaed just to enjoy it. A report, perhaps, tomorrow.

FOR SEPTEMBER 14-20 MUSINGS CLICK HERE (includes Firefighter Andre Fletcher, Untamed, Uncut, and more September 11 Musings)
FOR SEPTEMBER 7-13 MUSINGS CLICK HERE (includes Sep 11 memorials, Did Bin Laden Win?, Scissor Sisters and Electro-clash)
FOR AUGUST 31-SEPTEMBER 6 MUSINGS CLICK HERE (includes The Strokes live, The Rising, Saint Etienne, Team USA, a.i., Tahiti 80, Dot Allison)
FOR AUGUST 17-30 DAILY MUSINGS CLICK HERE (includes holiday musings, wine reviews, Luna at Southpaw, and more)
FOR AUGUST 10-16 DAILY MUSINGS CLICK HERE (includes lengthy Who live review)
FOR JULY 27-AUG 9 DAILY MUSINGS CLICK HERE (includes Area 2, 24 Hour Party People Party, Hootenanny Tour, 2 Many DJs and more.
FOR JULY 20-26 DAILY MUSINGS CLICK HERE (includes Wilson Pickett, John Entwistle, rebuilding downtown NYC)
JULY 13-19
DAILY MUSINGS CLICK HERE (includes Love Parade, Teany, RenewNYC, Femi Kuti, NRA, Londonisation of New York, F Britishification of Global Rock)
FOR JULY 6-12 DAILY MUSINGS CLICK HERE (includes Mike Meyers as Keith Moon, the RAVE Act, John Entwistle, Michael Jackson, Southpaw, Moby Online, Layo & Bushwacka!,
(accidentally deleted)
FOR JUNE 29-JULY 5 DAILY MUSINGS CLICK HERE (includes World Cup Final, John Entwistle's legacy, The Who's decision to carry on, the meaning of July 4)
FOR JUNE 22-28 DAILY MUSINGS CLICK HERE (includes World Cup diary, Dr. John, Doves, Mermaid Parade, John Entwistle's death, Timothy White's death, Clinic Firewater and Radio 4 live, The Who's decision to carry on)
FOR JUNE 15-21 DAILY MUSINGS CLICK HERE (includes World Cup diary, Liars live, GiantFingers, the Big Takeover)
FOR JUNE 8 -14 DAILY MUSINGS CLICK HERE (includes World Cup diary, StellaStarr*, Jose Padilla, Dee Dee Ramone, suicide bombings)
FOR JUNE 1-7 DAILY MUSINGS, CLICK HERE (includes World Cup diary, Southpaw, Six Foot Under, Andrew Sullivan)
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