Hello again, another rainy day in the desert but I’ll take it as in a few months we’ll be begging for seeing some clouds never mind actual rain. Just a few quick things for you today but the best (in my opinion) comes directly from Tony James over at the Carbon Silicon site. I’ve written a number of times about how someone or some collective needs to start chronicling punk, post punk, the London scene or call it what you will. If you want the real facts behind these bands and relationships from those early years you have to get to the source and fortunately Tony James has a wonderful habit of just blogging out memories when the mood takes him. Jump over and read the post as he talks about Generation X, Stiv Bators, Sputnik and more besides. I’m not as old as Tony James but I completely relate to how he writes about sometimes needing to kick start the memory bank to recall all the specifics, I sometimes have to go through my concert ticket stubs or look at old photos to remember all the things I saw and heard in the 1980’s and I’m just an outsider, a fan.

Although I was too young to be at the forefront of 1976-1979, I count myself lucky in seeing some of the very earliest concerts by some really significant acts such as The Smiths, Jesus and Mary Chain, Aztec Camera, The Housemartins, New Order, The Redskins, James, Big Audio Dynamite, The Woodentops, Shack, Gene, Supergrass and a host of others. What I think is needed is a bigger concept that I can articulate but essentially a really broad book/documentary as a memoir of sorts. The music scene in the UK was so electric from 1977-1987 as scenes evolved so rapidly and live gigging was the only way to find a catchment and label support. You could write a volume itself on the whole C86 scene (which in truth had its origins a few years earlier) with some brilliant bands; McCarthy, The Bodines, Jasmine Minks, Cocteau Twins, Primal Scream, Stump, The Wolfhounds and others. That whole shambling sound and those who followed it were my age – too young for first generation punk but terribly committed to the local indie bands that followed some of the gloomy sounds of post punk. Critics complained that the family tree for these acts tended to all lead you back to The Velvet Underground but I think that was a simple summation if you worked for the NME or Melody Maker in those days. I think (and in a few cases know) for certain that the DIY attitude of The Clash and punk was what got a lot of these bands out of the garage and signing with one of the explosion of indie labels that sprung like weeds throughout the UK.

In many senses I think the most lasting gift of punk to the record industry may have been these indie labels. Simply avoiding the pressures of signing to CBS, RCA, EMI or Warners allowed a lot of these bands to release the records they wanted and in the order they wanted. The mistakes of The Clash and The Pistols (if signing to a major label was a mistake) were learned almost immediately afterwards when post punk bands seemed to follow one of two paths. In circumstances like The Cure or Echo and The Bunnymen a major label started a private label specifically for the band – Fiction for The Cure and Korova for The Bunnymen, by default the treadmill that Polydor or WEA would have wanted the band to jump on was avoided to a degree. Better circumstances still followed by the early 80’s as Factory Records (New Order) and Rough Trade (The Smiths) had bands so good that a label and roster would be built around them. Both of those stories ended in tears and the reality is that both of these iconic bands might have sold more records on a major label but not on their own creative terms. I think if punk and The Clash had come along a few years later The Clash would have started their own label, my evidence for that is they did consider starting their own venue. However in 1977 (with the possible exception of Virgin Records) there was no proof that a small label could support an act and get your records pressed and distributed effectively, signing for a CBS or and EMI was logic – sadly however those contracts perhaps contributed to the Clash self-destructing at the end of the day – they certainly resulted in Joe Strummer needing to sit on the sidelines from 1986-1996 and wait things out (the CBS deal).

To me it was a fascinating time to be a music fan and the changes in the music industry due to punk are perhaps just as broad as the music itself. From Factory to 4AD, Some Bizarre to Rough Trade, Creation to Fire Records – the rosters of great music on those indie labels was something to behold. The debt stands – punk made this all happen.

He's not acting...Sean Penn

Good Evening…whats up then? Just time for a quick update tonight but thought it would be nice to say hello. Just watching Sean Penn on the news who is over in Haiti doing what he can – it’s become very easy to see ‘celebrities’ as shallow and selfish but you should tip your cap to someone who could just be sitting in his Beverly Hills mansion but instead is getting his hands dirty at the site of a genuine crisis. Raising awareness about important matters is (I think) a responsibility we all share and if you are ‘famous’ and connected you should shout it out as loud as you can that things need to be changed. I guess I like my actors like I like my musicians – to have a conscience and some ideas, nobody has all the answers but at least ask the bloody questions.

I wanted to touch quickly on the Strummerville event last Friday night for the Shatter The Hotel album launch. When you get time pop over to the Strummerville site to see some more great photos and find the link to hear a podcast of the whole event. Marvellous…almost as good as being there except lacking in Twiglets and a pint of Stella. I hope to get some more inside information from Mark Matthews (Prince Blanco) later this week but I am genuinely thrilled that the project was so warmly received in London. The podcast is a must listen, interviews are mixed alongside the music and you will want to buy the album when you finish listening. You can download it to your i-tunes thingy also if that’s your bag. (ask someone younger…sorry!!). The Trish Whelan interview is priceless as she discusses a lot about Strummerville and how its expanding.

I’ve worked out my Achilles while working on the blog, I can’t write an album review that is succinct to save my life. I just ramble so much that I don’t think I help sell the record though I might convince you that I think the Miner’s Strike was the socio-economic event of the 1980’s – I get off track. However I can say this album review of the aforementioned Shatter The Hotel album from the Lucid Culture blog is well worth a read also.

In other news - Paul Weller will get the NME Godlike genius award this year – (after The Clash of course). While I just simply adored The Jam and The Style Council my continued efforts to enjoy his solo output has not been easy. I know it’s revered and critically loved but beyond Stanley Street (was that the title?) I’ve just not found that groove. Perhaps you did? Either way congratulations to Mr. Weller.

The always enjoyable Huffington Post has a brief story about The Specials today – with the band coming to the States in the Spring I am sure that the US music media (the fragments that remain) will be queuing up for days to speak to Terry Hall for a few minutes. Terry is a fascinating bloke and one of my favourite musicians ever but not easy to interview, he’s also sort of ‘forgot’ much of his time with The Specials – he was just a young man don’t forget.

Back soon ~ Tim

Friday night and its still chucking it down with rain here, pretty mad as we have now had the equivalent of a normal annual amount of rainfall just this week. Remind me in 6 months when it hasn’t rained since ok? So….a bit more info on the Gorillaz album courtesy of the NME. The album is scheduled for a release date of March 8th on both sides of the Atlantic it seems, and the collaboration with Simonon/Jones is just limited to the one track as initially reported (the title track Plastic Beach). I may be biased as I was/am a serious Blur fan, but I really like what Damon does in general and I don’t think it would be very far off the mark to suggest what he has achieved/attempted/meshed with Gorillaz is in many ways similar to what Mick Jones managed to accomplish with Big Audio Dynamite. The parallels are pronounced, two important key members of previously great bands that started fresh with something completely unexpected. Both bands had then made albums without musical boundaries that appealed to very different (and new) fans due to the broad reach in style and musical sense. Sure there was some magpie approach but nobody else did what Big Audio Dynamite were doing from 1985-1990 and you can say much the same for Gorillaz. Biggest difference Mick and company didn’t become cartoon characters but the clothing and baseball caps was the next best thing eh?

If you want or need the ideal initiation to Gorillaz – may I suggest getting a copy of the DVD  ‘Demon Days – Live in Manchester‘. Musically and visually its rather amazing. In addition to Mick and Paul the new album is packed with guest musicians such as Lou Reed, Mos Def, Mark E Smith, Snoop Dogg, Bobby Womack, De La Soul and Super Furry Animals’ Gruff Rhys. Did Mick have a pint with Lou Reed? Was Paul having a natter with Snoop Dogg? We need to know and you might find out as there looks to be a full interview with Damon Albarn in the new NME so if you get hold of a copy please share anything with us that might be useful. Right…so we’ll keep our eyes on that until the album comes out then.

I don’t profess to know the origins of everything so I wanted to feature a song of the day today – from Earthquake Weather – Joe doing his version of ‘Ride The Donkey‘ — always really liked this one and don’t know much about the origins - The Tennors – (Tenors) – but this site is a bit lacking in info, but what a great track. Audio is over on the right of this page in the video link. Original version linked here for your enjoyment (shit that’s really good!)

Yes Yes…I mentioned The Libertines the other day but the new interview(s) with Carl Barat totally contradicts what he was saying as recently as

Pete Doherty, will he or won't he?

October. The new interview (BBC version here) suggests he’s looking at this happening in 2011 as he’s too busy in 2010 (aren’t we all). That said the same news hasn’t been confirmed in by Pete as of now. I’m thinking if Babyshambles up the odds by making a third brilliant album we can perhaps forget the notion of a Libertines reunion, especially as it might be a case of Carl wanting it more. Wouldn’t Pete Doherty be tempted to say no thanks after all that has happened? Stay tuned and don’t forget that it looks likely that Pete might be heading back to jail in the interim also….

Libertine to Springsteen…I rarely mention The Boss unless he mentions The Clash and wouldn’t you know it…he has. On this link from the Sundance Channel check some of Springsteen’s favourite tracks of all time which includes a Clash song and a few others that may well shock you (well they did me).

Back in the morning I think….have a good night.