Autobiography by Morrissey (Penguin Classics 2013)

Johnny Marr was born in Ardwick in a Victorian dwelling not dissimilar to my own. Blocked in by dye works and engineering works, timber yards and iron foundries, the Ardwick of the Avis Bunnage era was an area of seasoned street fighters such as the Little Forty Gang, whose dapper style was well known when there was nothing nice to rest the eye on. Johnny was also of Irish parents, who would eventually inch their way south of the city center (for north is not the road that anyone ever travels). In 1982, Johnny appears at Kings Road immaculately be-quiffed and almost carried away by his own zest to make meaningful music. He reminds me of Tom Bell in Payroll, an early 1960s film set in Newcastle yet minus one single Geordie accent. Johnny despairs of things as they are and wants to change them, even if, beneath the grit and growl, his favorite group of all-time is Pentangle.

‘We’ve met before, y’know,’ he says, ‘I’m glad you don’t remember.’

Ooh, but I do.

It had been in the foyer of the Ardwick Apollo, where Patti Smith had displayed her radiant stallions gradually lapping into seahorses nervousness. I stood in conversation with Philip Towman (another Wythenshawe musicologist), when Johnny first shoved his face in, and he said, ‘You’ve got a funny voice.’ The comment contained an oblique confession, which said: you don’t talk as shockingly bad as I do. In fact, Johnny later confessed that prior to meeting me he had pronounced the word ‘guitar’ without the t, so Ardwick-mangled the parlance. I couldn’t imagine how this would be possible, or how he could be understood. I am shaken when I hear Johnny play guitar, because he is quite obviously gifted and almost unnaturally multi-talented. Since he shows an exact perspective on all things, I can’t help but wonder: What is he doing here with me? Formulating writing systems and mapping out how best to blend our dual natures – here, against the hiss of the paraffin lamp, and me wrapped in the sanctity of an enormous overcoat acquired in a Denver charity shop for $5. Why has Johnny not already sprayed his mark – elsewhere, with others less scarred and less complicated than I am? It seemed to me that Johnny had enough spark and determination to push his way in amongst Manchester’s headhunters – yet here he was, with someone whose natural bearing discouraged openness. Stranger still, we get on very well. It is a matter of finding yourself in possession of the one vital facet that the other lacks, but needs.

London's Burning: True Adventures on the Front Lines of Punk, 1976-1977 by Dave Thompson (Chicago Review Press 2009)

Somebody—I don’t know who, but they didn’t look impressed—pointed out Siouxsie Sioux, the dominatrix-clad queen of a gang of fashion horses known to themselves as the Bromley Contingent, über-followers of the Pistols machine, who were fast garnering as much notoriety as the band itself. Someone else nodded pityingly toward a beanstalk by the stage, leaping up and down on the spot and clearly in danger of crashing through the ceiling. Muted by the din of the band, you could lip-read their contempt nevertheless.

“Look at that idiot.”

I looked. I knew him. Bev . . . John Beverley . . . lived in Finsbury Park, close by the station where I swapped my bus ride for the tube. A total Bowie nut, which is why a mutual friend introduced us, he enjoyed nothing better than a lager-fueled argument over which of the master’s songs was the best. Neither, at the time, did I. But whereas I was willing to change my opinion, depending upon what kind of mood I was in, Bev was unyielding.

“‘We Are the Dead’?” I would suggest.


“Fuck off! ‘Rebel Rebel.’”

“‘Drive In Saturday’?”

“‘Rebel Rebel.’”

“‘Cygnet Committee’?”

“I said, Fuck off!” And so it would go on until Bev fucked off, usually lured away by one or other of the pimply weasels who’d renamed him Sid, but who themselves were also named John: Wardle, who was sufficiently pear-shaped to be rechristened Wobble; Gray, who was anonymous enough that his surname already suited him; and Lydon, who was now up onstage with the Pistols, flashing the teeth that first gave him his nom de guerre. Sometimes you wondered what Bev saw in them. He hated it when they called him Sid, he hated it even more when they added the surname Vicious. And it was pretty obvious that his main attraction to them was to see how many outrageous stunts they could prompt him to rush into, simply by reminding him what a “great laugh” he was, and letting his overdeveloped need for attention to take over.

But he never shrugged them off, and you saw less and less of Bev these days, and more and more of Sid Vicious. One day, a few worried friends prophesied, Bev would vanish altogether and Sid would take over completely. Tonight, for sure, Sid was in total control, bouncing up and down on the dance floor, grinning wildly at the noise that his mates were making, and utterly oblivious to the fact that whatever rhythm he was hearing in his head was inaudible to everyone else in the room. Somebody said it looked like he was riding a pogo stick. Somebody else thought it looked like fun. The next time you saw the Sex Pistols, half the audience would be doing it.

Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever by Will Hermes (Faber and Faber 2011)

After an encore, as the revelers filed out toward the frigid night and the year ahead, the DJs slipped on a gentle acoustic number: a cover of Suicide's 'Dream Baby Dream" by, of all people, Bruce Springsteen. Springsteen played the song as a coda to nearly every show on his solo 2005 Devils and Dust tour. This particular version, a hypnotizing mantra-cum-lullaby-cum-benediction, was released on an import-only compilation right around Alan Vega's seventieth birthday.

Springsteen had always liked Suicide: he was especially impressed by the story-song "Frankie Teardrop." When he was working on The River in '79, he and Vega crossed paths up at 914 Studios in Blauvelt, where Springsteen had recorded so much of his early work. Vega and Marty Rev were finishing their second LP, which included "Dream Baby Dream." Bruce and Vega talked about rock 'n' roll, taking nips off Vega's flask. "You know, if Elvis came back from the dead," Springsteen said later, "I think he would sound like Alan Vega."

From the Velvets to the Voidoids - A Pre-Punk History for a Post-Punk World by Clinton Heylin (Penguin Books 1993)

Being 'more suburban', they had something in common with other CBGBs favourites that existed largely outside the scene. The Shirts, like those other local faves the Tuff Darts, were more interested in securing a record deal than in reviving rock & roll.

Annie Golden: We were the hicks from Brooklyn, never aspiring to go across the bridge, but we had read about the Mercer Arts Centre, which had just crumbled, and the back room at Max's, and we went down to see Patti Smith at CBGBs . . . We were holed up in Brooklyn, we all had day jobs, we were rehearsing eight to ten hours into the morning, saving money for equipment. Bands in Manhattan were doing it another way. They were like artists; they were doing minimalist rock and they were starving. But we had this big light show and a big PA.

PMSL Factory

Hat tip to 'Danny La Rouge' over at Urban 75.

Searching for the not so young soul rebels

[on whether punk music started in England or America]

Stevo: "I don't know who started it and I don't give a fuck. The one thing I do know is that we did it harder, we did it faster, and we definitely did it with more love, baby. You can't take that away from us." [SLC Punk!]

Patti Smith - 'Gloria' mp3

Richard Hell & The Voidoids - 'Blank Generation' mp3

The Damned - 'New Rose' mp3

The Outsiders - 'Calling On Youth' mp3

Mr Smith Goes To Bedfordshire

Reidski, by way of making Patti Smith's number one fan extremely jealous with his report of attending last night's Meltdown to see Patti Smith and Steve Earle in concert, mentions bumping into Martin Smith, National Secretary of the Socialist Workers Party, who apparently is an old college chum of Reidski's. (Who do you support in the Boat Race, Reidski?)

Maybe Reidski sank a few too many beers with Martin reminiscing about various sit-ins from their college days - think Porterhouse Blue with a Billy Bragg soundtrack - so I'm sure he will correct the mistaken impression given in his post that the picket outside Bookmarks was in protest at the SWP's supposed promotion of Zionism. It was in fact a protest organised by the group Jews Against Zionism against the SWP decision to give Gilad Atzmon, someone who has: " . . . distributed Holocaust Denial literature by Paul Eisen (‘The Holocaust Wars’) which clearly supports the view that there was no deliberate extermination of the Jews or anyone else by the Nazis." a platform at both Bookmarks and their forthcoming Centrism.

Interesting to note that Martin Smith dismisses the protestors as nothing more than "ultra-left nutters". One of the people protesting outside Bookmarks at the SWP's decision to invite Atzmon was Hilary Rose. Mmm, I wonder if this is the same Hilary Rose who, alongside her partner Steven Rose, speaks most years at the SWP's annual Recruitathon, and who was mentioned as recently as the June 4th in the pages of the Socialist Worker in positive terms, in connection with a debate organised in Leeds between Norman Geras and herself over the issue of whether or not the AUT should boycott certain Israeli universities?

Martin Smith's name rings a bell as well. Once I had established it wasn't this Martin Smith (that's especially for Will Mackem) I suddenly remembered where I had spotted his name before. This wee gem from the vaults of the Weekly Worker where Martin interviews Eric really does go down as a classic in my ongoing compilation, provisionally entitled: 'If the SWP didn't exist, Chris Morris would have to invent them.'

Martin Smith: "This is not a court and I won’t have this minuted."

Absolutely brilliant.