And those Hollywood nights

all that shinesAll That Shines Under The Hollywood Sign by Iris Berry (Punk Hostage Press)

“It appeared clear to me - partly because of the lies that filled my history textbooks - that the intent of formal education was to inculcate obedience to a social order that did not deserve my loyalty. Defiance seemed the only dignified response to the adult world.”
- Timothy B. Tyson, Blood Done Sign My Name: A True Story)

“Most men today cannot conceive of a freedom that does not involve somebody's slavery. They do not want equality because the thrill of their happiness comes from having things that others have not.”
- W.E.B. DuBois, Darkwater: Voices from Within the Veil)

"The fortunate is seldom satisfied with the fact of being fortunate. Beyond this, he needs to know that he has a right to his good fortune. He wants to be convinced that he 'deserves' it, and above all that he deserves it in comparison with others. He wishes to be allowed the belief that the less fortunate also merely experiences his due. Good fortune thus wants to be 'legitimate' fortune." - Max Weber

"A catalog of catastrophic events shaped our lives..." - Iris Berry

ALMOST GOLD...

Iris Berry is my favorite movie star. In my personal rocknroll pantheon, she will always be the queen of the Hollywood underground. Hard livin' hellion, heroine, helper, healer, auteur, essayist. She lived on 10, on full-blast, for a long time, and has written several riveting books about it, including "Daughters Of Bastards", and her latest enchanting collection of poetic reminiscing's, "All That Shines Under The Hollywood Sign".

Part of the reason she is always such a big hit on the spoken word circuit is because we are all getting older and are increasingly nostalgic for our own wayward punk rock youth, and therefore, love hearing those far out and heavy, true tales from her seen it all history, but also, because something about her speaking voice is oh so very consoling and soothing, it is a tender, understanding salve for the sad and lonely, and scarred for life, all 'us last of the last, limping landmarks and leather clad convalescents. She has a comforting presence, because she emanates real deep, genuine article beauty, from the inside out. We can all recognize her as one of our kind. 

Take The Fall for one Hex-cellent read

the big midweekHave A Bleedin Guess. The Story of Hex Enduction Hour
by Paul Hanley (Route Publishing)

Straight outta ... Pontefract ... comes Route's latest (rather brilliant) publication. For what I suspect is a small publisher, Route (est. 2000) punch above their weight. This is their 10th music book - the third to deal mostly with The Fall and - gulp - the second by a Fall drummer.

You can snaffle Simon Wollstencroft's “You Can Drum But You Can't Hide” and Steve Hanley's tour de force “The Big Midweek. Life Inside The Fall” at Route's website, and Paul Hanley's “Leave The Capital” (a history of Manchester music and liberation) as well.

My copy's pink with black writing, and  signed. Though I'd like to think you'd see this one in Dymock's or JBHiFi, don't hold your breath. I ordered mine, yes from overseas, and it arrived in a timely fashion, and much better wrapped than most books you order from overseas.

Which is excellent; particularly since it anticipates Cherry Red's upcoming '"1982" Fall box, the latter of which I expect I'll get to in due course.

Now, unlike his brother Steve, Paul Hanley approaches “Hex Enduction Hour” in two minds. The bulk of the text follows the obvious pattern: what came before the album, how the songs were put together, the context of the band in their time and so on. He approaches the album as a music historian, but is also able to correct wrongly-held beliefs (such as the likely identity of King Shag Corpse) with restrained glee, while inserting footnotes which reveal the bloke you want to meet at the pub. Rather puts me in mind of Terry Edwards' book on Madness' first LP, written for the 33 1/3 series.

Speaking of which, in the foreword, Stewart Lee (no, no idea) tells his sad story of wanting to write a book on “Hex” for 33 1/3, only to be rebuffed with the old “ain't commercial enough”, a sad and common refrain to many an enthusiastic writer (if not fan).

A Big Beat that's worth every cent

the big beat bookBook launch
The Big Beat by Donald Robertson and others
The Howing Owl, Adelaide
Wednesday, October r16 2019

Can't take Her anywhere.

We've just witnessed Donald Robertson, mainspring behind Adelaide's monthly Roadrunner magazine (1978-1983) be inducted into the SA Music Hall of Fame (the 111th member) by John Schumann (of Redgum).

Preceding that was a couple of short speeches (including one from Jim Kerr of Simple Minds), a rather entertaining Q&A chaired by Suzy Ramone (of, among many other things, the Molting Vultures), and prior to that much chinwagging by a bunch of old coots who hadn't seen each other in - literally in some cases - several decades.

Go dancing with Kim Volkman

for those that dance“For Those That Dance with the Skeleton”
by Kim Volkman
(Self published)

It was George Bernard-Shaw who said: “If you cannot get rid of the family skeleton, you may as well make it dance” and it’s a maxim St Kilda musician-turned-author Kim Volkman has applied exceptionally well.

Kim’s first book, the autobiographical “The Devil Won’t Take Charity” (2017), was a rip-roaring Harley ride through his own back pages that hung out enough dirty laundry to keep 10 dry cleaners in work for a month.

“For Those That Dance with the Skeleton” is occasionally more of the same but in vignette form. These are short stories about OCD girlfriends, workmates, dentists, rostered days off, kicking smoking and indulging addictions (like guitars and heroin) all rendered in unique style and peppered with dry humour.

Record Play Pause: Confessions of a Post-Punk Percussionist: The Joy Division Years by Stephen Morris (Hachette Australia)

morris bookHe's the drummer chap in Joy Division and now New Order. Morris has written about how he got there, but with a rather rueful (and lucky for us, gently comic) look back at what a twat he once was. Cleverly written, sensibly contrite and a bit ashamed of himself, this is corking stuff. Even if you weren't interested in his music, in fact.

However, we're also in modern myth territory. That means the tragic suicide of frontman Ian Curtis; a death which seemed to grip the nation's rather maudlin youth and media of the day to such an extent that death of The Ruts' frontman, Malcolm Owen a couple of months later, was completely eclipsed; surely both were equally as tragic. 

But no, the Joy Division wave, which was only just rearing up, hit the UK quite hard. 

We Are The Clash: Reagan, Thatcher and The Last Stand of a Band That Mattered by Mark Andersen and Ralph Heibutzki (Akashic Books)

we are the clashHistory, so observers say, is written by the winners. More often than not, those observers are the victors so they would say that, wouldn’t they? Nonetheless, it’s a truism that carries weight. 

That’s why you’ll see scarce mention of The Clash’s career after Mick Jones was kicked out and it’s partly why the final studio album under the band’s name, “Cut The Crap”, has been excised from the official - read: survivor-approved - body of work. Indeed, that one’s not even available to stream on the ubiquitous Spotify and never had a hope in hell of making it to the extravagant “Sound System” box set.  With good reason, say most of us who have heard it…

Which brings us to “We Are The Clash”, an exhaustively researched and well-written book that chronicles the last Clash line-up, a back-to-punk-basics outfit whose ranks included only two “real” members in Joe Strummer and Paul Simonon.  The so-called “Clash Mk 2”. 

“We Are The Clash” is an important book in so many ways - and not just because it makes up for a lack of documentation of this period of the band. 

The Haunted Writings of Lionel Johnson, the Decadent Era’s
 Dark Angel - Edited and with an essay by Nina Antonia (Strange Attractor Press)

incurableNina Antonia crops up at the I-94 Bar yet again. Perhaps best known for:

  • Her compelling, astonishing book (the first if you discount Morrissey's) on The New York Dolls (a band renowned for decadence at a time when decadence was almost a rite of passage),
  • Her bio of Johnny Thunders (the film currently out doesn't use her research, so you can guess what it'll be like),
  • Hr bio of Peter Perrett,
  • And a book with Pete Doherty.

One begins to rather wonder about Antonia's fascination with doomed, beautiful men... 

As she reveals in "The Prettiest Star" (nominally the story of Brett Smiley) she's clearly drawn like a moth to a flame; and she's been writing in solitude and sacrifice for well over 30 years ... suffice to say she should be better known. 

Roadies. The Secret History of Australian Rock ’n’ Roll by Stuart Coupe (Hachette Australia)

roadies bookThe “Secret History” part could have been easily replaced by “Sex, Drugs, Rock ’n’ Roll and Driving…Lots Of Driving”. There are more miles in Stuart Coupe’s book than a shipping container load of Gregory’s street directories, but it’s much more fun to read. 

The concept is simple: Speak to Australian road crew about their experiences and shape a chapter around each conversation. Do it chronologically. Change very few names to protect the infamous. You can guess a few of them anyway. This boat doesn’t need a lot of rowing. In most cases, the stories tell themselves. 

If you’ve ever worked with, alongside, as a payer of or have been reliant on a roadie because you were performing, you’ll know that the good ones are (a.) usually full of war stories and (b.) indispensable. They are, quite simply, the people who make rock and roll shows happen. They see the good, bad and the ugly parts. They know where the bodies (and the drugs) are buried. 

There’s No Bones in ice Cream. Sylvain Sylvain’s Story of the New York Dolls by Sylvain Sylvain (Omnibus Press)

sylvain bookThere are two undeniable take-outs from "There's No Bones In Ice Cream." One is Sylvain Sylvain's deep and abiding love of the New York Dolls and pride in their legacy. The other is a feeling that things could have turned out much differently had they been given five minutes during their time on the roller coaster to catch their breath.

If you're reading this review at the I-94 Bar you don't need to be told who the New York Dolls were or how important they are. Glam rock probably still would have happened without them, but punk's birth would have been very different.

The Dolls are influential because they proved that you didn't have to be good to be great. Their lack of virtuosity was as influential as their style.

Mainstream America didn't want to know about the Dolls. The image was just too fag-ishly confrontational. Their first lifespan was only two albums. Others who trod the same path - who moderated the look and sound and stuck at it like Alice Cooper and KISS - cashed in, big-time.