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issue 007 july 2012

TREVOR DANN He’S THE MAN!

Daylight Snobbery - MMM

SIMON SAYS Canvas Wall and Cellophane Flowers

brought to you by

and the

Perfect Pop Co-Op


Welcome TO THIS, THE SEVENTH ISSUE OF OUR NEW INTERACTIVE MAG ‘ THE PERFECT POPZINE’ - BROUGHT TO YOU IN CONJUNCTION WITH RECHARGEDRADIO.COM AND THE PERFECT POP CO-OP

Greetings! Welcome to the midsummer edition of SOTS. A little known fact about us is that we abbreviate everything. People who see us work think we talk in code. In a way, I guess we do. Anyway, unlike last issue where we concentrated mainly on getting out and going to a gig (or festival!), we’re going back into the studio this time round. We interview the broadcasting legend Trevor Dann about his upcoming show “...And Vinyally” (no prizes for guessing what that’s all about..!!) chat to Canvas Wall about their latest album (which should be out about now...ish according to them), we’ve also got a live session down at Hackney Road with the wonderful Cellophane Flowers...and I haven’t even begun to list the rest of the content! So find a quiet corner and get readin’/listenin’ and pontificatin’ Jordan and the SOTS/RR crew (who are all one and the same but don’t share underwear).

JULICONIC!

Fancy making a contribution? Dear readers, if anyone would like to contribute to the mag, by way of photos, articles, reviews or ads. simply drop us an email to studio@rechargedradio.com If you want to supply imagery it needs to be either 300dpi or larger than 20cm square if 72dpi, just so the imagery is of a decent quality if we want to blow it up. For copy we need 250 for a half page, 600 for a full page and 1200 for a double spread. Thanks to: Design @8ecreative. Photography: 8ecreative, Paul Thomas (cover pic), Words: @simonj68, Pete Renzullo, Sam, C.Adams Molloy Hitchcock, Faye, Jord


SOTS ON!

Contents

THE WEEK AHEAD AT RECHARGED: Podcasts of all shows available FOR FREE 48 hours from broadcast time

Cover star: Vinyl

Welcome 2-3 From Recharged Radio

Friday, 13 JULY

Minki’s Magic Moments

4-5

20.00 - 21.00 - Crawling Home on a Friday

Trevor Dann

6

with Pete Renzullo

Daylight Snobbery Interview

AIMS 7 Pete Renzullo’s view from down under

Simon Says by @simonj68

8

Sounds of the Suburbs

10

‘Covers’

11

12

13

Ooh Matron

Recharged Radio’s new agony aunt

Fave Toy

23.00 - 00.00 - I Land Music, with Rodrigo de Sa 23.00 - 00:00 Best of: Music and show repeats

Saturday, 14 JULY

Canvas Wall and 9 Cellophane Flowers

Jordan’s response!

21.00 - 22.00 - Close To Nowhere,

11.00 - 12:00 Crawling Home

12.00 - 20.00 Best of: Music and show repeats 21:00 - 23.00 Best of this week

Sunday, 15 JULY

18.00 - 19:00 Best of this week

19:00 - 20:00 The Music Unleashed Top 40 22:00 - 23.00 20/20 Hip Hop

23.00 - 00:00 Best of: Music and show repeats

Monday, 16 JULY

00.00 - 20.00 Best of: Music and show repeats 20:00 - 21.00 Crawling Home

21.00 - 22.00 It’s all happening

22.00 - 00.00 Best of: Music and show repeats

Tuesday, 17 JULY

00.00 - 20.00 Best of: Music and show repeats 22:00 - 23.00 Sound of the Suburbs

Wednesday, 18 JULY facebook.com/rechargedradio @rechargedradio rechargedradio.com studio@rechargedradio.com

00.00 - 19.00 Best of: Music and show repeats 19:00 - 20.00 Metal Mumin

20.00 - 00:00 20/20 Hip Hop

Thursday, 19 JULY

00.00 - 19:00 Best of: Music and show repeats

rechargedradio.com

22:00 - 23:00 Close to Nowhere

23.00 - 00:00 Best of: Music and show repeats


Minki’s Magic Moments

“Yeah but it’s full of unsigned independent stuff”

Daylight Snobbery

Recently, someone at work asked me if I was still ‘doing my radio thingy’. Of course, I replied yes and expressed surprise that he hadn’t checked my show out, as I know we share very similar music tastes. His reply really did knock me for six; “Yeah but it’s full of

unsigned independent stuff” (Music is Music, surely?! Ed.) Yes, it is. and it’s proud to do so. I, of course, berated him for this and explained to him that nowadays a lot of bands are considered that and also, how else do people find new music? He made a face, but hopefully it made him think. it also made me

In this time of independent DIY bands and a vastly two tiered music industry, is unsigned STILL such a dirty word? think.

Before I became a radio presenter, I’ll admit I was one LAZY person when it came to discovering new music. I’ve never been much of a

gig-goer and yes, I did usually stick to bands I knew... but since being embraced by the underground loveliness that is Recharged Radio I’ve found myself more and more, listening to music. That’s it. Music. It’s on my hard drive, mostly, BUT where it came from, which band - large or small - is irrelevant. I

can be just as happy listening to Limozine, The Scratch and The Vincent Razorbacks as I can to Aerosmith, New York Dolls and the Rolling Stones. And, to be really honest, because I am usually sniffing for

music for my show, I find myself listening to music in the ‘MMMMusic’ folder where I have to put music ready to playlist more and more, just so I know I have permission to play it and it’s all ready and in one place. As a musician and a radio presenter, I can see the two sides of the

when people enquire about 50ft Woman and they ask what we are up to, there are still those that think, because you ‘haven’t got a issue. As a musician,


deal’ yet, that somehow you have failed, or have missed the

boat. They don’t realise that I haven’t really been looking! Today, I wouldn’t DREAM of signing a deal with a major label, not as a band anyway. The pressure would be enormous! Plus, to be honest, I know we’re not really major label material. Our hair isn’t all swept over to one side enough; we aren’t under 20 and ripe for picking; we don’t have a zillion followers overnight on Twitter; we haven’t been put together from some godawful TV talent show and I can’t imagine the Queen mouthing our lyrics at her Diamond Jubilee concert. She WOULD get a shock! (Check out Ice Cream Man by 50ft Woman for an example... Ed.)

We choose to do this DIY. Yes, it IS hard work. We don’t have management, we manage ourselves.

We see other bands doing other things, taking other opportunities and we all try and get somewhere. We record ourselves, we organise photoshoots, do our own artwork, book our own gigs, set up our own PA, team up with other bands, sign up for a myriad of websites and try to keep on top of it all, as well as the usual band things like songwriting, rehearsing... and drinking (!).

What makes the fact that we do all this ourselves mean that someone is put off listening to a track played on an underground radio show? If you’re going to use the My point is, what makes this so bad?

argument that someone is ‘unsigned or independent’ then what bracket does someone like Ginger Wildheart fit into? He of Wildheart fame signed up for Pledgemusic with the view to getting up front funding for a solo album. Little did he know that within mere HOURS he would have the money and not only that, it would keep coming, and keep coming, enough for him to record a triple album, entitled appropriately 555% (having raised that amount above and beyond what he originally targetted), available to those faithful fans who pledge the money in the first place. Now, obviously it helps to be from a successful band such as The Wildhearts but the fact that the ‘normal’ commercial album 100%, from that session, is now vying with the likes of Rihanna and Coldplay in the mid-week album charts just shows that, at least, some people don’t really care whether Ginger has a record deal or not. Indeed, he couldn’t really be more ‘unsigned or independent’. It’s a very heartwarming story for us musicians.

A to Z of MMM Enough of the moaning and seriousness now. As always with Minki’s Magic Moments, I like to provide a little light relief, for those times when it’s all getting a bit too much. I even give you ‘Something for the Weekend’ like those posh old fashioned barbers. Not that I’ve ever said “oh yes go on then,” due to A. being a woman and never having visited a barber for a shave B. not really knowing what ‘something for the weekend’ really is. (*Googles* Oh. Ooohhhkkaaaayy. Ahem) Well, in true tradition of the MMM show, we’ll use this spot as the cherry on the article-cake, as it were; to titivate and titillate and other words beginning with t that we like. In fact, this space will be an A to Z of MMM that can educate those who choose to peruse. And so we begin with A! A: It has to be Adam Ant. Without Adam Ant there would be no Minki, no 50ft Woman and hence no Minki’s Magic Moments. (This feature won’t always be a musician or artist but in this case it wouldn’t be an A to Z without Adam Ant). Adam Ant was and still is, in my opinion, something completely different. He taught me all about showmanship and ‘ridicule is nothing to be scared of’. And Aerosmith. Once again showmanship and stagecraft from Mr Tyler. And then there’s AC/DC. AC/DC were the first band I ever saw live. I was utterly utterly mesmerised and I am sure they are responsible (indirectly) for the look of abject terror and disappointment on my Mum’s face when i announced that, far from being the opera singer she had hoped for after paying for years of classical training, I was about to join a ROCK BAND..

People love an underdog. People love it when other people ‘cheat the system’. Things like social media campaigns to get this song or that song to No. 1 to knock off X Factor are great BUT, once again, these are usually well known acts, artists and bands, unsigned or not. All I hope, is that the snobbery of ‘unsigned and independent’ and the naivety of the music buying public is reversed and once again music is just ‘music’ and hell It’s Only Rock ‘n Roll - but we like it.

So, if you’re reading this, then I may already be preaching to the converted BUT next time you go to listen to music, make an effort to seek out someone, be it a band or musician that you haven’t heard before, that are NOT on a major label.

facebook/minkismagicmoments


Jordan speaks to

TREVOR DANN Vinyl. It’s a funny old thing (which we bang on about an awful lot). They said it was going to die and for a while there, it looked like They were going to be proved right. However, over the last couple of years, They have been proved wrong.

THIS IS THE

TUESDAY CLUB The Dolly Dynamite ‘3p’ out September 17

However, for those who work in radio and deal with audio as a profession, vinyl is just an anachronism surely? Well, far from it. Easy as it is to load up a whole bunch of mp3s and wavs into your playout system and your job’s as good as done, some things are just worth the time they need to have devoted to them - and vinyl is one of them. The Recharged Radio has a turntable and we were dreadfully flattered when Von Haze came to visit from NY - and brought a copy of their latest EP on vinyl for us as a gift. One person who has forgotten more about radio than most of us will ever know, is Trevor Dann (whose career has spanned the last 30 years and has worked with pretty much everyone and everything in radio... if you don’t know his name straight away, go here - http://en.wikipedia.org/wiki/Trevor_Dann - and realise just how much this man’s work has affected your life so far!). Why do we mention him at this point? Well, he’s just about to start presenting a radio show whose playlist is built entirely from vinyl. No CDs; no Mp3s. We won’t even bother to mention tape. Jordan caught up with him recently to find out exactly why... Trevor Dan Podcast link: http://bit.ly/TrevorDannRR

“One person who has forgotten more about radio than most of us will ever know, is Trevor Dann”

“If Roxy Music were doing the Rocky Horror show, they’d sound like this” - Steve Honest “Now this is a cheeky little track isn’t it?” Q Radio’s @carolinethedj

PAY NO MORE THAN 3p

infact, download it FREE from here :-) from 17th September www.thisisthetuesdayclub..co.uk


Australian Independent Music Scene Three sides to every pointless story… with your host, Peter Renzullo

I’VE decided to share some good old Aussie mentality with you fine listeners (and indeed, readers) of Recharged Radio. I decided to ask three friends for their take on different subjects. This is just a sample of the questions and answers presented in our discussions, but I’ve refined this article to the two most popular ones. Note: For the sake of anonymity, I’ve opted to leave their full names out and instead use their initials- just in case they might receive some hate mail – which I encourage you to send to me at peter@scudleyrecords.com so I can happily pass it onto them. Another Note: JC is taken verbatim, spelling and all. QUESTION 1: Tomorrow the universe is going to implode, and we are all going to die, what do you do on your last day? ANSWER: EW: Man up and go into a nightclub then use the “last day alive” line to get a pity date. If that doesn’t work then I really have struck out. Of course if the universe doesn’t implode then I may find myself in a relationship I never wanted. JD: I would probably panic, freak out and make ridiculous phone calls, telling people how sorry I am for all I have done. I would have to confess some things like how I once accidentally put a friends cat in the freezer when I was five years old because it was really hot… and forgot I put him there. Yes, it’s true, and I have not confessed yet. Will this count? JC: Probly get smached off my tits and it doesn’t matter if I get a hang over in the morning cos the world ended.

QUESTION 2: What would have been the advantages of being alive when we were ‘Cavemen’? ANSWER: EW: Well for one, no feminism. Actually, that is the only benefit. JD: I would have a chance of being “Bachelor of the year 10043 BC“! Girls would think that I smell good especially after a workout. My car would not be an extension of my penis. The “Pheromones” would be a cool name for a band! And there would be no technology, which means no television - which means Gordon Ramsay, David Beckham, The spice Girls and Ricky Gervais would all be little runts just like the rest of us (except for the possibility that Mr Ramsay would probably know how to light a fire and do a mean Woolly Mammoth stew, and no one would get upset at his moaning because language back then was all grunts and groans any way) JC: I reckn itd be shit ay. The floor wuld be sand and you just gota sit around and do fuck all wile the women go and find nuts and berries. Plus yer got dinosors all over the place so you just gota stay in the cave. I reckn were better in these future times. Unfortunately I only have a limit of 500 words per article, and I asked 10 questions so definitely not enough room for them all – but certainly enough for future articles, so watch this space. P.S. Feel free to pass on any questions you’d like my subjects to answer at peter@scudleyrecords.com Compiled by Peter Renzullo


We are once more excited and delighted to have secured the esteemed services of blog and twitter legend @simonj68 for his column in Sound of The Suburbs.

Simon Says Remember when they said “Home Taping Is Killing Music”? How did that work out then? Clearly it didn’t kill music, and different ways of sharing have not killed music either. It may have changed the cost model and the way we get hold of music but it didn’t kill it. I still laugh at the fact the Billy Bragg early release “Life’s A Riot” had the skull and crossbones on the vinyl 12”, but on the cassette version the “B” side was blank to add whatever you wanted to it. Even then the industry had no idea what to actually do. It was that (and a pic I saw on the internet) that got me thinking; whatever happened to “mixtapes”? If you are too young to remember, I think you have missed out on a golden age of music sharing and discovery, and also possibly one of the best ways to impress members of the opposite sex at school. The making of a mix tape was a thing of wonder and beauty. Simply taping an album onto a cassette was easy, anyone could do that. It’s the equivalent of sharing an album via DropBox or similar, now. Just a few button presses and it is all done, no love involved. To make a mixtape was a different game; planning was involved, as was knowing who it was for, what it was for and when it was going to be listened to. It wasn’t just taping all the singles you had bought in the last few weeks in a random order, it had to have a purpose and a meaning. You had to get the tracks in the right order; an art form in itself. Would the message be in the titles of the tracks; the first word of each of the songs; the first letter of each band? (yes – this is how in depth it went) You would probably never know if the recipient worked the code out, or even if they knew there was one, and this was also part of the challenge. Did you just want to show how cool you were by only using singles available on German import white vinyl or as was more common, to impress someone with your taste, style and knowledge of brilliant music so they would like you more? Recording onto cassette tape was never easy. If the vinyl skipped you would have to start again, and then there was the added challenge of making each side exactly 45 minutes. One minute too short and there would be silence at the end of the tape, one minute too long and the end of the last track would not be there. Neither of these would be acceptable to the perfectionist, and if you were making a mixtape, by default, you were a perfectionist.

Once the track list was complete, the cover notes written and the tape completed, the handover was then the only potential stumbling block left. (This was in the days of the Sony Walkman, so everyone had a personal stereo, meaning having cassettes in your pockets and bags was never seen as odd; anyone who liked music would have the same. What was easy was taping the Adam and the Antz album and going into school and saying in general “who wants to listen to this”? The tape would then be shared among the group for the week – and others would come your way by return.) The final issue was with the specific mix tape. It could never fall into the wrong hands. It had to be handed over personally, but without it looking odd. The simplest approach was to catch the recipient alone, quickly pass it to them with a “You may like this” and walk away. The onus was then on them to listen to it at some later time while you, whilst trying not to look too eager, wait for some positive response. Harder, was to do it in front of others, as they would want a copy, or want to know what was on it. This method was in a whole different league to passing a note in class about fancying someone; this was part of you, committed to 90 minutes of thin tape. In the wrong hands or listened to at the wrong time and disaster could be far too close for comfort. But once done, then, time to relax and wait for the result. A “not really my thing” would be one response, a “I really liked that” would be better, but the handing over to you of a different mixtape the following week was the equivalent of getting engaged!! Where did this pastime go? Burning a CD never seemed to have the same romance behind it, setting up a Spotify Playlist, which takes just a few seconds, is in no way the same thing, and emailing a long list of YouTube links to someone would just seem weird. Another part of music consigned to history. While vinyl may be making a comeback and turntable sales are increasing again, the humble C60 or C90 cassette tape appears to be gone forever. I know someone who still has a box of my mixtapes. That makes me far happier than a thousand likes on facebook ever could. Home taping was never going to kill music, but it was responsible for a lot more in life. Web: www.rumblesandgrumbles.com Twitter: @SimonJ68 Skype: rumblesandgrumbles


We like Canvas Wall. They’re good sports (for when we make fun of their name and call them The Tarpaulins) and have good hair (hi, Craig!). They’re also incredibly focused on what they want to do and also, do it themselves. No going cap in hand to a record company for them.  Their new album is (at time of press) due out this month, so the guys took some time out of their schedule to have a chat all about their album (and play a few tracks from it!) with Jordan down at the Recharged Radio bunker...

www.canvas-wall.com Canvas Wall Podcast: http://bit.ly/CanvasWallRR

The Cellophane Flowers are one of those bands that have taken a bit of time to grow into themselves but now that they have... wow. What a stunner. We managed to persuade them to come down to Hackney Road (like anyone would need persuading! Ed.) to play a few tracks from their forthcoming album (due out in September!) live in session. They also have a chat with Jordan too. How lovely.

www.thecellophaneflowers.co.uk The Cellophane Flowers podcast: http://bit.ly/CellophaneFlowersRR


DIY culture in music in the late 70’s and early 80’s and is called - Fame: the Secret History of Post Punk (1978-81). A few tracks from this album will feature throughout our next few shows. The track was Nigel Simkiins Times Encounter. Nigel (if that is his real name) caught our eye as his music was released by St.Alban’s label Waldos Records. www.waldos.co.uk/ Track 7 was one of two demos featured in our first ever show (you know we love an old demo!) It’s by a now deceased band, Televised Crimewave who supported us in St.Albans, also in 2009. Though most of the rest of the band were from London, my mate ‘Punk Rock’ Rob Bootle, the guitarist, was from Stevenage. The track featured is called Dance With Me.

THE RADIO SHOW TUESDAY’s 10pm

with Andy Scratch and John ‘Vintage’ Viney

Dear Suburbanites, welcome to a slightly extended and more in depth Sound of the Suburbs column than usual. We decided that it may be good to expand a little on the show ethos and more importantly the great bands and people out there keeping the dream alive and helping to expand the DIY ethic’s legacy for great and interesting music. As you know if you analyse our shows closely, we sure aren’t purists (indeed, all of our tracks aren’t always from the Suburbs!), but we think in any sphere of music, while it’s good to know your stuff, purism can actually lead you down the route of ‘pigeon holing’, a term and state of affairs that we at Recharged and certainly ‘Vintage’ Viney and myself have stoically aimed to avoid (even if our intentions are often misunderstood and misrepresented!). Anyway that’s the intro, here’s the first of this months delvage, based on our two July shows (Part Two will appear in our August column... a bit like your wages - you gotta do the work before you get paid... so don’t forget to download the podcast eh ;-) July, Show 1 kicked off with a band that The Scratch supported at the O’Bar in Camden around 6 years ago. They had a good look; kind of Ziggy Stardust hair and a cool girl bassist. Cover Girl is from their 2006 sampler, which also featured: Video Nasty, Death Shower Scene and Passion. http://starscream.co.uk/ Next up we featured Rocket Science by Cinemawave, who we hadn’t seen play live since they’d changed their name from Projekt. They opened with this track down at the Recharged Alt Great Escape stage in Brighton in May. http://cinemawave.tumblr.com/ Track three featured the first vinyl of the show, a track by Klark Kent called - Office Girl on a green vinyl 7”. I bought this in a great vintage emporium in Brighton when The Scratch we’re down at the aforementioned Great Escape. It would have passed me by, but for the fact that Klark Kent had been mentioned in an old singles review of ours by the excellent Mark Barton at Losingtoday.com, and being that Mark is something of genius, I had to take notice! The other weird thing is that Klark Kent is the very pseudonym that Stewart Copeland (ex-Police drummer) recorded his first solo album under! Next up was a local band to us (from St.Albans) called Toxins with their track ID. We heard about them from our old guitarist Steve, who recommended them as a support, so we went and checked them out and were so impressed, we got them down to play on the bill of our ‘legendary’ Clint Boon gig in 2009. http://www.facebook.com/toxinsband Track 5 was another vinyl which came from an album I picked up in Rough Trade East last month, complied by the writer of my favourite ever punk book - England’s Dreaming by Jon Savage. The album charts the rise of

The second demo (Track 8), was from the goldmine that is www. satellitestalbans.co.uk/. It’s a track called As I Die Slowly and is by long lost Fae Jane and the Burning Docs who were formed and performed in and around St.Albans from 1978-1981. Grae Wall of the band was part of the St.Albans Arts Team that curated 2011’s excellent St.Albans Punk and New Wave 76-81 exhibition. Track 9 was another vinyl track from ‘Fame’ called 3E, by a band called Mars, who reigned supreme in New ‘Yoik’ between 1975 and 1978. (Not to be confused with the MARRS of ‘Pump Up the Volume’!). Track 10 featured one of Minki’s fave bands of the last year Limozine; yet another of the excellent Recharged line up from Brighton. This track was called Surfin’ in the Dark. http://limozineband.com/ Track 11 featured another band from the ‘Fame’ LP by The Method Actors - Do the Method, who hailed from Athens, Georgia, in the good old US of A in 1979, and were peers of REM. Track 12 was from Hitchin in Hertfordshire’s Metatrons, our personal favourite track from their last EP,. My Sympathy. www.myspace.com/themetatronsrock Track 13 came from Welwyn Garden City’s, The Astronauts from 1981, with a track called Moderation is Boring, featuring suburban stalwart Mark Wilkins, who is still actively involved in music today. His three main projects consisted of The Astronauts, Restricted Hours and The Otters, in a career that spans over 30 years. He was involved in the free music scene of the late 70’s and early 80’s, playing with the likes of Zounds, The Mob, and touring on Here and Now’s Free Tours. The Astronauts have released material on a variety of labels including All The Madmen, Acid Stings, Irregular and Bugle. Although never seeking publicity and recognition, Mark’s music trickles out to those in the know, and frequently receives critical acclaim. Mark is a profound lyricist, and frequently draws inspiration from the absurdities of life in Britain, giving his music a distinctly English feel. A collection of his lyrics can be found on the official Astronaut’s website under ‘songbook’. Rock ‘n’ Reel magazine (March/April 2009) described Mark as ‘The PostPunk Dylan of Welwyn Garden City’. Track 14 was the last of Jon Savage’s DIY acts, Rema Rema, with their self titled track Rema Rema. The band only existed between 1979 and 1980 before their guitarist Marco Pirroni left to join Adam and the Ants. The last track (15) on this fortnight’s show was by The Bleeed - Dave’s Siamese Dream, taken from their as yet unreleased and untitled debut EP. (You may notice a familiar ish vocal on this track from yet another St.Alban’s based band, and, indeed if you look closely, you’ll probably recognise them all!) http://thebleeed.tumblr.com/ Finally, thanks lots to everyone who has taken the time to ‘socially network’ us on facebook.com/soundofthesuburbs or via my twitter @andyscratch. It’s great to get your feedback and support and most importantly any old demo’s you have lurking. Cassette, mp3, CD or vinyl are all welcome, so don’t be shy; if you were (or knew someone) in a band who made a demo, let’s hear it. If we like it, it would be great to give it an airing. You never know, with all the ‘great’ bands reforming with their classic line ups these days, it could be your last chance to cash in! x

itunes link http://itunes.apple.com/gb/podcast/sound-of-the-suburbs-july-2012/id490137655?i=117861610


‘Covers’ and public opinion Last month, we featured an article (by 'Sam', who lives down-under) all about covers and why it's ok to include them in your set. The month, Recharged Radio's Jordan Thomas was inspired to write a response... in the form of an open letter (this is due to him being rather old fashioned...) "Dear All, Sam (from down-under) makes some good points about the whole covers issue. It's one that's a thorny subject for anyone who decides to do original material. So this is what I think. Covers are not the devil incarnate. In fact, many of your favourite songs are probably covers of older songs anyway. Back in the day, they were all at it - someone (for example, Leiber and Stoller) would write a song and a whole bunch of versions would crop up. It would be a matter of luck and circumstance which one happened to chart (both Elvis and Eddie Chochran did versions of Carl Perkin's Blue Suede Shoes and Rock n' Roll Ruby was done by god knows how many people...). All the versions are slightly different, being done in someone's individual style and obviously recorded in different studios with different equipment. Probably the best example of this is I Only Have Eyes for You. Most people know The Flamingoes 1959 version but the song is actually from the 1934 film Dames and has a very different arrangement (The Flamingoes version moves the middle to the start; compare them on Youtube to see what I mean). Further to this, there have been a million trillion versions of the song done since 1959. mostly following The Flamingoes reworked arrangement. Hell, even BECK did a version of it! So, there we go. Covers. Been around for years. So the hell what. Well, I think the 'what' is all thanks to one thing... daft TV talent contests and horrid X-Factor versions of tracks purely done to shoehorn someone with no real talent into the public's mind by making them sing something that's well known (case in point Will Young and Light My Fire. I cringe every time I hear this lettuce-limp version which... sadly... is probably the only version a few people know... I dread to think what Jimmy Morrison would have done had he heard it. Probably gotten drunk and crashed his car. Again). To the TV and record execs (of very little social conscience), doing a well known song to get their artist to prop up their dying industry is like the fast lane to instant cash. Simon Cowell and his flaming TV programmes win the bank accounts of middle aged women again. I doubt he loses any sleep over it. Nor cares. However, the real losers here are the independent bands who gig at London Venue No.36, promoted by NoMoralsDon'tCareAnyway. com Promoters. These bands have to bust a gut to get anyone down to their gig on a Wednesday night and always hope for

some regular gig-goers (i.e., students and people who have no obvious source of income...) to rock up. Obviously, these are the people that need to be impressed by the band and then maybe come along to their gig at London Venue No. 37 next Thursday...? Please? Unfortunately, their music snobbery will dictate that if the band slips in a cover of something, their chances with these people suddenly slim as they're 'not original enough'. Only thing is, said band's original material might not have reached maturity yet (I hold to my belief that most bands have to play together for about 3 years to get it sorted. Until then, you can cover crap up on record with nice production but live... no chance) and falling back on a cover (and their own version of one) might previously have been a crowd-swayer. Thanks to X-Factor et al, not any more..! It's just pandering to The Man... man. It is my view that we will be left with a very poor music scene should this continue as people will basically get fed up and stop going to gigs if the band's original material just isn't as strong as it could be just yet. Covers give the band a bit of a chance to learn their craft. So is anyone to blame? Maybe, maybe not. Maybe the best course of action is to just rise above it all and not give flying fornication about what anyone really thinks - just get out there and enjoy whatever it is you're doing. The best performers always win crowds over anyway by looking like they're having fun. Covers? I say keep 'em in. Jord"


OOOOOH Matron...

Welcome to the new Recharged Radio AGONYco y. I’ve not en a very bad bo be ve I’ on tr Will you Dear Ma ed to have done. os pp su m I’ ng hi done anyt ? Please? teach me a lesson e Misbehaving, Pool

y In what, dear? They sa y Teach you a lesson, dear? use it has the word nast ca be bly oba pr , bad is on procastinati le. ylaid by that Jeremy Ky wa ing tt ge lf se my d fin in it. I g to and off he goes, talkin ing rn mo a in on him ick I st e lowest ing everything down to th plebs and generally bring tell rousing for the soul, I common denominator. It’s ke e for them, so it will ma rs wo ch mu be n’t ca e you. Lif and ick that on for an hour St ar. de , er tt be el fe you writing tting the hoover out. Or I guarantee you’ll be ge g a new els on things. Or findin your book. Or sticking lab pulling Or shaving your cat. Or e. bik ur yo ing rid Or t. elemen n’t uck on earlier that were st u yo s el lab e (th f of one you were actually say what it was straight, dear). You didn’t ing to guess, dear. trying to do, so I’m hav

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Dear Matron - It’s that time again. Here’s the pos tbag from the idiots. Some rig ht weirdos this time. Ans wer them as you see fit. The Editor, Sound Of The Suburbs

You promised me tea every time I come into this office, proper tea, in a tea pot, none of that Ear l Grey rubbish either. And what do I get? Plonked in front of som e intern whatsisface who offered me a Latte. Latte? Lah-tey? Lah did dah Gunner Graham that’s what that is .... Ooh I liked him from It Ain’t Half Hot Mum. Wasn’t he the one that played the piano, or was he the short one with the nice voice. I forget .. ANYWAY, you also promised me buns. I have never received one bun in payment for my services, iced, teacake or otherwise. When I asked the inte rn whether he had an iced bun he looked at me funny and called me a dirty old woman. Unless you can confirm that I receive one larg e mug of PG Tips or Tetley and some form of baker’s confectionery when I come into your office, you can take your post bag and sho ve it up your … and they are NOT weirdos or idiots, they are the equivalent of my lovely listeners (well if I had my own radio show) … and I like my post sacks to be heaving and stuffed full, idiots or no idiots. I’ll see you next Friday for my next installment … And tell that intern I’ll superskinny-flat-white him next time I see him! Tut.

Dear Matron - I do not believe we have spoken befo friends. However, re. I am new to I’m a total recl this city and ne use and a perver ed to make new t. What should I do? Confused, Hartle pool

Well, well, you are in a tizzy aren’t you? An ago raphobic debauchee? What’ You need to get yourse s the world coming to? lf onto deviantsincupboa What a strange to do. rds.com. They have biann It gets a bit crowded ua l soirees with a small tea but you’ll find all the pe dance once a month. rvy friends you want th Shy?’ section, which is ere. They have a special basically like a cupboard ‘Are You New and within a cupboard, where shakes hello. What they you can stand in full da shake is up to you, dear. rkness and everyone A bit like one of these Oh no not that, this ... I imagine. http://en.wikt http://oldestprof.com/wiki/ ionary.org/wiki/glory_box index.php5/Grope_box, so us know how you get on rry, terrible mistake. Go ! od luck, and do let


THE DIY OR DIE ORGANISATION By the D.O.D.O

C Adams - Peerless Pirates

“The DIY or DIE organisation sound like a ghostly ice-cream van stalking the neighbourhoods of the as yet unwritten Tim Burton animation - Gothic Pop Victoriana”. - Perfect Pop Co-op

ALBUM OUT NOW! http://thedodo.bandcamp.com/

MY FAVOURITE TOY My Rick & Jag

I’ve pulled 2 guitars out of my modest collection. The first is my rather battle scarred Rickenbacker Fireglo’ 330 which I received new years ago as a birthday present. The Jam, early REM and The Smiths got me into these. They have a sound all of their own and whether it’s jangle or attack you’re after it delivers. It’s also extremely comfortable to play with its low action and thin neck. It recently had a cosmetic facelift when I fitted a black scratch plate although I had to spray the truss rod cover black to match as Rickenbacker don’t offer them for sale in effort to combat the counterfeiters. An icon, even though it’s battered to hell. The other guitar is my 1962 pre-CBS Fender Jaguar. It was hanging in a guitar shop window on Denmark Street in London but it was also up for sale on eBay which is where I got it. It has been re-finished in the original colour of Lake Placid Blue but it’s old and stuff is wearing out. It’s not the easiest thing to play because it buzzes like a bastard due to the crappy bridge. Most people swap out these bridges for something a little more user friendly but I’m trying to keep mine original by putting up with the grief. It’s short scale and has an ultra skinny neck but the best thing is that it hardly ever goes out of tune even after a mad one on the trem arm. Bit of an ugly duckling but I love it. © C Adams www.peerlesspirates.com/


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Sound of the Suburbs  

The Recharged Radio magazine in association with The Perfect Pop Co-op