Posted via email from Dogmeat
August 2, 2010
Do ya like to read the odd-funny Wreckless Eric Midwestern Road Story? 16 September 2008
Just as I'd become convinced that the United States was really one big Essex it turned into a bumper sized version of Lincolnshire. Now it's mutated into a slightly more stodgy Hertfordshire. We had a beyond bland dining experience in a Cracker Barrel in Louisiana yesterday - fried chicken breast and side dishes of vegetables in varying shades of beige. The chicken was encased in some sort of fibre glass version of batter which meant that they could take random bits of chicken and the casing would sort of hold it all together in a vaguely chicken breast shape. The Cracker Barrel was like one of those farm shops you find on the A17 in Lincolnshire. It had farm implements hanging off the ceiling and the place was cluttered with factory-made interesting old things. Everythin had a barcode, everything was for sale.
It seems to me that America is forever trying to recreate it's recent past in glass fibre, plastic and particle board. Yesterday, having played in Austin, we were obliged to drive through the night because the hotels were full of hurricane evacuees. We got to Shreveport in the late morning and booked into a Casino hotel. Shreveport is all Casino hotels - Casinos and loan places. We got a great big luxury room with a kingsize bed that was almost double the size of a double bed. It was very cheap - they make their money on gambling, the rest of it is just designed to make you feel like a high roller. Neither Amy or myself have any interest in gambling. We strolled round the casino looking at all these glum, desperate people. Occasionally one of them would have a win and they'd set up a half hearted whoop and a holler. Some of the others would vaguely join in. then they'd all slump back into their own private misery.
We had dinner in a plastic brick built railway station from the Great Depression. For no apparent reason there was a stage coach hanging off the ceiling. We had a table under an overhanging canopy. Above us were balconies stacked with the luggage of the dear departed from a century ago. We had gumbo and shrimps and stuff and it taste very much like the real thing.
The hotel staff were all black - African Americans as they're called now. I love the black people I meet in America, we always seem to get on together. They're much more open, much less uptight than a lot of the white people - Jellyfish Americans as I believe they're now called.
I can see how America breaks bands that try to tour it - the bands that try to break America and fail. Touring here is hard. The distances are huge and a lot of the venues have joined the industry. Some take a professional pride - they don't perhaps give a flying fuck about you personally but they'll make every effort to ensure that the show goes off without a hitch. Others really don't give a fuck. Nobody compliments you or tells you anything that would help to make you feel less insecure - you're on your own, buddy.
PA systems don't work properly, house engineers mix you too quietly because they feel like giving their ears a night off. Some engineers are so fucking lazy that they can't be bothered to waddle the distance from the board out front to the stage to actually listen to the monitors with their own ears. That's usually in clubs where nothing works properly and just being in there for more than five minutes is enough to bring you out in a rash.
Thee Parkside in San Francisco is a bit like this. Last time we played there a young girl did the sound - she actually did a great job even though she arrived an hour and a half late and the monitor speakers were all but blown. This time we had a guy who could have got off a care in the community bus. He was willing enough and he kept calling me Sir. Every time I asked for something he said yessir, yessir, and bowed subserviently. He seemed to think we were a country 'n' western band - he said we'd be OK with him because his speciality was twang. I said ours was bass and that threw him through a loop, I could tell by the slight twitch.
The monitors hardly worked, just like last time. Apparently there's no money to repair them. We didn't break the percentage due to unspecified costs. I hope some of these costs go to repairing the equipment. We didn't have a bad time but some of the people, the ones who probably thought we'd be a Dead Kennedys tribute or something, got on our nerves. Mostly the audience were lovely. I hope we can play in San Francisco again soon but at a diferent venue.
At Merced in the middle of California we came across a notable exception. Jeff the soundman there did a great job. Sadly there were only twenty eight people. But those twenty eight loved us thanks in part to Jeff. And I should say that the Bumbershoot crew were good too. In fact I'm probably going to back track completely on most of what I've just said because thinking about it just about everywhere we've played is a notable exception.
At the Cinema Bar in Los Angeles I thought I made a fine job of the sound myself with no time for a real soundcheck. Even though some drunken arsehole at the back demanded in a stentorian voice that we TURN THE GUITARS DOWN - WE CAME TO HEAR YOU. Well, really - I pointed out that Amy was standing behind a yard of American plywood with strings on it, whacking the hell out of it, and so was I, so what the fuck did he think he was hearing if it wasn't us, expressing ourselves.
There was a cunt sitting right in front of me who suggested in quite an aggressive manner that we do more of Amy's songs - how about Beer And Kisses, or what about Give The Drummer Some? That ought to work well with that computer beatbox thing. The subtext read stop fucking about with that talentless English git and play some quality music.
I didn't like him and he didn't like me, I could tell. He was middle-aged - he wore a baseball cap perched on top of his fat pink head, a loose white t-shirt, tight shorts and luckilly one of those black banana bag things that men like that wear to keep their hemorrhoid cream in. I say luckilly because at least that way we couldn't see an escaped testicle.
I think he was the inspiration for my Campaign For Better Dressed Men. I'm not sure quite how we're going to campaign yet, except by wearing trousers and real shoes but I'm sure tailoring and a bit of work with a steam iron will find a way.
Anyway, as I was saying, touring America can wear you down - it's scary. We landed up in Kansas City. I thought, what the fuck am I doing playing in Kansas City? I remember Doctor Feelgood coming home from their only US tour with tales of opening for Gentle Giant in Kansas City and it not making any sense at all.
The club we were at was called Knuckleheads. It could have been put there for the tourists except that no tourists would come to this area of town. It on the wrong side of the tracks but there were so many tracks it'd be hard to say which tracks it was on the wrong side of - the place is surrounded by railroad tracks. It appears to be in the middle of a freight yard.
Knuckleheads is a genuine juke joint in a poor area of town. It looks like the bar in The Blues Brother where they play both types of music, Country and Western. I was looking for the chicken wire grill in front of the stage and for a moment I was almost terrified. But everyone was really kind and we set up the gear and soundchecked, had something to eat and bonded with the soundman and owner over stories of John Mayall and what an arsehole he is.
The set went over great. When we got to the break in Another Drive-in Saturday a passing freight train sounded its horn/whistel/siren thing - you know the noise. It was exactly on key, sounding like a deranged orchestra. There were no more than fifty people but for a Tuesday night in Kansas City we took that as a great success and so did the owner - he wants us to come back and do a weekend show. I never thought there'd be anyone interested in us in the middle of America. I assumed they were all redneck rock fans and Foreigner ruled the airwaves. It seems I was wrong.
Before we went to the hotel - best hotel of the tour by the way - we had a junk food excursion at the Waffle House. As we walked in Sweet Home Alabama came on the jukebox. The place was cluttered up with neighbourhood badhats. It was trashy and we felt right at home. We had waffles with maple syrup.
25 September 2008
We're somewhere in Virginia at the moment. Yesterday morning we were in Pittsburgh. Last night we were in Trenton near Philladelphia. Tonight we're playing in Vienna - not the one in Austria, this one's near Washington DC though nothing would surprise me. The weekend before last we were in Texas dodging the hurricane. I can't remember where we were this weekend though I know it was utterly memorable. I remember - Chapel Hill, North Carolina - how could I forget? Allison brought us some chocolate chip muffins and I nearly blew up Peter Holsapple's amp which he kindly lent to me even though he knew I was going to plug my bass guitar into it. He told Amy afterwards, 'It's OK, I always knew Eric was a volume merchant...'
1 Never say ‘cheers’ or ‘yeah,cheers’ at the end of a song.
2 Never, ever address the audience as ‘you guys’.
3 Never tell the audience about the boring stuff you got up to on the tour bus -
I don’t want to hear that stuff - a band should always strive to give the impression that they arrived in a space craft. Unless they’re a blues band, and then I want to know that they arrived in a Bedford van having spent the night in a lay-by, sleeping in ex-army sleeping bags on top of the amplifiers. The only band I've ever witnessed transgressing rule number three was a Brighton band called The Electric Soft Parade. Their frontman said yeah cheers so often I lost count. The Electric Soft Parade weren't very good. The Dykeenies were but the singer said cheers after the first three numbers so I gave up. Actually that’s not quite true - I was getting cold and I had to go and get organised for my cameo appearance.
I don't know what to say about The Proclaimers shows without sounding corny, trite or bland. Someone who isn't reading this carefully might leave under the impression that I'm using those adjectives to describe The Proclaimers but I'm not - they could never be any of those. So I have to resort to fabulous, fantastic, they went out with a bang etc...
I've probably said it all already anyway. Erika Nockalls played the violin on Sunshine On Leith wearing a green satin frock. I played my green Microfret guitar on Whole Wide World. So there was a bit of colour co-ordination - a matching his 'n' hers Eric section.
Anyway, they were talking about getting together to record a new album beginning next March. I can hardly wait.
There's loads more to talk about but if I start on that I'll get bogged down in it so I think I'll stop now and put this on the site without finishing it off...
Posted via email from Dogmeat
About: Stiff Records
Stiff Records is a record label created in London in 1976 by entrepreneurs Dave Robinson and Andrew Jakeman, and active until 1985. It was reactivated in 2007. Established at the outset of the punk rock boom, Stiff Records signed pub rock acts and marketed them as punk and New Wave, including Nick Lowe, Wreckless Eric, Elvis Costello and Ian Dury. The label's marketing and advertising was often provocative and witty. Stiff billed itself as "The World's Most Flexible Record Label".
Property Value dbpedia-owl:abstract
- Stiff Records is a record label created in London in 1976 by entrepreneurs Dave Robinson and Andrew Jakeman, and active until 1985. It was reactivated in 2007. Established at the outset of the punk rock boom, Stiff Records signed pub rock acts and marketed them as punk and New Wave, including Nick Lowe, Wreckless Eric, Elvis Costello and Ian Dury. The label's marketing and advertising was often provocative and witty. Stiff billed itself as "The World's Most Flexible Record Label". Other slogans were "We came. We saw. We left. ", "If It Ain't Stiff, It Ain't Worth a Fuck", and "When You Kill Time, You Murder Success" (printed on promotional wall clocks). On the label of Stiff's sampler compilation Heroes & Cowards was printed: "In '78 everyone born in '45 will be 33-1/3". A very early Stiff sampler album, A Bunch of Stiff Records, introduced the slogan, "If they're dead, we'll sign them" and "Undertakers to the Industry". A member of the group was Mrs Radbourne, who was one of the bigger stiffies. Stiff also produced eccentric but highly effective promotional campaigns, such as the three package tours in 1977, 1978 and 1980, Elvis Costello's "busking outside CBS Records" arrest and the 12 different wallpaper sleeves printed for Ian Dury's second album, Do It Yourself, with associated unscheduled makeovers of unsuspecting record shops. Barney Bubbles was responsible for much of the graphic art associated with the early Stiff releases.
- Stiff (engl. steif, starr, unbeweglich, Leichnam, prüder Mensch) war eins der bekanntesten und erfolgreichsten britischen Independent Labels der Punk-Wave-Ska-Ära. “If it ain’t stiff it ain’t worth a f**k“ war einer der Werbesprüche der Plattenfirma für ihre Produkte – auf deutsch etwa “Wenn es kein Stiff ist, ist es fürn A*sch. ”
- La Stiff Records, fu una etichetta discografica creata nel 1975 a Londra.
- Stiff Records est un label indépendant de rock fondé à Londres en 1976 par Dave Robinson et Jake Riviera. Dissous en 1985, le label fut réactivé en 2007. Surfant la nouvelle vague punk qui a déferlé sur le Royaume-Uni au moment de son lancement, il a publié de nombreux artistes de punk rock et de pub rock mais aussi d'autres artistes qui seront associés au mouvement new wave, comme Elvis Costello ou Ian Dury. Ce « rebelle parmi les labels discographiques britanniques » est considéré comme l'un des « responsables de l'avènement des révolutions punk et new wave de la fin des années 1970 ».
- Stiff Records is een platenlabel dat in 1976 in Londen werd opgericht door Dave Robinson en Andrew Jakeman (ook bekend als Jake Riviera). Het label was actief tot 1985. De oprichting van het label viel samen met de opkomst van de punk rock. Stiff Records tekende verschillende pubrock bands en artiesten die vervolgens als punk en new wave door het label werden gepromoot. Tot die artiesten behoorden Nick Lowe, Elvis Costello en Ian Dury. Stiff Records maakte veel gebruik van provocatieve en geestige marketing en reclame, waarbij het label zichzelf betitelde als "The World's Most Flexible Record Label" ("Het meest flexibele platenlabel"). Het label bracht verder muziek uit van onder meer: Madness Motörhead The Pogues Tracey Ullman The Belle Stars Devo The Damned Ian Dury and the Blockheads Dave Edmunds Jona Lewie Lene Lovich Kirsty MacColl Yello
- Stiff Records er et engelsk plateselskap som eksisterte mellom 1976 og 1986, men som i følge det som sies å være selskapets nettside skal begynne å gi ut plater igjen. Selskapets utgivelser har først og fremst konsentrert seg rundt undergrunnsstjerner. Blant artistene som er gitt ut på selskapet kan nevnes Elvis Costello, Madness, Ian Dury, Tracey Ullmann, The Damned, Lene Lovich og The Pogues, men selskapet har også laget enkeltutgivelser med artister som Gary Glitter og Motörhead, selv om sistnevnte aldri ble gitt ut. Selskapets første utgivelse var Nick Lowes singel «So it goes», og selskapet trakk raskt til seg kjente navn, samtidig som mye også ble brukt på å gi ut mindre kjente musikere. Selskapet var også kjent for fantasifulle omslag. I 1978 ble selskapet splittet ved at den ene grunnleggeren, Jake Riviera stiftet Radar Records og tok med seg Costello og Lowe til det nye selskapet. Signeringen av Madness i 1979 gjorde imidlertid at selskapet raskt kom seg på beina igjen. Dårlig økonomistyring og nye musikktrender førte imidlertid til at selskapet i 1984 ble solgt til Island Records, hvorpå blant andre Madness forlot selskapet. Det ble ingen suksess for Island, og i 1986 ble selskapet tilbakeført til grunnlegger Dave Robinson. Det skulle imidlertid bare ta måneder før selskapet var historie. Nylig har imidlertid en nettside som hevder å representere Stiff Records sagt at de vil starte opp Stiff Records igjen.
- Stiff Records var ett brittiskt skivbolag som startades i London 1976 av Jake Riviera och Dave Robinson och som var verksamt fram till 1985. Stiff startades samtidigt som punkrocken höll på att slå igenom, och bolaget signade artister som Nick Lowe, Elvis Costello och Ian Dury, och marknadsförde deras musik som punk eller new wave. Bolagets marknadsföring och reklamkampanjer var ofta provocerande och/eller humoristisk. Några av Stiffs många slogans var "The World's Most Flexible Record Label", "We came. We saw. We left. ", "If It Ain't Stiff, It Ain't Worth a Fuck" och "When You Kill Time, You Murder Success" (det senare trycktes på väggklockor som gavs bort i reklamsyfte). På framsidan av Stiffs samplingsalbum A Bunch of Stiff Records fanns slagorden "If they're dead, we'll sign them" och "Undertakers to the Industry". Stiff blev också känt för sina excentriska men effektiva reklamkampanjer, som Stiffs Live, två turneringar som ägde rum 1977 respektive 1978, där de flesta av bolagets artister deltog och där framträdandena gjordes varje natt under olika tider; arresteringen av Elvis Costello under hans spelning utanför konkurrenten CBS Records kontorsbyggnad och de 12 olika tapetaffischer som trycktes upp för Ian Durys andra album, Do It Yourself, vilket ledde till ett drastiskt ändrat utseende för en rad skivaffärer runt om i Storbritannien (naturligtvis utan ägarens vetskap). Barney Bubbles gjorde många av Stiffs tidiga skivomslag och affischer.
- Stiff Records — независимая звукозаписывающая компания, образованная в Лондоне в 1976 году антрепренерами Дэйвом Робинсоном и Эндрю Джекманом (известным также как Джейк Ривьера) при финансовой поддержке Ли Брилло из Dr. Feelgood, который одолжил им 400 фунтов стерлингов. Дебютным релизом лейбла стал сингл So It Goes Ника Лоу, вышедший 14 августа 1976 года. К 1980 году британский бюджет компании составлял 3,5 миллиона фунтов. Stiff Records просуществовали до 1985 года, когда, после неудачной попытки перейти под крыло Island Records, были перепроданы ZTT Records. Компания считается «колыбелью британского панк-рока» (в качестве таковой прославилась двумя массированными промо-турами в 1977 и 1978 годах), но в действительности выпускала пластинки исполнителей широкого стилистического спектра.
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- Stiff (engl. steif, starr, unbeweglich, Leichnam, prüder Mensch) war eins der bekanntesten und erfolgreichsten britischen Independent Labels der Punk-Wave-Ska-Ära. “If it ain’t stiff it ain’t worth a f**k“ war einer der Werbesprüche der Plattenfirma für ihre Produkte – auf deutsch etwa “Wenn es kein Stiff ist, ist es fürn A*sch. ”
- La Stiff Records, fu una etichetta discografica creata nel 1975 a Londra.
- Stiff Records is a record label created in London in 1976 by entrepreneurs Dave Robinson and Andrew Jakeman, and active until 1985. It was reactivated in 2007. Established at the outset of the punk rock boom, Stiff Records signed pub rock acts and marketed them as punk and New Wave, including Nick Lowe, Wreckless Eric, Elvis Costello and Ian Dury. The label's marketing and advertising was often provocative and witty. Stiff billed itself as "The World's Most Flexible Record Label".
- Stiff Records est un label indépendant de rock fondé à Londres en 1976 par Dave Robinson et Jake Riviera. Dissous en 1985, le label fut réactivé en 2007. Surfant la nouvelle vague punk qui a déferlé sur le Royaume-Uni au moment de son lancement, il a publié de nombreux artistes de punk rock et de pub rock mais aussi d'autres artistes qui seront associés au mouvement new wave, comme Elvis Costello ou Ian Dury.
- Stiff Records er et engelsk plateselskap som eksisterte mellom 1976 og 1986, men som i følge det som sies å være selskapets nettside skal begynne å gi ut plater igjen. Selskapets utgivelser har først og fremst konsentrert seg rundt undergrunnsstjerner.
- Stiff Records is een platenlabel dat in 1976 in Londen werd opgericht door Dave Robinson en Andrew Jakeman (ook bekend als Jake Riviera). Het label was actief tot 1985. De oprichting van het label viel samen met de opkomst van de punk rock. Stiff Records tekende verschillende pubrock bands en artiesten die vervolgens als punk en new wave door het label werden gepromoot. Tot die artiesten behoorden Nick Lowe, Elvis Costello en Ian Dury.
- Stiff Records — независимая звукозаписывающая компания, образованная в Лондоне в 1976 году антрепренерами Дэйвом Робинсоном и Эндрю Джекманом (известным также как Джейк Ривьера) при финансовой поддержке Ли Брилло из Dr. Feelgood, который одолжил им 400 фунтов стерлингов. Дебютным релизом лейбла стал сингл So It Goes Ника Лоу, вышедший 14 августа 1976 года. К 1980 году британский бюджет компании составлял 3,5 миллиона фунтов.
- Stiff Records var ett brittiskt skivbolag som startades i London 1976 av Jake Riviera och Dave Robinson och som var verksamt fram till 1985. Stiff startades samtidigt som punkrocken höll på att slå igenom, och bolaget signade artister som Nick Lowe, Elvis Costello och Ian Dury, och marknadsförde deras musik som punk eller new wave. Bolagets marknadsföring och reklamkampanjer var ofta provocerande och/eller humoristisk.
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Chris Spedding on Cale Sex Pistols Vibrators Daltrey Eno McCartney Ferry...
http://whatgetsmehot.posterous.com/chris-spedding-on-sex-pistols-vibrators-daltr
limbsandthings1 | July 03, 2010
Chris Spedding (Guitar Jamboree, Motorbikin' Robert Gordon, etc.) sits down for a rare interview (7 min) with French Talk Host, Pierre Ardisson at the famous Belle Epoque Dancehall turned Rock Club turned Punk Boite turned Discoteque, Le Palace in Paris and discusses (in English with French Subtitles) his vast CV of studio sessions, hired gun, one offs and artistic collaborations (of which he notes John Cale and Brian Eno number), and some of which he scarcely recalls.
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