UK blues virtuoso Joanne Shaw Taylor has unveiled a new single and video ahead of her February 2024 UK tour and a much-anticipated new studio album which is also slated for release next year.
Catchy and infectious with a sultry twist and boasting plenty of the guitar maestro’s trademark licks, ‘Wild Love’ follows recent single ‘Black Magic’ in providing a taste of what’s in store for fans when Shaw Taylor releases her brand-new studio album next year.
Joanne Shaw Taylor: “I love this track. I wanted it to be dark and sexy. I think, with the boys’ help, we came up with something really cool that the band in the studio really made come to life. It’s also rather different to anything I’ve done before so I’m really looking forward to playing it live.”
‘Wild Love’ is available to stream via the usual platforms here
2024 UK Tour dates
British blues rock guitarist and singer songwriter Connor Selby has been announced as the special guest on the tour.
Discovered at 16 by Dave Stewart of the Eurythmics, Joanne Shaw Taylor quickly ascended as one of the world’s leading rock guitarists. Championed by legends like Stevie Wonder, Annie Lennox, and Joe Bonamassa, her powerful song writing and distinct vocals first captivated audiences with her 2009 debut, White Sugar. Over the years, Joanne has released numerous acclaimed albums, including the UK Top 20 hit Reckless Heart and the #1 Billboard Blues Chart toppers The Blues Album and Blues From The Heart Live. Her most recent studio album, Nobody’s Fool, launched under Bonamassa’s Journeyman Records in 2022, showcases collaborations with industry icons and highlights her continually evolving artistry.
It’s just been announced that former Bowie stylist and wife of the late Spiders from Mars guitar hero will join the 2024 Lust For Life Tour(Clem Burke, Glen Matlock, Katie Puckrik and Kevin Armstrong). Suzi Ronson will be reading extracts from her her forthcoming book Me and Mr Jones: My Life With David Bowie and the Spiders from Mars – published on 4th April next year.
Me and Mr Jones is described by publishers, Faber as “an electrifying peek behind the curtains during a legendary chapter of pop culture history… from the stylist behind David Bowie’s Ziggy Stardust look.”
“Suzi Ronson was there as Bowie transitioned from suburban folkie to world superstar and genius. Few can offer such insight, and tell this fascinating story with such verve.” Hanif Kureshi
From the synposis:“Suzi Ronson was working in a Beckenham hair salon in the early seventies when Mrs Jones came in for her weekly shampoo and set. After being introduced to her son David and his wife Angie, Suzi finds herself at the Bowies’ bohemian apartment and is soon embroiled in their raucous world.
Having crafted his iconic Ziggy Stardust hairstyle, Suzi becomes the only working woman in David’s touring party and joins the Spiders from Mars as they perform around the globe. Amid the costume blunders, parties and groupies she meets her husband-to-be, Mick Ronson, and together they traverse the absurdities of life in show business, falling in with the likes of Iggy Pop, Bob Dylan and Lou Reed along the way.
Dazzling and intimate, Me and Mr Jones provides not only a unique perspective on one of the most beguiling stars of our time but also a world on the cusp of cultural transformation, charting the highs and lows of life as one of the only women in the room as it happened.”
‘Neighbourhood Threat’ a cover of the classic Iggy Pop song released: 1st December 2023
Following glowing reviews, sold-out venues and many, many fun nights, the all-star line-up celebrating Iggy Pop’s classic Lust For Life album have announced a second UK tour. Legendary Blondie drummer, Clem Burke, will once again be joined by former Sex Pistol and punk pioneer, Glen Matlock on bass; broadcaster and Pet Shop Boys dancer, Katie Puckrik on vocals; Iggy Pop and David Bowie collaborator, Kevin Armstrong on guitar; Luis Correia, who’s toured internationally with Earl Slick on second guitar; together with classical pianist, composer, and touring member of Heaven 17, Florence Sabeva on keyboards.
The band will again perform the Lust For Life album in full, as well as revisiting songs from across the individual band members’ careers with legendary artists including Blondie, David Bowie and the Sex Pistols. Some of them will be songs the band performed on the last tour but there will be a few surprises thrown in as well.
Ahead of the tour, a live version of Iggy’s ‘Neighbourhood Threat’ from the classic Lust For Life album will be released as a single on 1st December, recorded live at London’s Lexington on the previous tour back in March this year.
Fronting the band, the irrepressible Katie Puckrik proved a rock ‘n’ roll revelation to many on the last tour. As Clem Burke said: “Katie is fantastic and she’s joined the ranks of the other brilliant women I’ve been fortunate to play with: Debbie, Annie, Nancy, Wanda, The Go Go’s and Joan!”
Katie Puckrik: “Touring Iggy Pop’s Lust For Life in 2023 felt like a homecoming. My broadcast career had long steered me away from my original calling as a performer, from dancing onstage with The Fall and Michael Clark Company, touring the world with Pet Shop Boys, and singing in Sparks’ opera The Seduction of Ingmar Bergman, both on the original cast recording and in performance. So to embody the funny/dirty/tart/smart songs of the magnificent Iggy Pop was an electrifying rebirth. Every single gig was a communion with a frothing room of Pop-aholics, and it’s thanks to the crowds who danced and hollered along to Lust For Life, The Passenger, and the rest of Iggy’s anthems, that we get to do it all over again. Once again I’ll be elevated by some of Iggy, Bowie and Blondie’s most beloved players, including Clem Burke, Glen Matlock and Kevin Armstrong, and I’m warning you—this band is a joy machine!”
Three of the band members, Glen Matlock, Clem Burke and Kevin Armstrong, have toured with Iggy Pop and each has made an album with him: Glen Matlock (Soldier) in 1980, Clem Burke (Zombie Birdhouse) in 1982 and Kevin Armstrong (Blah Blah Blah) in 1986.
Glen Matlock: “To be on stage with these fellow like-minded guys and gals and celebrate our collective musical ancestries is always a pleasure, so come on down and let’s all hit the roof together.”
Clem Burke:“I’m really looking forward to once again playing with this great group of friends and musicians. All aboard for more Funtime!”
Lust For Life tour – what they say:
“One hell of a gig.” – Tim Keppie, Record Collector magazine
“Puckrik leads a performance of riotous energy and no mean volume.” – Chris Roberts, Classic Rock magazine
“If you’re my generation, this is a blast.” – Neil McCormick, chief music critic – The Telegraph
“Great gig. Great band. Brilliant night.” – Marc Riley, BBC Radio 6 Music presenter
The full 2024 tour dates are as follows:
Wed 28 Feb – Arts Centre, Colchester
Thur 29 Feb – Arts Centre, Colchester **SOLD OUT**
In a new collaboration, the former Traffic musician and all-round rock legend, Dave Mason, has teamed up with blues rock icon, Joe Bonamassa, to record a brand-new version of Traffic’s ‘Dear Mr Fantasy’ which was originally released back in 1967 on the band’s debut album, Mr Fantasy.
Although written by Traffic’s Steve Winwood, Chris Wood and Jim Capaldi, the song has been a mainstay of Mason’s live set throughout his solo career and he’s expressed his delight about re-revisiting the track and in working with Bonamassa for a contemporary take on a seasoned classic.
Dave Mason:“Fantasy has been a favourite song of mine since its release in 1967. I’ve played it live for years in a number of different arrangements. As I’ve often said, there are no old songs, just good songs, and ‘Dear Mr. Fantasy,’ in my mind, is one of the finest examples around.”
“To have the opportunity to incorporate one of the modern-day great guitar players, Joe Bonamassa, is as exciting to me as playing with Jimi Hendrix. He is the first person I wanted to include on this new version of ‘Fantasy.’The combination of talent with great song structure is exhilarating to me, and I knew Joe would play it like nobody else. He has a uniquely keen sense of precise timing, unobstructed by a bluesy groove that’s perfect for this song. He brings everything up, and ‘Dear Mr. Fantasy’ is both classic and current, an exceptionally difficult balance to do but Joe Bonamassa pulled it off powerfully with grace and genius.”
The new version of “Dear Mr. Fantasy” featuring Dave Mason with Joe Bonamassa is available now on all major streaming platforms.
Fans and critics alike hail Rock & Roll Hall of Famer Dave Mason as one of the most talented songwriters and guitarists in the world – which is why he is still performing over 100 shows a year to sold-out crowds. Best known for his soulful voice and unsurpassed guitar playing, Dave founded two bands by the age of 15: The Deep Feeling, and The Hellions. At 18, the Worcester, England native teamed up with Steve Winwood, Jim Capaldi, and Chris Wood to form the legendary band Traffic. At 19, Mason penned the song “Feelin’ Alright.” The rock anthem, first recorded by Traffic and then covered by dozens of other artists (including Joe Cocker), cemented both Dave’s and Traffic’s legacy, and had a profound influence over rock music that continues today.
About Joe Bonamassa:
Blues-rock superstar Joe Bonamassa is one of the most celebrated performing musicians of today. As a three-time GRAMMY-nominated artist and 13x Blues Music Award Nominee (4 wins), he achieved his 27th No. 1 album on the Billboard Blues Chart with his latest release, Blues Deluxe Vol. 2. Only in his mid-40s, Bonamassa has become a living legend with an astounding multi-genre catalog. He has released more than 40 albums, including studio and live recordings, as well as collaborative albums with his adventurous side projects: Black Country Communion and Rock Candy Funk Party.
Led by the New Wave Of British Heavy Metal legend, Barry Graham Purkis (aka Thunderstick), and fronted by the mesmerizing lead vocalist, Raven Blackwing, October 2023 sees the release of a brand-new studio album from Thunderstick. Lockdownwill be the band’s first new studio album since the critically-acclaimed Something Wicked This Way Comes album in 2017.
A collection of fourteen titles playing for one hour and twenty minutes, Lockdown features brand-new material never before released, and includes compositions written by Barry Graham Purkis during the band’s original tenure in the 1980s that only made it to demo stage at the time due to live commitments.
Taken from the album, stage favourite ‘Go Sleep With The Enemy (I Dare Ya)’, was released as a single in August and has been picking up extensive airplay.
Lead singer Raven Blackwing:“I’m very excited about the forthcoming full-length studio album which is my first with the band. I have been working really hard on the live shows and believe that the album tracks present many different facets of my onstage characters. I hope that our fans enjoy meeting them all.”
Thunderstick’s alter ego and creator Barry Graham Purkis adds:“What can I say… I am so pleased that I am able at last to announce that we have new material ready for release. Drum tracks for this album were laid down pre-covid in 2019, so to say it has been a long time coming would be an understatement. I do believe, however, that it has been worth the wait. I regard the new material as some of the strongest that I have recorded. Something that I can thank the many guest appearances for, as well as my live band.”
Read full interview with Barry Graham Purkis here.
Featuring the band’s regular touring line-up of Raven Blackwing (vocals), Pete Pinto and Dave Butters (guitars), Rex Thunderbolt (bass) and the legendary Thunderstick/Barry Graham Purkis (drums), the album also features a number of guest appearances from friends of Purkis, including former Thunderstick guitarists, Dave Kilford and Vinny Konrad; ex-Iron Maiden guitarist, Terry Wapram; Dave John Ross from NWOBHM band, More; and solo heavy metal guitarist, Marius Danielson.
Lockdown is released by Roulette Records on 20th October 2023, in CD format and on all the main digital platforms.
Mixed and mastered BGP/Danielson at Legend Recording Studios, Ålesund, Norway.
Original artwork: Baz Crowcroft
About Thunderstick:
Best known for his time with Samson and an early Iron Maiden Barry Graham Purkis (AKA Thunderstick) has been the legendary icon for the NWOBHM (New Wave Of British Heavy Metal) scene since the late 1970s. His eponymously-named band, renowned for its female-fronted power rock and theatricality, have a considerable heritage. The band played live and recorded for six years, both in UK and in the US, throughout the 1980s until playing their last gig October 1986.
Then in 2016 former lead vocalist, Jodee Valentine, tragically died following a five-year battle with early onset Alzheimer’s. In recognition of Jodee’s memory Barry decided to record some of the songs that Jodee had performed live. This became the Something Wicked This Way Comes album, the first Thunderstick product in over thirty years. It was released in July 2017 to enthusiastic reviews worldwide.
Barry:“Back in 2017 after the ‘Something Wicked’ album was released I had no intention of forming a live performing band or indeed a follow-up studio album but after such positive encouragement from both long- time supporters and new followers alike I realised that there were still an audience of many out there that wanted our particular brand of mayhem. The die was cast. After much deliberation a new Thunderstick was formed staying true to its theatrical roots but still relevant in today’s fast changing-musical environment. I am so lucky to have found the musicians that I now work with especially Raven of whom I consider to be one of the finest rock singers that I have the good fortune to watch and listen to every time we perform. She is the ‘real deal’ both in terms of voice and stagecraft. The next chapter in our story is now ready for the writing.”
A live DVD of the band’s appearance in Lublin, Poland last April is also scheduled for release towards the end of the year.
Kent-based blues rock band, Big River, release their new single ‘Wings’ on 20th October.
Big River vocalist, Adam Barron: “Written by bass player Simon Gardiner, ‘Wings’ has a soulful gospel feel with a country twang. Heartfelt melody and lyrics lead on to an explosive feelgood outro where lead guitarist Damo Fawsett gets to let loose and let his fast fingers fly! It’s been going down a storm live and is fast becoming one of the favourite songs of the set.”
Big River are: Adam Barron (vocals), Damo Fawsett (guitar), Simon Gardiner (bass), Joe Martin (drums/backing vocals).
Formed back in 2016 and influenced by the classic blues-rock sounds of bands like Bad Company and Free, Big River have gone from strength to strength in recent years, building up a solid fanbase through their live gigging, performing at legendary venues like London’s The 100 Club and supporting a number of big-name artists.
The band’s debut album, Redemption, came out in 2019 and was followed up by the four-track EP, Beautiful Trauma, in 2022. The latter was the first with lead vocalist, Adam Barron (ex Mick Ralphs Blues Band), and bass-player, Simon Gardiner, and secured the band enthusiastic reviews and radio play across the UK, Europe and the US. A follow-up EP is scheduled for release in early 2024.
The single ‘Wings’ is released on 20th October on all the main digital platforms.
New Wave Of British Heavy Metal drummer Barry Graham Purkis, his iconic masked alter-ego Thunderstick, and his eponymously named band are set to release a second single from their forthcoming album, Lockdown. With another powerful vocal from vocalist, Raven Blackwing, ‘Snakebite’ is a tale of prima donnas, victim narcissism and manipulation as well as some nifty bottleneck guitar from former Thunderstick guitarist, Dave Kilford.
Thunderstick’s alter ego and creator Barry Graham Purkis says:“ Snakebite…Ah Yes I won’t detail the lyrical content just to say that it depicts prima donnas, narcissism, and the ease of which communicative platforms such as social media can be used to victimise by the propagation of falsities to an all-too-eager responsive audience ready to join in the persecution…I speak from experience!!…Coupled with some rockin’ bottleneck guitar.”
Lead singer Raven Blackwing:“Snakebite was a pure joy to record. Knowing who and what the song was about meant I could easily spit the lyrics (laughter). Although I shall never let on who the real individual might be, I’m sure we can all relate to that one person whose voice really grates on us….”
Release information:
The single ‘Snakebite’ is released on 6th October 2023 by Roulette Records and available on the main digital platforms.
The album Lockdown is released by Roulette Records on 20th October 2023, in CD format and on all the main digital platforms.
Mixed and mastered BGP/Danielson at Legend Recording Studios, Ålesund, Norway.
Original artwork: Baz Crowcroft
About Thunderstick:
Best known for his time with Samson and an early Iron Maiden Barry Graham Purkis (AKA Thunderstick) has been the legendary icon for the NWOBHM (New Wave Of British Heavy Metal) scene since the late 1970s. His eponymously-named band, renowned for its female-fronted power rock and theatricality, have a considerable heritage. The band played live and recorded for six years, both in UK and in the US, throughout the 1980s until playing their last gig October 1986.
Then in 2016 former lead vocalist, Jodee Valentine, tragically died following a five-year battle with early onset Alzheimer’s. In recognition of Jodee’s memory Barry decided to record some of the songs that Jodee had performed live. This became the Something Wicked This Way Comes album, the first Thunderstick product in over thirty years. It was released in July 2017 to enthusiastic reviews worldwide.
Barry:“Back in 2017 after the ‘Something Wicked’ album was released I had no intention of forming a live performing band or indeed a follow-up studio album but after such positive encouragement from both long- time supporters and new followers alike I realised that there were still an audience of many out there that wanted our particular brand of mayhem. The die was cast. After much deliberation a new Thunderstick was formed staying true to its theatrical roots but still relevant in today’s fast changing-musical environment. I am so lucky to have found the musicians that I now work with especially Raven of whom I consider to be one of the finest rock singers that I have the good fortune to watch and listen to every time we perform. She is the ‘real deal’ both in terms of voice and stagecraft. The next chapter in our story is now ready for the writing.”
Read in-depth interview with Barry Graham Purkis here
A live DVD of the band’s appearance in Lublin, Poland last April is also scheduled for release towards the end of the year.
Following their well-received debut single (’Why Do You?’) which has picked up extensive radio play and attracted the attention of devotees of both classic rock and folk, Parkbridge are set to release a second single from their forthcoming album.
‘Changing My Number’ is released on all the main digital platforms on 29th September 2023.
Robert Carter, guitarist and vocalist, explains:“One wet Saturday morning during the Covid Lockdowns I was in the kitchen with the intention of preparing breakfast. My phone is usually set to ‘do not disturb’ before ten o’clock at the weekends and this was no exception. I think the phone scamming industry must know this because before ten thirty, and before I’d had a chance to set the table, I had received three calls, one claiming I owed the inland revenue for tax evasion, one for energy efficiency and the other was just an abusive twit. Jody heard me shouting in despair and when she enquired as to the cause of my angst I simply replied, I’m ‘Changing My Number’. Within an hour and with breakfast still nowhere in sight I’d drafted the words, structure and melody to the song. A few tweaks later and it was ready for a public appearance.”
Coming together through a shared love of classic rock, folk rock and blues, bands like Led Zeppelin, Pink Floyd, Fairport Convention and Free, Parkbridge is a four-piece from Greater Manchester. Formed in 2022, all four members had cut their teeth playing in local bands for many years. But after some informal jam sessions working on songs that had been written by vocalist and guitarist, Robert Carter, Parkbridge rapidly evolved into the fully-fledged band it is today. After a series of well-received live gigs, work soon began on putting together the band’s debut album.
Parkbridge is: Robert Carter (guitar, vocals), Sean Dyer (lead guitar), Ian Turford (bass) and Dave Johnson (drums). The name comes from the area of Park Bridge on the outskirts of Ashton-under-Lyne in Greater Manchester, where the band was originally formed. The area of Park Bridge was founded during the industrial revolution and for nearly two hundred years the village was home to the famous Park Bridge Ironworks. This local foundry provided essential components for a number of the world’s great engineering projects, giving the band not only its name but the inspiration for the title of its debut album, too.
“If you ever go to Paris, in the museum at the Eiffel Tower there is an inscription that says “Rivets made by the Park Bridge Iron Foundry, Ashton-under-Lyne” and so Rivets For The Eiffel Tower became the obvious name for our first album,” says frontman and vocalist/guitarist, Robert Carter.
Rivets For The Eiffel Tower is produced by Buzz Hawkins at Hawkins Studios 215 in Mossley. The album is a collection of eight original tracks – a mix of acoustic, rock, folk-rock and blues.
Commenting on the album, Robert Carter adds:“I have long had an ambition to release an album of music containing songs that I’ve written. Thanks to the guys in Parkbridge, that dream is about to become a reality. All three are great musicians and it’s a privilege for me to work with them. There’s a couple of songs of what you would call folk rock. There’s a couple that are classic rock in style. There’s a couple that could be classed as indie rock and there’s a couple of blues songs. We’re probably a little different to most of the newish rock bands you hear these days. We try and be melodic. We try and tell a story in the lyrics. We try and offer something different. So if you’re into that classic rock sound with style, have a listen and tell us what you think!”
The single ‘Changing My Number’ is released on 29th September 2023 via all the main digital platforms.
Rivets For The Eiffel Tower will go on general release in October 2023 with a limited-edition CD available from 18th August.
Kevin Armstrong has played alongside icons like David Bowie, Iggy Pop, Thomas Dolby, Sinéad O’Connor and many others. We catch up to talk about his forthcoming autobiography Absolute Beginner which comes out on 17th October; as well as the Lust For Life project which has brought together the likes of Clem Burke, Glen Matlock and Katie Puckrik to celebrate the classic Iggy album; plus our mutual love of the live music scene down here in Hastings.
When did the idea for the autobiography first come about? Was it a covid lockdown project for you or did it begin well before that?
No, it began well before that. It was after David Bowie died. Because I was in the middle of my late-blossoming run with Iggy Pop in 2014-19. I was like two years into that and I was half-expecting to see Bowie again at some point. I hadn’t seen him for twenty years but I was half-expecting to see him again just because him and Iggy are good friends and he would quite likely turn up in the old days back-stage and come and visit us or take us out for a meal or whatever. So I did expect to see him again. When he died, it was quite a shocker and so at that point I thought, well it’s time to tell the story now. I’m back with Iggy for a second time, David’s just died and these are giants of music and it just made me think, well they’re all disappearing and soon I’ll be disappearing so we might as well tell the story.
Was it part of a mourning process for you then, as a sort of personal thing as well?
Not really. It was more of a kick up the arse. It was more saying, well if ever you’re going to write this story – obviously I’d thought about it in the past – then I just thought, well now’s the right time to start it. I didn’t know where it would go. I didn’t really think about, “Oh this is definitely going to be a book and I’m going to put it out.” It wasn’t that. It was more or less, I’ve just got to write this down now and chronicle it, even if it’s just for myself. So I started writing and because I was on the road with Iggy a lot at that time, that gives you a lot of downtime. Sitting in the back of cars, or in an aeroplane or in a hotel waiting or whatever. There’s a lot of spare time if you like so I used that time. I just carried a laptop with me and started writing. And just carried on.
So it’s definitely been more about writing than partying on tour these days?
Oh it hasn’t been partying for years, to be honest. I mean, you know it used to be groupies in the back of the bus and taking your own weight in drugs every day – but that stopped a very long time ago. These days, the more civilised and professional outfits – even Iggy Pop – it’s more bottles of Perrier and laptops.
In spite of sharing a rehearsal studio with the Sex Pistols, you are quite candid in the book about not really getting punk, musically, when it came along. Obviously, your first love was the older bands like Zepelin and Purple but then you seemed to slot into the world of post-punk extremely well?
Well, I think we all had to sink or swim at that point. I was a musician before my contemporaries at that time. So when punk came along – I’m sure a lot of musicians felt the same – it was like “Oh, what’s this? We’re supposed to unlearn everything we’ve learned? Or pretend we don’t know stuff.” Because it’s not cool to know the difference between a major and a minor chord even. So I guess I fell into that as a means of survival really. And then, of course, your taste develops over your life, doesn’t it? Things you might have dismissed earlier on in life, you sort of get them later on and you think, “Oh yeah, I know what that’s about…” And that doesn’t always happen at a time that’s useful to you but it’s what happened to me. And then during the post-punk phase, I think clearly it became, with the more sophisticated American bands coming through – your Blondies and your Televisions – it became less de rigueur to know absolutely nothing about music. Because if you were in the Talking Heads you had to know one end of an instrument from the other. Whereas if you were in Slaughter & The Dogs you sort of didn’t.
There’s a passage in the book that you describe as the pivotal moment in your life where you had been booked in to do a session with a mystery big-name artist in early 1985. When you got that call had you any thoughts on who it might be when you were first asked?
Yeah, Bowie was on the list. I can’t remember who else we thought it might be but Bowie was on the list because there was a rumour. I don’t know maybe it was just a hope or something. But there wasn’t a lot of time to talk to anyone about it because I wasn’t super-aware who was going to be there among the other band members either. I think I knew Matthew Seligman was going to be there, the bass-player, because we were always in touch. But the others I didn’t really know them that well so the only discussion about it was for the twenty minutes before it happened. In the studio itself, where we said, “Who do you think is coming? Who is it?” So Bowie was one of the names that came up.
So that turned out to be the make-or-break career moment for you, as you describe in the book, and a lot of things flowed from that?
Well it would do, wouldn’t it? I mean once you’ve had an opportunity like that to play with someone like that, people notice. And so it opened a lot of doors for me, of course it did. And I think it’s done that for almost everyone who’s ever played with Bowie for any length of time. Immediately, your kudos goes up. Your bankability. Your whole level of class goes up. “Oh, that guy played with Bowie.” It just becomes a badge of excellence wherever you go.
And he was always very aware of that, wasn’t he? And tried to use it in a positive way.
I think he was. Actually, the whole thing I go into in the book about, him using all that time, the precious seconds of his set at Live Aid to introduce the band by name. That was his way of understanding that. He knew. We weren’t getting paid for it but that’s hardly the point. The point was he wanted to actually say our names on that stage which was typically empathetic of him in a way. He understood that.
In the book you talk about the diverse range of artists you’ve toured or recorded with. For you as a guitarist, which have been the most satisfying, artistically, to work with?
Oh, that’s an interesting question. I did enjoy working with Morrissey very much because at that time in my path as a musician… it was just one of those stepping stones where I developed as a guitar-player, working for him. And I’ve always enjoyed working with those artists that stretch me as a musician. Sometimes they stretch you as a performer, you know. Like Iggy Pop, for instance. There’s a certain level of aggression and emotional focus you need to play, even though the music’s quite simple. But I have enjoyed working with the more sophisticated musical artists where I’ve really learnt something or had to stretch. I’ve said yes to it at the beginning and then realised, woah! I’m a little bit out of my depth. So Prefab Sprout would come into that category, as would Thomas Dolby, actually. Things where you come out the other end feeling, “Ah, I’m a bit smarter. I’ve learnt something here.”
Morrissey was the same because I actually got to write a few songs with Morrissey and I was there right from the start – it wasn’t like a “Come in and do an overdub” to something that was already happening. It was right in from the ground, writing, and making the records. So my guitar-playing took a definite leap forward with that because I was conscious of the fact that being ‘Morrissey’s guitarist’ you’ve got Johnny Marr as a bench-mark and you’d better do something that’s good. And so I’m quite pleased with the work I did with Morrissey from that point of view. And Thomas Dolby the same. Because he’s a keyboard-player and because he uses chords that aren’t in the book, you have to know your stuff and you have to learn what he’s doing. And sometimes he’d write guitar parts as well but he’d write them on a keyboard with a sequencer or something and then I’d have to translate them and make them guitaristic or make them even playable on a guitar – which was a big challenge. And lots of people still say, “Oh, I love your guitar part on this.” And actually it was Thomas’s but I learnt to play it and made it my own.
And so the most rewarding creatively aren’t necessarily the most high profile or the most lucrative?
No, not really. It depends how you judge things doesn’t it? I mean, I’ve never thought of it in that way. “I’ve got to work with famous people or people where you earn the most money.” It’s always, from a musician point of view, about how to please yourself in a way and how to bring something that’s like how to really enjoy what you’re doing. And sometimes that can be the most obscure artists. For eleven years I had a studio in Portobello Road and all manner of people came through there. And some of them were completely obscure but some of the best music I’ve ever made is on those tapes.
Kevin at Whelan’s, Dublin – photo credit: Ian McDonnell
And let’s just talk a little bit about Iggy Pop. Obviously, working with David Bowie opened doors for working with Iggy on the Blah Blah Blah album – which I bought at the time it came out. And then you had a second stint with Iggy. In the book you talk about your differences in approach between the first and the second stint. Clearly, there was a certain amount of growing up along the way?
Well, it was a big gap. I stopped working with Iggy for the first time in 1986 and I didn’t get to work with him again until 2014 – so go figure! You’re a changed person by that time and I definitely didn’t know very much about my craft as a sideman in the beginning because that started with Bowie and then it went on into Iggy and became a bit of a rollercoaster. But I didn’t have any preparation or run-up to that. I wasn’t trying to be that. I was trying to be an artist before that and I just got bounced into that world. So the first time around with Iggy, I’d always thought during the intervening years, “Oh, my goodness. That was so great what we did but it could have been so much better with what I know now.” Because I didn’t really know – I was kind of as green as a cabbage then. And so getting the call in 2014 was a massive great opportunity to revisit some of that work. And we’re even playing some of the same songs and this time really use all the intervening experience to make it great. And I think we got half-way there! I never think I get more than anywhere more than halfway to what’s in my head – but we did some pretty good stuff.
You seem a little bit disappointed in the book that it came to an end because of Covid in a fairly low-key way rather than a big triumphant stadium gig somewhere?
That happened to lots of people! It happened to my son who was at school and then his school career just sort of fizzled out – with online lessons and no hoo-hah at the end of it. So I felt a little bit like that. It was a little bit of a victim of the pandemic. And Brexit, also, it has to be said. Because we used to be able to travel Europe-wide with no extra paperwork and even using our own equipment and driving it all around door-to-door anywhere in Europe, it was all fine. And then that all stopped and then when Iggy did this project with a French band for what was going to be a side-project – we were even saying, “Yeah we’re back in the saddle in a couple of months lads and here we go and all the rest of it.” And I was even talking to him directly about the changes to the set and all this stuff. And then it made sense, once they’d figured it out, for the French band to carry on as the Iggy band. Because they could travel freely and it was cheaper for them and there they were! I’m still in touch with Iggy – not on a very regular basis but we still have email traffic backwards and forwards and talk to each and it’s very pleasant – but it’s a bit of a shame, yeah, the way it finished. I thought we should have gone out n a blaze of glory rather than a rather desultory gig in a theme park in Budapest in 2019.
Kevin with Iggy – photo credit: Paul MCAlpine
Although you did end up still performing those songs and celebrating Iggy in quite a different way?
As you well know! Because of the great work you’ve done on the Lust For Life tour. Our friend Tom Wilcox had the idea to do a tribute thing with some ex-Iggy members so we’ve assembled Clem Burke and Glen Matlock and the excellent Katie Puckrik – who’s been a revelation to us all – singing. So we are doing that again in March 2024 and I’m looking forward to that. I even got a message from Iggy. I sent him a couple of clips of the band playing and he said, “You guys sound great!”
Lust For Life Tour – Photo credit: John Scott
Were you pleasantly surprised by the response that the Lust For Life tour got?
I definitely was, yeah. Because, as you and I know, Tom Wilcox has these amazing concepts of bands that he’d like to see put together. And some of them work and some of them go on to have a bit of a life and other ones just crash into the dust – however good they are. I recall the one we did with Richard Strange, and Lou Reed material, which I thought was very, very good but only a very few people came to sees it. But this one caught fire. Which is good really because it was originally billed, as you know, around Tony Sales – the Tin Machine bass-player and early Iggy bass-player. It was built around him and even all the merchandise had his name on and everything. And then he couldn’t make it for sort of administrative reasons so that whole tour was hanging by a thread.
It almost came to a sticky end…
It almost came to a sticky end. I had a Zoom call with Clem Burke and Tom and Katie going, “Well, what we going to do?” We’d lost the principal guy who was selling tickets and we lost a Japan trip over it. And then I thought, hang on let’s call Glen Matlock. And luckily he didn’t say no! And him and Clem had been working in Blondie, as you know, so it was brilliant. And Glen was the only person on the planet who could have filled that seat in the right way, having the Iggy connection and being a name himself. So it took off and I was very pleased with it.
And although Glen didn’t play on the Lust For Life album he’s obviously much better known in this country anyway.
Yes, he had played for Iggy. He’s played in Iggy’s band. They know each other so all of us have that connection with the music and I was so pleased with Iggy’s reaction to the band and the crowds who came as well. They really seemed to love it.
The Lust For Life band sets out on tour again in 2024
Any my final question is more of a local one really. Like a good number of musicians of a certain vintage you ended up moving from London to Hastings. Was the local music scene down here part of the attraction or was that mainly just a happy coincidence?
A bit of both really because I knew a number of musicians who were from down here so I played with Russell Field and Blair MacKichan and Liam Genockey. So I knew there was a bit of a scene down here but I was quite surprised when we moved down here and realised quite how vibrant it is. It’s actually much more active than the London area I was working in, where obviously I had my professional friends and network of people. But down here there really is a burgeoning music scene encompassing everything from young original artists to cover bands and veteran rockers and legends and all that. So there seems to be a massive culture of music in Hastings and that’s thrilling to me. It’s brilliant. I’ve been down here ten years now and it’s really in my bones now.
Yes! I’ve been here seven now and it was definitely part of the attraction for me was being able to see so many bands.
Yeah, I’ve even seen James Hunter playing in the Albion. Or you can see Liane Caroll playing for free in the wine bar in the town – it’s just great.
Photo: Darren Johnson
Fantastic! Is there anything else you want to tell us?
Just that the physical copies of the book are out in October. It’s available for pre-order on Amazon. I’m doing two little book launch events. One will be on 15th October at the Kino (St Leonards) and that will be canapes, wine, a bit of singing, a bit of meet and greet. And I think there’s quite exciting news of one coming in the next few days in Heddon Street which, of course, is the place of Ziggy fans / Bowie fans pilgrimage. And there’s a place called Ziggy’s which is relocating to the very building where that photograph was taken in front of that building. And I believe they want me to do a launch there.
And, of course, anybody can contact me through my website and get signed copies or come and meet at an event.
Also, probably worth mentioning we’re doing the Lust For Life Tour in March next year and I’m part of the Bowie convention in Liverpool in July next year as well so I look forward to meeting people there.
‘Bikini Vision’ is the debut single from New York-based neo-glam band, Dream Pony, who recently got in touch saying:
“We stumbled on your blog because you’ve covered a lot bands we dig.”
I get an awful lot of emails like this, of course, but as soon as I played the video I was immediately drawn to that heady blend of garage rock meets glammed-up New York punk meets timeless pop. They rightly surmised that they’d be the perfect fit for Darren’s Music Blog so we here we are. They are not wrong.
Dream Pony: “Dream Pony draw on cinematic themes and are rooted in the poetic condition of the everyday.”
“Bikini Vision is a fuzzed out beach pop anthem celebrating personal expression and body appreciation. This recording takes us on a ride through Brooklyn on hot Summers day. Songwriter D’Arsie paints a picture of a character in search of an escape from the heat and the ensuing delirium, blissfully in love with life and able to see beauty in everyone and everything. Bikini Vision has both crisp, blown out guitars, killer drum fills driving bass, swirling organs and cruisy backing vocals. Somewhat equal parts Iggy Pop sarcasm and Rowland S Howard irony.”
Dream Pony were formed in late 2022 by singer-songwriter and poet Jordan D’Arsie (from NYC proto-punk combo Women of the Night) and Aaron Mika (from the band Televisionaries). The pair were then joined by Supremo Massiv on bass, from another NYC outfit Revel in Dimes.
Darren's music blog 