Tony Fox Sales, the legendary bass player from Iggy Pop’s Lust For Life album and David Bowie’s Tin Machine has released a brand-new version of ‘Success’ from Lust For Life. The single is released ahead of a tour to mark forty-five years since the release of the classic album. The all-star line-up on the single features Tony Fox Sales alongside Blondie drummer, Clem Burke; vocalist, broadcaster and Pet Shop Boys dancer, Katie Puckrik; Iggy Pop and David Bowie guitarist, Kevin Armstrong; guitarist, Luis Correia, who’s toured internationally with Earl Slick; and classical pianist, composer, and touring member of Heaven 17, Florence Sabeva.
Tony Fox Sales:“The Lust For Life album as a piece of work itself meant so much to me. To work with David and Iggy in Berlin was the highlight of my career at that point. It was a very creative and inspiring project to work on. It’s been fun for me to revisit ‘Success’ and re-record it with Clem and the others. I’m forty-five years older. I put a different bass track on it and I’m very proud of our new version. It moves. It’s going to be a lot of fun to perform it live. I hope you come and see us. Everybody’s pumped to do this.”
Vocalist, Katie Puckrik, adds:“Out of all the great songs on Lust for Life, ‘Success’ has a tangy little hold on my heart, which is why I wanted it as the single for our project. The glammy swagger of the tune is so damn cocky, but it’s the wit of the lyrics that tickles my pickle. After a tally of the winner’s spoils (a car, a Chinese rug), the line “here comes my face” cracks me up every time I sing it. It’s braggadocio meets neediness, the perfect distillation of the fame game.”
“It was a blast to perform this wry, sly song along with Tony Fox Sales’ thundering, musical bass, Clem Burke’s rhythms-within-rhythms drumming, and Kevin Armstrong’s soaring/slashing guitar. So thanks to some of the coolest musicians in the world—here comes my face.”
The single is available from 16th December on all the main digital platforms.
The same line-up will be touring next year, with a full UK tour alongside dates in Ireland and Japan. On the tour, the band will perform the Lust For Life album in full, as well as revisiting songs from across the individual band members’ careers with legendary artists such as Blondie and David Bowie.
Looking forward to the tour, Tony adds:“I’m very excited to get back on the road. I haven’t been on the road since I last toured with David Bowie and Tin Machine in 1991, but I’ve been a professional musician since I was twelve years old and I’m looking forward to it. It’s going to be a lot of fun.”
“Storytelling is at the heart of Duffy’s songwriting but she finds a unique angle or topic on each track that brings a fresh perspective to a common and relatable issue.” – Maverick magazine on the debut Little Lore EP
‘Birds’ is the latest single from Little Lore, the alter-ego of London-based Americana singer-storyteller Tricia Duffy, released on 2 December 2022.
With the lush instrumentation from Oli Deakin beautifully complementing Little Lore’s heartfelt vocals, ‘Birds’ came out of a visit to the Hampshire countryside, close to where Tricia grew up. With the chorus of birdsong that rang out around her providing a calming backdrop as she wrestled with some challenging personal news, all the while gently strumming her guitar with just an ageing and rather deaf cat for company, the melody took shape and the creatures around her began to inspire the lyrics.
Little Lore:“I wrote ‘Birds’ at a friend’s home in Hampshire. They live near the Hamble river, very close to where I grew up just outside Portsmouth. I had been devastated by a terrible event that had happened to someone close to me a few weeks before, which all sounds a bit cryptic, but without going into details I’ll just say I was craving some time away to be inside my head. My friends have a gorgeous black Manx cat called Scooter. Poor Scooter is rather old and almost completely deaf, but seemed to enjoy the vibrations created by my guitar. He spent my entire stay close to me, purring a lot of the time at full volume. The birds in that area are also incredible, doves, blackbirds, thrushes, woodpeckers were enveloping me in warm calming song.”
“So that’s the scene – which you can hear described in the first verse. Along with that, I was trying to challenge myself to try different approaches to song-writing. My usual process is to start with lyrics, then build harmonics and melody comes last. This time I was playing guitar – building a palate which included some gorgeous suspended chords and I started singing what I could see and what I was feeling over the top. It was one of those rare moments that songwriters become quite addicted to, when you almost lose awareness of time and motion and you’re just in the song. What seems like ten minutes later (but in reality is a lot longer) you have a song and it feels like it wrote itself. So ‘Birds’ was created.”
Little Lore is a London based, Indie-Americana singer-storyteller whose songs are both charmingly accessible and yet beguilingly challenging. You’ll want to listen twice. When you combine British wit and wordplay with cherished Americana roots, musical magic starts to happen. Based in Chiswick, west London and originally hailing from Portsmouth, Tricia Duffy started her singing career in a live covers band performing popular rock classics. Over time, however, a strong desire emerged to begin writing and performing her own material and she formed an acoustic Americana duo with fellow musician, Al Bird. Duffy & Bird released a well-received album ‘5 Lines’ in 2017 and a follow-up EP ‘Spirit Level’ in 2019. While Al subsequently decided to take a back seat from recording and performing, Tricia was keen to take things a step further. Little Lore was born. Her debut solo EP, Little Lore, was released in 2021 to glowing reviews. A follow-up single, ‘Shallow’, was released in April 2022 to similar acclaim, followed by ‘Brown Liquor John’ in October 2022. In her songs, Little Lore brings together an affection for the heart and heritage of Americana music, with an intelligence and maturity of storytelling that can sweep you away into new and unexpected emotional worlds.
Production and instrumentation: Oli Deakin.
Drums: Morgan Karabel
Artwork by: Afiya Paice, a West London-based artist and designer.
Maniac Squat were the art punk band from Colchester who had a cult hit with ‘F**k Off’ in the mid-90s – a record which secured them the coveted single of the week slot in Kerrang! no less. Performing over two hundred gigs, including support slots for Babes in Toyland and Zodiac Mindwarp as well as tours of mainland Europe, Maniac Squat made their last record in 1996 and promptly split. Now they are back, with three members of the original line-up reconvening to record a stunning concept album of experimental art-rock. The Cloud Upon the Sanctuary, which also leans heavily towards jazz, has been inspired by the work of eighteenth-century Christian mystic, author and philosopher, Karl von Eckhartshausen.
For The Cloud Upon the Sanctuary the band have teamed up with an all-star ensemble of guest musicians headed up by legendary Bowie/Iggy Pop sideman, Kevin Armstrong, who also produced the album. Joining Kevin – and the original Maniac Squat alumni of Tom Wilcox, Scott Pearce and Michael Giaquinto – are Iggy Pop’s drummer, Mat Hector; PJ Harvey’s sax player, Terry Edwards; and rising star Manchester-based rapper, El Zeeko. The release is accompanied by an equally stunning video seventeen-minute video by art director/film producer, Robert Russell, whose vibrant, other-worldly imagery deftly captures the intensity of emotions that the band delve into via their experimental soundscapes.
Original Maniac Squat frontman, Tom Wilcox, says: “Plato observed that ‘we can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light.’
“Our wilderness years were spent stumbling horny from one fix to the next. In the course of trying to repair our complex and multi-faceted personal relationships, Scott, Michael and I were profoundly affected by both the teachings of Karl von Eckartshausen and the key change rubrics of Gustav Mahler. These inspirations provoked us into composing separate elements of a larger piece of music. We gradually brought the disparate movements together to make one work. There is no coming to consciousness without pain.”
Producer and guest musician, Kevin Armstrong, adds:“I have had many twists and turns in my nearly 50-year career in music but the things I will carry with me to my deathbed are those moments of fearless invention that do not yield to any commercial constraint nor any fear of ridicule. The Cloud Upon the Sanctuary is one such moment. When I was presented with the opportunity to help realize the revival of Maniac Squat little did I imagine that our efforts would produce such a savage and desolate beauty.”
About Maniac Squat:
Forming in Colchester, Essex, Maniac Squat pursued their own brand of art punk for five years between 1991 and 1996. They first played at Colchester Arts Centre in 1992 and were immediately banned for using an industrial grinder in their performance and for making a hole in the stage while smashing up a guitar. Maniac Squat persevered and went on to notch up the much coveted ‘Single of the Week’ accolade from Kerrang! magazine for their single ‘F**k Off’. They played over 200 gigs in their career – including tours of Germany and the Czech Republic – also releasing two singles and an album and being the go-to local support act for bands such as Babes In Toyland and Zodiac Mindwarp when their tour itinerary took them to Colchester. After splitting in 1996, Tom Wilcox, Scott Pearce and Michael Giaquinto would later re-appear in the mid-2000s as part of The Chavs, with several of their tracks used as MTV theme tunes, including ‘Nuclear War’.
The Cloud Upon the Sanctuary is released on 23rd September on all the main digital platforms and in a limited-edition vinyl format, too. It will be available via: http://maniacsquat.com/
The Cloud Upon the Sanctuary – release information:
Written by Michael Giaquinto/Scott Pearce/Tom Wilcox/El Zeeko
Lyrics adapted from A Cloud Upon the Sanctuary by Karl Von Eckartshausen
A side: The Cloud Upon the Sanctuary (Giaquinto/Pearce/Wilcox/El Zeeko)
B side: Overbevisende Mareritt (Giaquinto/Pearce/Wilcox/El Zeeko)
Tom Wilcox – vocals, guitar, piano, keyboards, percussion
Scott Pearce – guitars, keyboards, percussion
Michael Giaquinto – bass, guitar, keyboards, percussion
Featuring special guests:
El Zeeko – rap vocals
Kevin Armstrong – guitars, bass
Terry Edwards – baritone Sax
Alan Newcombe – tenor Sax
Mat Hector – drums
Produced by Kevin Armstrong
Engineered by Kevin Armstrong and Mat Hector. Mastered by Ed Woods
Video by Robert Russell
Maniac Squat are:
Tom Wilcox was the front man of Maniac Squat finding notoriety with their 1995 ‘hit’ ‘F**k Off’. Tom has since produced albums for Gillian Glover and Lisa Ronson; the latter, co-produced with Paul Cuddeford, receiving a 4-star review in Mojo and widespread recognition. As a songwriter Tom has provided material for many bands including Lover, Jesse Smith and Florence Sabeva. More recently, Tom has been the producer and singer with London based art rock band Last Day Sect.
Michael Giaquinto wasbass player with Maniac Squat in the 90s and also played bass with punk legends Vice Squad, touring extensively throughout the US and Europe. He then spent several years in Brazil, where he played in Marca Diabo, the resident house band at the infamous cultural centre Casa Amarela, backing performing artists of all types, from contortionists to beat poets. Returning to the UK with an increased appetite for experimentalism, he became involved with London’s improvised music scene and has played with some its well-known figures, including Eddie Prévost, John Russell, and Steve Beresford. He has worked as a bassist for hire in a number of bands, has a master’s degree in ethnomusicology and works in music education.
Scott Pearce – (aka Arsepiece) was the guitarist in 90’s DIY punk band Maniac Squat and later in The Chavs who created the soundtrack of MTV/Viacom’s TV series ‘Blaggers’. Scott moved into music supervision and publishing for TV and Films. He now runs his own independent soundtrack label, The Nerve, and has produced over 250 albums sound tracking networks such as BBC, ITV, HBO, C4, Discovery, Viacom/CBS and ABC. He gave up drugs in 2014 which he now deeply regrets, only binge drinks at weekends but still very much enjoys amorality – if only as a keen spectator which, regrettably, makes him a somewhat duller version of his earlier self.
El Zeeko was raised in a crosshair between Old Trafford and Stretford and enters the music scene with a south Manchester confidence and 90’s hip-hop energy. With exceptional wordplay reflective of his love for English language, El Zeeko graces us with a humble yet raw and honest account of his love life, brotherhood, survival and the road code in his first biblical self-titled EP project as an artist titled 25:17. Starting out as a producer at 13 inspired by his brother’s rap group Manchester’s notorious blueprint to Grime RAW-T, he learned the art and craft of production leading him to be signed to a deal with Universal as a teenager. Working both as an artist and a producer, El Zeeko continues to work with homegrown soul duo Children of Zeus, Tyler Daley, Sleazy F Baby and more due to his musical ear in the Neo-Soul and Hip-Hop space in Manchester.
Kevin Armstrong began his musical life with his own band Local Heroes SW9. After two albums, his career began thriving as a writer, producer, bandleader and guitarist. Most notably, Kevin met David Bowie in late 1984, and worked with him on various projects including putting together his band and performing at the legendary Live Aid in 1985. Bowie introduced Kevin to Iggy Pop as guitarist on the 1986 album Blah Blah Blah and Kevin became Iggy’s bandleader in 86/87. He put together Iggy’s touring band again from 2014 until 2019. He has worked with Morrissey, Grace Jones, Sinéad O’Connor, Prefab Sprout, Thomas Dolby, Transvision Vamp Brian Eno, Paul McCartney, Sandie Shaw, Gil Evans, Alien Sex Fiend, Keziah Jones and many more.
Mat Hector has become widely known for his hard-hitting groove and stylistic adaptability as drummer in Iggy Pop’s band. In addition to working with Iggy, Mat has worked with Razorlight, Thomas Dolby, Marc Almond and legendary Bowie pianist Mike Garson.
Terry Edwards is an acclaimed and much in-demand session musician, playing the saxophone, trumpet, guitar, keyboard and the flute. He’s worked with artists as diverse as Nick Cave, Ronnie Spector, PJ Harvey, Eric Mingus, Madness, Gallon Drunk, Tindersticks, Jimi Tenor, Mike Garson, Glen Matlock, The Blockheads, Siouxsie Sioux, Hot Chip, Robyn Hitchcock and Rhoda Dakar.
Alan Newcombe is interested in producing combinations of sound on a saxophone mainly using alternative fingerings, flutter tongue and so on. He also plays desiccated bebop and 32 bar standards. He appears with numerous ad hoc improv groups and workshops in London and does a daily show for his neighbours.
Robert Russell created the ground-breaking video for The Cloud Upon the Sanctuary and is a multidisciplinary graphic designer and art director whose design, branding and communications work includes projects for the likes of Virgin and Liverpool Everyman. He is passionate about music, performing, writing and producing for both personal and commercial projects.
Scarfoot are a three piece hard rock/metal outfit from Merseyside. A video for their latest release ‘Cactus Killer’ was unveiled back in June and has already clocked up an impressive 8,000+ views.
The band are Oliver Carins (guitar and vocals), Phil Eakins (drums and vocals) and Rhys Jones (bass). Formed back in 2018 their line-up has now settled with bass-player Rhys joining the two founder members.
I get the lowdown on the video:
“We were intending to make a more… budgetarily weighty video,” confesses Rhys. “But lockdown after lockdown after lockdown made us just decide – balls to this, we’ll have some cactuses fight and animate them. It isn’t the video we originally intended to make, but in a pandemic you do what you gotta do to keep the ball rolling. We had cactuses, we’re a bit daft, so this is what we made!”
And how would the band describe their sound?
Rhys: “A yet to be defined genre. Probably stoner metal would be the closest I think but we do argue about it.“
‘Underworld’ is the new single from Kent-based folk-rock band Green Diesel. It’s released on 14th May ahead of a long-awaited new album scheduled for release this summer.
Written by new drummer, Paul Dadswell, ‘Underworld’ builds on the band’s signature trad folk sound. Showcasing the band’s vocal harmonies, the new single gives a flavour of what fans can expect from Green Diesel’s forthcoming album: all changing time signatures and lots of twelve-string guitars – inspired by spending far too long listening to early 1970s Genesis records, the band confess!
The song itself is inspired by Philip Glass’s celebrated soundtrack to the 1982 experimental film Koyaanisqatsi.
Reflecting on ‘Underworld’ the song’s writer Paul Dadswell comments:“When you have to choose between fantasy and reality, being born, or growing up, or moving past addiction. The moment of choice between living in the past and embracing the future. Endlessly suspended between the familiar and the unknown.”
Hailing from Faversham in Kent, Green Diesel first emerged back in 2009, taking their inspiration from the depths of English folk lore and legend, and the classic folk-rock sound of their predecessors: Fairport Convention and The Albion Band. Blending violin, mandolin, dulcimer and accordion with electric guitars and drums, Green Diesel’s sound is born from a love of traditional English music and a desire to bring it to a modern audience.
Green Diesel’s three albums to date: Now Is The Time (2012), Wayfarers All (2014) and The Hangman’s Fee (2016) have all won praise from critics and fans alike for the quality of song-writing and musicianship and the band have been a popular draw at festivals, from Broadstairs Folk Week to Beverley Folk Festival.
Following his debut folk album last year Ballads and Yarns, Roly Witherow releases a brand new single ‘The Bird and the Frog’ the first from a forthcoming new album. A prolific composer in the world of film, TV, and theatre, Roly’s credits have included Channel 4’s On The Edge, 2015 BIFA nominated film Gregor and David Hare’s The Permanent Way. For his album debut, however, Roly sought a quite different direction and recorded a highly-acclaimed album of progressive interpretations of traditional folk. Described by Folk Radio UK as 21st century Folk Music in all its glory ‘Ballads and Yarns’ received plaudits from the Times, the Guardian and many other publications.
‘The Bird and The Frog’ a self-composed song described as a fable-esque love story sees Roly continuing to draw on folk traditions. As a folk artist, Roly takes inspiration from the likes of Pete Seeger, Ewan MacColl, Nick Hart, Lisa O’Neill and Will Pound.
Roly Witherow:“The Bird and the Frog is a fable-esque love story, centred on the taming of a Bird by the Frog. The Frog seduces the bird, convincing her to give up her wild and free existence to live with him under a log. They live a peaceful yet humdrum life in the frog’s world and whilst the Frog is contented to have tamed the object of his love, the Bird is left with the sensation that something might be missing. I had in mind thoughts of suburban lifestyles – perhaps the home counties – and our adoption of a highly compartmentalised society, as well as being a tale of young love.”
Speaking on the forthcoming album, set to be released in Winter 2021, Roly added:
This new album is a very new direction for me. If my first album, ‘Ballads and Yarns’ had an experimental bent, stemming from my experience as a film composer and combining traditional songs with electric instrumentation, spoken word and elements of world music, this new album has a “back to basics” approach, focusing on the song itself in its most minimal form. The vast majority of the songs are for just acoustic guitar and voice, and the recordings have a very live feel to them, realised in large part by the deft production of Joe Garcia of Joe’s Garage recording studio in Bristol where I recently relocated with my wife and young son during the pandemic.”
“The album will be a combination of traditional songs from the British Isles and further afield, and originals, such as this first single ‘The Bird and the Frog’. There are also some collaborations on the album, including with renowned folk singer Nick Hart.”
The music video directed by fine artist, Beatrice Vorster is assembled from fragments of archival educational footage depicting the microbiological life of frogs and birds before they come into their own.
Beatrice Vorster:“Images of tadpoles are circuit bent, overlaying footage of contemporary countryside in life in a somewhat psychedelic reimagining of how a fable would be retold. I wanted to be playful with the use of colour channel mixing as a way of tracing the emotional arch of the love story while using videos from a variety of eras to think about the timelessness of these tales which are passed down through generations.”
Sweet have released a new video for their current single ‘Still Got The Rock’. The single is reworking of a song that first appeared as a newly-recorded bonus track on the 2015 Sweet compilation album Action: The Ultimate Story, by the band’s previous line-up. The new version features the current line-up of Andy Scott, Bruce Bisland, Lee Small and Paul Manzi. You can read my interview with Andy Scott about how the new line-up came about here.
Sweet’s new album, Isolation Boulevard, recorded within the necessary constraints imposed by the Covid-19 global pandemic, plays on the title of the mid-70s album by the band’s classic line-up: Desolation Boulevard.
In a statement on the band’s Facebook page, Sweet’s Andy Scott says:
“Once again you, the hard-core Sweet fans have stepped up and reacted positively to the new album Isolation Boulevard. The cover artwork tips a hat to Desolation Boulevard, 1975 and the band’s first Headline Tours in the USA. The comparison between the old and new is obvious as they are both a compilation of the best of Sweet’s recordings, satisfaction guaranteed.“
“Let’s go back to February 2020 and the world was just getting reports of a new virus, identified as Covid 19. Reaction to the news was slow at the start. I had some news of my own that I was dreading at this time, my cancer had returned. After our Denmark trip in March where we had a show cancelled due to new virus rules on social distancing, I started my treatment during the first lockdown in late March. This meant I was out of action until July/August and was naturally kept in total isolation. I have come through all clear thankfully and am looking forward to getting to grips with some new material next year when we as a band can be all together in a studio without restrictions.“
“The new album Isolation Boulevard was put together between lockdowns in September and October. It was pointed out to me that it had been more than 5 years since our last successful album release and as we hadn’t got Paul or Lee on any recordings especially the hits, we had better put that right as soon as possible. Most of the recording and editing was done in my studio and the results speak for themselves. The drum tracks and new bass lines are very powerful, the guitars are so clear you can hear the plectrum hit the strings and the vocal performances from Paul and Lee are perfection personified. Bruce and I cannot believe how lucky we are that this line up has hit the ground sprinting never mind running. I would personally like to sing the praises of Tom Cory, TC from the Novatines for his technical know-how and engineering skills during the recording of the album. Genius!“
“So, there you have it. Enjoy the single and album and with any luck we may just get back on the road next year.”
The ‘Still Got The Rock’ single was released in digital format on 8th December 2020. 18th December will see the digital release of the album Isolation Boulevard. There will be a limited-edition colour vinyl of both to pre-order on the release dates with delivery early in 2021. There will also be a CD format of the album available sometime in the new year.
Andy Scott – All Guitars, Synthesizers and Vocals Bruce Bisland – Drums and Vocals Paul Manzi – Lead Vocals Lee Small – Bass Guitar and Vocals Guest Musicians – Steve Mann – Keyboards on Love is Like Oxygen Producer – Andy Scott Engineer – Tom “TC” Cory Studio assistance – Kevin Smith Recorded, Edited and Mixed at Black Rock Studio, Wiltshire
As part of the charity fund-raising initiative the Isolation Sessions, Danny Stoakes and Romeo’s Daughter guitarist Craig Joiner have released a new video to promote the song ‘Blodeuwedd the Owl’. Based on an old Welsh folk tale, with lyrics by Damh The Bard, the song tells the tragic story of Blodeuwedd – a woman who plots, along with her lover, to kill her husband. The song is a collaboration with Romeo’s Daughter guitarist Craig Joiner and see’s Danny and Craig sharing vocals with Craig also playing lead guitar and mandolin on the track.
From heavy metal to country, rock and roll to folk The Isolation Sessions is a digital album project aimed at raising money for The National Emergencies Trust Covid Appeal. Assembled by Danny Stoakes, the album features imaginative reworkings of ten of Stoakes’ favourite songs in collaboration with a host of different artists. These include Craig Joiner, Voodoo Six’s Matt Pearce and Tygers of Pan Tang’s Craig Ellis. Other tracks released include covers of Pink Floyd’s ‘Wish You Were Here’, AC/DC’s ‘Whole Lotta Rosie’ and The Stones’ ‘You Can’t Always Get What You Want’.
The National Emergencies Trust collaborates with charities and other bodies to raise and distribute money and support victims during times of a domestic disaster.