This is quite simply the best magazine you will ever find that is edited by a mad bloke (and his orange kitten), and produced from a tumbledown potato shed in North Devon. The fact that it is published in conjunction with Gonzo Multimedia - probably the grooviest record company in the known universe - is merely an added bonus.
View this email in your browser
Issue Forty-Five (rpm)    September 28th 2013
This is the nearest that you are ever going to get to a posh weekend colour supplement from the Gonzo Daily team. Each week we shall go through the best bits of the week before, and if there aren't any we shall make some up, or simply make our excuses and leave (you can tell the editor once did contract work at the News of the World can't ya?)
Social media stuff that I am really too old to understand, (my stepdaughter spent much of last Christmas trying to explain Twitter to me) but I am assuming that at least some of our readers are younger and hipper than I am.
Google Plus
Google Plus
So what is this all about?

It is simple; my name is Jon and I am the editor of the Gonzo Multimedia daily online magazine. Now there is a weekly newsletter, once again edited by me and my trusty orange cat from a dilapidated ex-potato shed  in rural Devonshire. 

You subscribed to it by opting in on the website. I hope that you all stay to join in the fun, but if it is not to your liking it is just as easy to unsubscribe again. But what a long, strange trip it is gonna be...
My friend Dr Chris Clark once was generous enough to describe Me in a review of my 2004 book 'Monster Hunter' as: "the nearest thing we have to a real-life Professor Challenger", and I have spent much of the last nine years trying to be modest in the face of this. At the recent Weird Weekend, Judge Smith was kind enough to give me a copy of the complete Professor Challenger stories by Arthur Conan-Doyle, and the other night I sat down with a cup of tea, and the orange kitten on my knee and started to read it for the first time in about thirty years. Professor Challenger has many good, nay excellent, points but he is also a bad tempered, irascible sociopath who doesn't take fools even slightly gladly and once threw a gin bottle at an annoying assistant's head. No, sorry that last one was me. Challenger also adores his wife who is one of the few people who gets away with telling him when he is behaving like an arse. Sorry Chris, I still don't see it <slightly embarrassed snigger>
THE WEEK THAT'S PAST: A letter from Michael Elbaz

Hi Jon,
Thanks for another excellent issue. I just wanted to reiterate what a pleasure it is to read your magazine every weekend. It's just getting better all the time. This week, I especially enjoyed Carl Portman's review of The Wall at Wembley. I had the good fortune of catching Waters' extravaganza a few times over a couple of North American legs of the tour. The first show was here in my hometown of Montreal. I'd purchased mid-price tickets a good six months ahead, when they originally went on sale. The first half of the show was superb, but then disaster struck as I fell asleep into the 2nd half, waking up just in time to watch the wall crash down. A combination of illness and exhaustion was responsible, though it's not the first time I've "caught up on my sleep" at a big show (nor will it be the last.)
Extremely frustrated by this experience, I decided I couldn't leave it at that and had to try again. After some web searching I ended up paying top dollar for a great seat on the floor of Madison Square Garden a month later. I took the Greyhound from Montreal (7 hrs), arrived just before showtime, walked to MSG from the Port Authority. Turned out to be one of the top live rock experiences i've had the good fortune to check out. After the gig I walked back to Port Authority and caught the midnight bus home. A long haul for just the one show but really glad i went to the trouble. Like Carl, the live experience brings back so many memories for me; it's hard to put it into words. Then last summer i caught the show again, again in New York, but this time at Yankee Stadium. I was in the nosebleed section, but it was still brilliant. Plus that time we made a mini-family vacation out of it. I'm so glad Waters decided to put this show together. The earlier DSOTM and Amused to Death shows were also great but the experience of The Wall is one for the ages. 
Anyway, hope your health improves these days and thanks again for your excellent newsletter.
Mick Elbaz
THE WEEK THAT'S PAST: Daevid Allen releases the Floating Anarchy Manifesto
This was Daevid's response to the recent Australian General Elections, and we also have Tour Dates for his you me & us (the lower case spelling is intentional) tour of Japan featuring Chris Cutler and Yumi Hara.
THE WEEK THAT'S PAST: Chubby Checker, a penile app, and a small brown Indian frog
Corinna sent me this story some weeks ago. It had possibly the best headline of the year:

Chubby Checker can sue HP over genital-measuring app, judge says

The musician famous for the Twist dance style can sue Hewlett Packard Co over allegations that the tech company used his trademarked name "Chubby Checker" on a software app that purports to measure a man's genitals.

In a ruling on Thursday, U.S. District Judge William Alsup in San Francisco ruled that Ernest Evans - known professionally as Chubby Checker - can move forward with trademark infringement claims against HP and its Palm unit.

HP spokesman Michael Thacker on Friday said the app was not created by HP or Palm. "It was removed in September 2012 and is no longer on any Palm or HP hosted website," Thacker said.  Read on...

Corinna, however, is worried. For her birthday in 2012 I bought her a small Indian chubby frog  (Kaloula pulchra), and you can probably guess what she named him. I hope Mr Checker doesn't get in a twist about it.
THE WEEK THAT'S PAST: That Amazing Pudding - in time for Christmas? (PART TWO)

Last week I told you a bit about a remarkable tome by the great Ron Geesin, in which he tells the story of one of Pink Floyd's most controversial pieces of music. He also reveals all sorts of titbits about his own life.

But I added, sadly: Such as? I can't tell you, not because I am under some sort of an embargo from the publishers, but because I only started reading it this lunchtime, and I am afraid that you will have to wait until next weekend for the denouement...

Now I have finished it, and - let me tell you girls and boys - it was worth the wait.

It is, of course interesting for the rock historian/anally retentive nerd (delete where appropriate) like myself to have a book which gives the salient points of interest about the making of the title track of Atom Heart Mother the 1970 album by Pink Floyd.

Now, let me nail my colours to the mast here. I have always really rather liked the album, even though I have always thought that the closing number, Alan's Psychedelic Breakfast is supremely pointless, and not even entertaining on drugs (unless, of course, you had far better drugs than I did back when I took drugs, and I'm sure that Pink Floyd did).

But the album really stands and falls with the title track, which is what this book is all about. In my opinion this collaboration with Geesin, which - as far as I am aware - is the only major compositional collaboration that they ever did, is excellent, and - unlike most classical/rock crossovers of the early 1970s - actually has stood the test of time.

However both Gilmour and Waters have distanced themselves from it in recent decades, and this book goes a long way towards explaining why. 

The way I read it is that Pink and the Boys and Ron G all came from much the same artistic/intellectual background, and when the collaboration was first mooted, Geesin assumed that they were still coming from the same artistic direction. However, by this time Pink Floyd were a massive commercial concern, and had been changed irrevocably because of it. Some weeks ago I interviewed the lovely Barbara Dickson for these pages, and she spoke of the 'Faustian Pact' that every artist of a certain stature enters into to get success.

I have worked with artists far less successful than Pink Floyd over the years, but still got too close, got chewed up and spat out without a thought by people I had considered to be friends, without them even realising that they were doing it. It is what - ironically - Pink Floyd themselves wrote about a few years later on 'Welcome to the Machine'.

My take on this - reading between the lines, was that Geesin got too close to the machine, found he wasn't welcome, and still has the scars to prove it. 

But the record is still great!

Check out The Flaming Cow at The History Press
THE WEEK THAT'S PAST: A letter from Merrell Fankhauser
Hi Jon
Rob thought you would like to see a photo of my backyard stage Tiki Lounge Summer Party  & do a story for the blog. I was able to make two  Tiki Lounge TV shows from the day's filming, lots of hot jams with great players! The 60's group "The Brymers" ,who have two songs in the new Steve Jobs movie, Ray Wells, sometimes singer and harp player with "Canned Heat",my son Tim and members of my band and the Tiki Lounge Hula Dancers! A great time was had by all. The two shows will air in California and Hawaii in October and November and later be posted on youtube.
The next one will be filmed December 21st  for my Birthday Boogie on the new Tiki Lounge stage in the tropical garden!
Best Always,
No new shows for you this week; but we do have an update of the latest from Matthew Watkins. However, there are some exciting things afoot with another entirely new station being added to Gonzo Web Radio, and a total revamp of the radio index.

Watch this space.


Date Published: 21st September 2013

Canterbury Sans Frontières #7

We at Gonzo Web Radio are very proud to bring you Canterbury Sans Frontières - a podcast dedicated to the music of the 'Canterbury Scene' and more. Creator Matthew Watkins writes: 

As with Canterbury Soundwaves, a new three-hour episode will be released with each full moon.I decided to wind down Canterbury Soundwaves so that I didn't end up (i) repeating myself, (ii) scraping the bottom of the Canterbury barrel, or (iii) becoming increasingly tangential. This new podcast broadens the musical remit, so it'll be about one-third 'Canterbury sound', together with progressive/psychedelic/experimental music from the Canterbury of today, the remainder being a mix of music from various times and places which I feel to be in a similar spirit of creative adventurousness. I'll be doing a lot less talking, and the programme will be less expository – so no interviews, barely-listenable bootlegs, etc.

I also plan to include guest one-hour mixes from various musicians from the current music scene in Canterbury (Episode 2 features a mix from Neil Sullivan from Lapis Lazuli).

And for those of you who wonder what Matthew was referring to when he writes about Canterbury Soundwaves we have brought you all the back catalogue of that as well. Those wacky guys at Gonzo, eh?

ISSUE SEVEN: "A couple of out-of-print Hugh Hopper reissues, Matching Mole, Caravan, Gong, Nucleus, Third Ear Band, Steve Reich and a very pleasant surprise for Robert Wyatt fans, as well an extended mix of various artist's tracks involving his guest vocals. More bassoon action from Lindsay Cooper and North Sea Radio Orchestra, new music from Canterbury in the form of Koloto and Arlet, and Galen Ayers in Deià (Mallorca) a few weeks ago, delivering a eulogy for her father."

Playlist for this episode


For more news on Strange Fruit CLICK HERE
For more news on Canterbury Sans Frontières CLICK HERE
For the Gonzo Web Radio homepage CLICK HERE


Back in 2011, although family stuff, health stuff, and money stuff precluded me from going to any of the shows on the tour, I followed Steve Ignorant's final 'punk' tour as best I could. I watched as much as I could on YouTube, read the posts on his blog, and cheered a big hooray for him.

Crass were a massively important part of my young adulthood; they politicised me, and basically gave me the moral framework which I have kept in my life ever since - that of (if I can misquote Flux) striving to survive causing as little suffering possible, and in the most ethical way possible. And that code of ethics came largely from Crass.

Now I can admit it. I saw the entire final show on YouTube, and was not at all impressed, from a musical viewpoint anyway. However when dear Carol sent me a copy of the DVD, I put it on eagerly. I was expecting it to be an emotional experience, but BLOODY HELL I was not expecting it to be SO BLOODY GOOD!

The sound is clean and crisp, showing up a multitude of subtleties in the arrangements that bootleg footage done on cameraphones missed entirely. One never thinks of Crass as being a subtle band, but they were, and the subtleties are thrown into sharp relief by Steve's excellent Last Supper combo who really have made an absolutely momentous record.

God alone knows what Steve will think of this next paragraph, but right from the beginning I have always thought that Crass and Steve in particular had a superb pop music sensibility, especially in the early days. Leaving the Tourette's lyricism and political stance aside, songs like Do they Owe us a Living? and Banned from the Roxy were bloody good pop songs. And now, finally, I - with the release of this fine DVD - can illustrate to all and sundry what I have been wittering on about for the past three decades, and I have a sneaking suspicion that the music he is recording with his Slice of Life project will probably bear me out.

I killed a bottle of wine (two actually) whilst watching it, and was too tired and emotional (tired and emotional as a newt, actually) by the end of the show to check out more than a brief snippet of the extras, but I very much look forward to hearing Steve's commentary on each track.

Watching the show - the end particularly - was a truly emotional experience, and I suspect that I will not be the only person who watches this DVD and starts to cry in the last half hour. It is a cliche these days for showbizzy types to stand on stage and say - "there is so much love on this stage tonight" - but when Penny and Eve joined the assembled company, and later when the Sea Palling lifeboat crew came onstage, there was indeed so much love on that stage that it was inconceivable.

And when it comes down to it that's all that matters. Love is all you need.

I intend to write more and more about this man and his music until you are heartily sick of it. However, in the meantime you can buy this and another DVD (which I will write about when I have a copy) direct from Steve at Dimlo Productions.

Bless him. The packaging is completely plastic free, and the whole thing is so resolutely anti-capitalist that it is being flogged through ETSY and Steve's Facebook page.

Check it out...
THE WEEK THAT'S PAST: The Gospel according to Bart
My favourite roving reporter Bart Lancia sent me no less than stories this week; one about Yes or rather a rather nifty sounding Yes tribute act which can be found in the relevant section of this magazine.

We covered the imprisonment of Russian militant punks,  Pussy Riot, some months ago, but - sadly - the situation has worsened.

Roger Waters now apparently regrets suing Pink Floyd in the mid 1980s, and seems to be doing his best to make amends. As Bart so wisely says: "Points of view often change with the years moving by, mate". I'll second that!

He also sent me this:
Hey everyone… Pete here with some exciting news from my band Edison’s Children. We are very pleased to announce that we are set to release our second album, THE FINAL BREATH BEFORE NOVEMBER, next month.
To start the ball rolling we have set up a pledge board and are offering up wonderful trinkets to those who's support can help us out by ordering now.
Also until the 2 October you have the option to get your name emblazoned forever as a supporter of this new album in the 20 page “lyrics and images” booklet.
The amount of appreciation that everyone has shown for our first album is tremendous. Both Eric Blackwood and I feel however… that this album is a major step up from the last one.
We’re very proud of our new creation and we think you will be too. Thanks to all who have supported us in the past and to all of the new “Children of Edison”.
For those of you not in the know, Edison's Children  are a side project of  Pete Trewavas of Marillion and Transatlantic and Eric Blackwood formed in 2011.
THE WEEK THAT'S PAST: What's been did and what's been hid
I am growing up in public, as it were. The Gonzo Weekly has been going for nine months now, and we are beginning to find our feet. I am making changes as I go along, and - no doubt - some of these changes will turn out to be mistakes. So, let me know what you think. Do they work? Do you like them? Hate them? Or don't you care either way?

Please pass this magazine around as far and wide as you can. And encourage as many people as you can to subscribe. Remember it is free, and will remain so. However, I want as many subscribers as possible to move on to the next stage of the party. There might well be cake.

Remember, I am always looking for new authors. If there is something that you feel you could add to the general melange which is the Gonzo Weekly, please email me at The more the merrier.

Although this newsletter also goes out in a plain text version for those of you who do not trust image intensive thingys in your browser, I promise that as long as it is technically feasible (which will be for the forseeable future) the text only mailout will continue. However, I strongly advise that for you to get the best out of this rapidly evolving publication, that you really should see it in all its picture-led glory.

Please tell your friends, colleagues and family about The Gonzo Weekly, and try to persuade them to subscribe. The more subscribers we get, the bigger and better and more effective the whole thing will be.
Remember, if you want more than your weekly fix of this newsletter you can check out the Gonzo Daily, which - as its name implies - does much the same as this newsletter but every day. It also features a daily poem from Thom the World Poet, and the occasional non-Gonzo rock music rambling from yours truly, plus book and gig reviews from our highly trained staff of social malcontents. And its FREE! You cannae say fairer than that!
Each week, some of you seem to recognise me. Yes, I am indeed that weird bloke off the telly who chases mythological animals. I have a day job as Director of the Centre for Fortean Zoology, and also the editor of the CFZ Blog Network, and publisher of a plethora of books about mystery animals.
Corky Laing and the Perfect Child - Playing God
2 Jack Lancaster - Wild Connections
3 Paul Kantner - A Martian Christmas
Brand X - Missing Period
Blodwyn Pig - Lies
Gary Windo - Deep Water
And on DVD Vangelis - Journey to Ithaka (DVD)
Newsletter #36  Newsletter #35  Newsletter #34  Newsletter #33 Newsletter #32  Newsletter #31  Newsletter #30  Newsletter #29 Newsletter #28  Newsletter #27  Newsletter #26  Newsletter #25  Newsletter #24  Newsletter #23  Newsletter #22  Newsletter #21 Newsletter #20  Newsletter #19  Newsletter #18  Newsletter #17 Newsletter #16  Newsletter #15  Newsletter #14  Newsletter #13 Newsletter #12  Newsletter #11  Newsletter #10  Newsletter #9 Newsletter #8  Newsletter #7  Newsletter #6  Newsletter #5 Newsletter #4  Newsletter #3  Newsletter #2  Newsletter #1
Please be warned: Magazines from #11 on  contain the cartoon at the bottom of the stressed out guy with the computer  Apparently someone has accused the public domain images site I got it from of hosting malware, and even though there was none found there by Google, the fact that I used an image from the site (perfectly legally) flagged our whole newsletter up as possibly containing malware. This should only effect people using Google Chrome, and I would strongly suggest that you click the 'proceed anyway' tab, and view the newsletter as you had originally planned...
THOSE WE HAVE LOST:  Jackie Lomax (1944-2013)
John Richard 'Jackie' Lomax (10 May 1944 – 15 September 2013) was an English guitarist and singer-songwriter, best known for his association with George Harrison and Eric Clapton. He was one of the first signings to Apple Records.

Born in Wallasey, Cheshire, England, he later resided in Ojai, California, United States, with his wife, Annie (previously Norma Richardson), mother of fashion photographer Terry Richardson.

His official website had this to say:
Now, I don't know whether this is a good idea, a bad idea, or just an idea, but - as I believe you know - this magazine is put out each week on a budget of £25, and is free. It will remain free, but I would like to be able to generate some income so I can pay our contributing writers. So, 'why not flog Gonzo Weekly T Shirts?' I thought. 'Why not', I answered...
COVER STORY: A conversation with Miss Crystal Grenade
Regular readers will be aware that I am very fond of the music of Miss Crystal Grenade. This week I wrote this to coincide with the release of her upcoming album:

Lo! And Behold
Manchester is a strange city; the birthplace of the Industrial Revolution, the world’s most popular soccer team, and the Trades Union Congress, its musical legacy is unparalleled. Bands such as The Hollies, The Smiths, The Bee Gees and – of course – Joy Division have changed the world. To quote Morrissey out of context:  â€œOh Manchester, so much to answer for“.
And now to introduce another Mancunian songstrel, with this strange and oddly challenging city deep within her musical DNA. Miss Crystal Grenade, has been  described as “Shakespeares Sister fighting Amanda Palmer and Tori Amos in a dimly lit Victorian pub. With hand deformities.” And that’s a pretty good way of putting it. Miss Crystal Grenade explores the darker side of life, framed by the concept of Freak Show life of the late 1800s. Whether she is indeed a late Victorian sideshow attraction who has only survived this long because of her fragile beauty and low cunning, or whether she is a character created by critically acclaimed singer and pianist Carol Hodge is a matter for discussion.
Possibly the most infamous seven fingered pianist in the UK, Hodge is probably best known as the lady who sang alongside Steve Ignorant (once of Crass) on his Last Supper world tour. She now sings with Steve in the new acoustic project Slice of Life. Touring the world singing the songs of Crass gave Carol the confidence she needed to finally spread her gnarled yet
unique solo wings.
Miss Crystal Grenade’s debut album Lo! And Behold is due to be released in October 2013 by Gonzo. Produced by Nick Zart (The Modern, Matinee Club, Backdraft, Kactus), the aim of the album was to capture the raw emotion of the vocal performance, in as live a manner as possible. The songs twist tales of regret, malfeasance and death in all its various forms.
Featuring material recorded by Harvey Birrell (Therapy?, Stereolab, Snuff, Stratford Mercenaries, Buzzcocks, Johnny Foreigner), at Southern Studios, Miss Crystal Grenade has the dubious accolade of being the last artist to record at this historic location.
Track listing:
1. You Could Have Lived
2. Lost For Words*
3. Changed*
4. 1892 Man*
5. Go Round Twice*
6. Shape Of Things*
7. Leaving...
8. Take Aim!
9. 1892 Man Reprise (Nick Zart instrumental)
10. Nothing To Do With Me
11. For Alison
It seemed appropriate, therefore, to give Carol a ring and ask how her Victorian alter ego was progressing. Listen to our conversation HERE.
Last week we interviewed Andy Colquhoun of The Deviants about a forthcoming release by the band on Gonzo. Coincidentally it was the day after Mick's funeral. Andy had this to say:

He was very lovable, you know. Everybody had a different take on it. I mean, as his musical partner, we always focused on the music and he was always very happy doing that and it was a very rewarding activity for him.  Other people – obviously he had a lot of other interests, a range of interest;  politics, the cosmos, books, and although we discussed those things we actually had a very – maybe an insulated kind of – friendship where we didn’t sort of cross swords on those different  subjects because I just found him endlessly entertaining on those subjects.  It was a really good relationship, obviously the best song-writing relationship I could have hoped for because he was just brilliant with his words. 

A few days later I saw the following photos on Facebook. I agonised for days about whether it was appropriate to post them in the magazine - after all, a funeral is a private occasion, and the last thing that I would wish to do would be to intrude on private grief. After all, I know what that feels like.

Some readers will know that over the years I have written quite a lot about UFOs. I have even been editor of a magazine on the subject. This is not because I actually believe in little green men from Zeta Reticuli, but because I find the psycho-social implications of the subject absolutely fascinating, and deep down amongst all the bullshit, I believe that there is a very real mystery that should (and maybe even could) be explained.

Eleven years ago my mother died, and at her funeral I was approached by two representatives of one of the nuttier publications on the market who wanted to know whether my grief at my mother's death was going to effect my research.

I was appalled, and luckily even I draw the line at punching someone in the middle of such an occasion, so I said something non-committal, and went off to grieve in peace.  But it hurt, and the idea that someone would be so crass as to try and exploit my mother's funeral made me very angry.

So I had very personal reasons for doubting whether it would be appropriate to get permission to post these pictures. But Mick was very much loved, and there are many people who loved him who would - I believe - like to share in his send-off, so I contacted Rich Deakin, the guy who took the pictures. It turns out he is a Gonzo Weekly reader, and wrote:

I saw Andy's piece in the recent Gonzo - all power to you for keeping Mick and Andy's names alight! I took the bull by the horns, and I truly hope that everyone understands my motives for doing this.

I found this final picture with a Hell's Angel paying solemn respects, Nik Turner (looking remarkably like my late Uncle Roger) playing When the Saints go Marching in over the grave, and dear Wilko Johnson, brave and dignified as ever, with a copy of Vampires stole my Lunch Money preparing to place it in the grave for Mick's journey to the hereafter, remarkably poignant.

In fact, it brought tears to my eyes. But I am a soppy old sod as many of you know.

Goodbye Mick. You were a very special man, and many of our lives would have been very different without you.

UNDER the wide and starry sky  
  Dig the grave and let me lie:  
Glad did I live and gladly die,  
  And I laid me down with a will.  
This be the verse you 'grave for me:  
  Here he lies where he long'd to be;  
Home is the sailor, home from the sea,  
  And the hunter home from the hill.

We will be publishing extracts from this massively exciting book over the next few issues. This week, here is an excerpt from Dan's introduction...

I first met Maurice ‘Mo’ O’Mahoney on board a floating restaurant on London’s River Thames. It was the mid-1970s and, at the time, I was working as a senior reporter with the Sunday People, a British tabloid, and I happened to pick up the phone in the newsroom during a lunch hour and there, on the other end of the line, was someone saying that he was the ‘King Squealer’ and was willing to sell his life story to our paper ‘for the right price’. He suggested that we should meet on board the restaurant to discuss ‘business’.
‘How will I recognize you?’ I asked.
‘You won’t’, he replied. ‘I’ll recognize you. Just stand by the entrance holding a copy of the Sunday People under your arm and I’ll know you.’
After clearing this with my news editor, I headed over to the Thames and climbed aboard the rendezvous point, and stood there for a while smiling at anyone arriving who looked remotely like a gangster. I got some strange looks, but then finally this mysterious man arrived with a Flying Squad policeman in tow – who, O’Mahoney said, was protecting him. ‘Mo’ introduced me to his police minder and said, ‘Don’t worry about him. He goes “deaf” when I talk business.’
The plain-clothed officer nodded and said, ‘Yes, I go deaf when he talks business.’ It was a little like a scene from a Monty Python TV show.
To cut a long story short, the paper finally agreed a price with O’Mahoney and I was asked to write it up for him, and then once the dramatic newspaper series had been published, he then ‘asked’ me to work with him on a book and that experience became even stranger.
He would turn up each Monday at my Surrey home with a bulging .44 Magnum in his pocket to protect himself – the police by now had told him he was now on his own – and proceeded to recite his story for me to type up, which I did. Then when he left, I would turn words into a more readable style, but when the time came for me to read them back the first few chapters to him, his tone changed and he became quite angry.
‘I don’t remember saying that,’ he said sharply as I finished. ‘Are you changing my words?’
I tried to explain that this was normal and he said, ‘I don’t agree. People want to know how us gangsters speak.’
It was a rather scary moment, especially as I glanced down at the bulge in his pocked containing his lethal weapon, but once I read out one of his rather strange comments which said, ‘The guy vaulted the fence like a half-starved Biafran looking for a banana,’ he smiled broadly and seemed happy that I had at least kept that in the story. He then said, ‘I like it,’ and I breathed a heavy sigh of relief.
We eventually completed the book together and it was launched on a national BBC TV show with him wearing a ski mask and his voice disguised.
Following that, I took him to a studio at a commercial radio studio in London, so he could further help promote the book. When the interview was about to start the recorder, ‘Mo’ suddenly asked, ‘Can you disguise my voice?’ The flustered broadcaster said, ‘I’m sorry, but we can’t’. ‘Why not?’ Mo pressed on. “The BBC did that for me, so what can’t you?’ ‘Well, we don’t have the resources of the BBC.’
‘Mo’ then turned to him and said, ‘If I go on your show and someone recognises my voice and I get killed, you’ll be to blame.’
The poor man looked at me in desperation and threw his arms in the air, not knowing what to do in this strange situation.
Then O’Mahoney had a bright idea. ‘Do you have any cotton wool?’ The man managed to get some from a first aid cupboard and ‘Mo’ stuffed it into his mouth, and did the whole interview speaking in a muffled way through a mouthful of cotton wool. It was quite hilarious and a London newspaper, who heard about it, later ran a story called ‘Concealing Squealing.’ 

As Rick Wakeman wrote the foreword to this remarkable book,  this seems a reasonably sensible place to point out that there are a number of groovy Rick Wakeman records on sale via Gonzo
A couple of weeks ago I reviewed Tom Doyle's excellent biography of Paul McCartney in the 1970s. I was so impressed that I interceded with his publishers. those jolly nice folk at Birlinn, to get me an interview with the author. And what a nice bloke Tom turned out to be...
JON: Congratulations on your book, it’s really, really good.

TOM: Thank you very much.
JON: Because I’ve been reading Beatles and Beatles spin-off books, for about 30 years now I think, and it’s refreshing to find one that busts some of the myths rather than building up more.
TOM: This actually was the thing.  Obviously I am a Beatles nut myself  and have been since the age of 3 and it is one of my earliest memories of sitting with a band set and a pile of Beatles singles and EPs and stuff like that.  So obviously over the years I kind of half-thought do I have a Beatles-ish book in me?  I have one shelf at home that is just all Beatles books and it was this kind of ‘Is there a gap there? And how would you fill that gap in a way that is different?’  I am glad you thing that it is refreshing actually because that is really what I was going for.  Not to put any other books down and stuff, but they seemed to be for a certain type of reader, don’t they and it can be quite dry and scholarly and stuff like that. So I thought I would put Paul’s story in the ‘70s which is kind of glossed over in a lot of the biographies. It’s like the Beatles split up and then he forms Wings and this happens….. and some people had said to me ‘oh you want to write a book about Wings’.  And I thought no it is a book about a man with one of the most famous faces on earth and then suddenly at 27 he is basically made redundant and how did he recover from this.  And basically it takes him a long time so I thought it was fascinating to just take that slice and to sort of focus on that slice.
JON: And it’s interesting that you shed light on various things, for example so many books about when Wings actually broke up; so many books have claimed that everybody walked out in a huff after the Japanese tour was cancelled and it wasn’t like that at all was it?
TOM: No, not at all actually.  I think everybody was in shock. Maybe apart from Paul – I think he kind of took that in his stride. You know, it’s a strange one isn’t it. Throughout the decade he was very much a free-wheeling dude wasn’t he, and I suppose this was a bit of a shock to his system but it was a lesson --   that he had publicly advocated marijuana use for ten years and this was the point when he stopped doing that. I think Denny Laine obviously – he felt hurt by what had happened and maybe the fact that Paul was maybe a bit breezy about it, which you really wouldn’t expect to be with something quite as heavy as that. But the rest of them.. obviously in the book it talks about them and it just sort of fizzled out. I think Paul had lost interest, and had been losing, interest in being in a band with yet another line up as he says and obviously he had started, McCartney 2by that time, and it’s funny; it’s that full circle thing isn’t it. I mean he does McCartney 1 on his own as therapy from hell as he says it, and then by the end of the decade – sort of 1980 – we’ve got him back there again actually, and I suppose that was a bit of a creative lever for him actually so…. No I think that the other guys in Wings, even Denny, were really kind of shocked that he wanted to get rid of the band.
JON:  Yeah I think it must have been the bottom falling out of their world in many ways.

TOM: Well absolutely.  If you think about it, that line up hadn’t been together for very long at all and clearly, from what the likes of Steve Holly said the rehearsals pre the Japanese tour were kind of half-hearted and it was almost like Paul kind of knew it was coming. I mean the fact there is that theory that   it was self-sabotage or something but Paul was fanciful  but it’s interesting that that happened and that really was a full stop.  And what a dramatic full stop for the end of that band.

JON: The other which I really didn’t know, was quite what a trainwreck of a person Jo-Jo Laine was.

TOM: Well this is true actually.  A lot of that stuff, I mean I talked to Denny for the book, but a lot of that stuff came from another book.  I can’t remember the guy’s name actually.  She was a prize groupie wasn’t she. I think Linda was right in a way.  I mean – it was kind of a precision thing that she was after Paul and watched her way to get close to him.  All this is horribly libellous and you might not use it.  In the book really, I just explained what happened.  I mean these are the facts as to how it happened.  But – yeah – a complete mess of a character really. She seems to have been fun.  I mean everybody says she was good fun and stuff like that.  I don’t think she was a twisted person or whatever, but some people who fly too close to the rock star’s fan end up getting their wings burnt don’t they?

JON: And she’s dead now isn’t she
TOM: That’s right yes.

JON: So I can actually use all these, because I believe you can’t libel dead people.   Because I think, as so many other times, Linda was always blamed for everything wasn’t she?
TOM: Well, it’s horrible really.  I mean with Yoko as well.  You go and marry a Beatle and that’s what’s going to happen to you basically.  But the thing is, I think that’s interesting in the book as well.  I mean Paul needed Linda. He had this personal crisis and couldn’t get out of bed and stuff like that, and he admits that Linda saved him.  And Denny’s Siewell says that in the book. If it hadn’t of been for her, he would have definitely ended up just a drunk with a broken heart. You know, the Beatles had split up.  So you’ve got to remember that and she was obviously whatever her musical talents, which obviously did improve as the decade progressed, it really was that thing that he needed her there as a familiar presence on the stage, which actually says a lot, because if you look at McCartney during the period – you know Sgt Pepper on – he seems to be a very self-assured man and stuff, and obviously very happy with his position in this very creative band.  But obviously as soon as they go, his confidence takes an absolute slamming, which is really interesting. So yeah, he needed Linda and obviously she was there on many levels but she was needed by him. And it is that thing.  John said that about Yoko.  It’s like if you don’t get her you can’t get me, so if you’re a Paul fan and you slam Linda, then that’s missing the point a bit.
JON: And she got blamed didn’t she, because it was fairly well known that she was the one who didn’t want the rest of the band’s wives and girlfriends coming to their exotic recording places with them, but then again if you look at the Jo-Jo Laine stories which you have put in the book can you blame her for Christ’s sake?
TOM: The idea of her and Jimmy McCulloch’s model girlfriend parading around in their bikinis while recording in the Virgin Islands  I think you can understand that big style.
JON: You’ve shown Paul as a very human – you’ve shown the human side of the Beatle, which is good.
TOM: Thank you.  That is basically what I was trying to do. 
Check him out at Birlinn
How Arthur Pendragon Met John the Baptist And The Author Slept In A Bin

Biggest egos

You may have thought that writing was a genteel sort of trade, scholarly and sedate, involving little more effort than a few quiet hours with a book and a pen. Well, yes it is. Unless you happen to be writing a book with Arthur Pendragon that is. Being the co-author of a book about ‘90s protest culture with someone claiming to be the reincarnation of a dark ages battle chieftain was anything but quiet.

I won’t give the story away. Suffice it to say that it’s the true story of a man calling himself King Arthur, most often seen dressed in a white nightie with a circlet round his head, and that it involves Stonehenge, various protest sites, Druid rituals, some court cases, an extended stay in Bullingdon Gaol and that, if it has any purpose at all, it is to encourage you to rebellion. As Arthur says, "if I can do it, anyone can." Not that he’s asking you to wear a white nightie to do it. Clothes are not the issue here. Self-empowerment is.

My original conception was that Arthur and I would spend time together taking part in various protests, and that, out of this, the story would emerge. I imagined various contemporary events with flashbacks telling the tale.

I hired a car and we travelled up to the anti-nuclear rally outside Faslane Trident Submarine base in Scotland. There was me, Arthur, and Mog Ur Kreb Dragonrider (who deserves a book to himself, if only to explain what his name is supposed to mean.) We were going to meet a man claiming to be John the Baptist. It’s obviously a trait of mine, hanging around with people with strange names claiming to be someone else.

On the morning of the protest we went to pick John up. You have to imagine the scene. John the Baptist is, in fact, a football casual, a Celtic supporter - he’s so neat he even irons his underpants - whereas Arthur is basically a hairy biker. John is a teetotaller, whereas Arthur loves his cider. It was six o’clock in the morning. Arthur was groggy with a heavy-duty hangover, whereas John was all bright-eyed and sparky. John is a Christian whereas Arthur is a pagan. They distrusted each other immediately.

So there I am, at the wheel of the hire car, with the two biggest egos on the planet in the back: a man who thinks he’s King Arthur Pendragon, and another one who thinks he’s John the Baptist. It’s a wonder the car could pull the load, so overburdened was it with maniacal, self-proclaimed glory.

John has this habit, what he calls "booming" someone. He comes up very close and fixes you in the eye and then rants. He has very startling, electric blue eyes. Once we had parked the car I left Arthur and the Baptist on their own, waiting for the sparks to fly, which they duly did. John boomed, closing in on Arthur‘s drink-fogged face, blinding him with his expositions; Arthur got bored and then, to get away from the onslaught, promptly got himself arrested. He saw a number of policemen protecting a line, walked across the line, and was carried away to the waiting meat wagons and the local police-cells.

The word went round that Arthur had just been arrested.. He was dressed in his usual gear. I over heard someone talking about it. "What’s he been arrested for?" they asked. "Bad dress-sense?"

It was 24 hours before I saw him again.

After that, not wanting to be outdone, John was angling to get himself arrested too. He was trying to urge me to drive the hire car at the police lines and through the gates of the base. "Call yourself a revolutionary," he said when I refused.

So that was it. My first attempt to get material for the book. I’ve lost Arthur and I’m left with a ranting football-supporting, Old Testament prophet frustrated that he can’t ruin my future career on a revolutionary whim.

Needless to say that particular story never made it into the book. I mean, where could you take it? I only tell it now so you know what traumas I was subjected to to get this story into print.

"Trust me"

Here’s another one. This happened a few weeks later. I met Arthur in Amesbury, near Stonehenge, where there was a meeting with the Department of Transport about the proposed bypass around the monument. Arthur had been invited as an interested party, and I was invited as his prospective biographer. I’d still not managed to get a single word onto paper.

Read on...


(The Masters of the Universe do seem to have a steady stream of interesting stories featuring them, their various friends and relations, and alumni). Each week Graham Inglis keeps us up to date with the latest news from the Hawkverse..

.Brock goes quiet and Lemmy goes loud

A recent posting on Facebook from Hawkwind manager Kris Tait about her husband, Dave Brock said: "Worried about master, he doesn't look well...all the stress is making him ill.....please send some positive thoughts.. xx"

It was then explained that there's a lot going on behind the scenes in respect of the upcoming tour. Hawkwind's North American tour is due to commence on Monday 7th October in Toronto.


Meanwhile, while Dave Brock's hopefully taking it easy for a few days, Motorhead's Lemmy has enthused about the pair of headphones that he and his band are promoting. "These new headphones are not like the weak-kneed, lily-livered, tin-pot, skinny sounding little pieces of garbage out on the market today," he said.

"We designed these headphones to deliver everything louder than anything else." 

No half-measures there, then.
The Court Circular tells interested readers about the comings and goings of members of The Royal Family. However, readers of this periodical seem interested in the comings and goings of Yes and of various alumni of this magnificent and long-standing band. Give the people what they want, I say

It has been yet another quiet week in the world of Yes and their various alumni. We have an interesting story about a radio show celebrating the 30th anniversary of their album that I liked least, an article looking forward to their forthcoming UK tour,  another story about Jon Anderson appearing in Vegas as part of the 'Raiding the Rock Vaults' spectacular, and finally the heartwarming news that Rick Wakeman has become patron of a cat rescue charity.
This should come as no surprise to regular readers of this magazine. Some months ago when my 8 months old orange kitten Buttons was hit by a truck, Rick was very sweet and very supportive of me through the grief.

I am still touched by his concern.

That was about all for this week until my favourite roving reporter Bart Lancia came up with this:
Bringing (or 'Relaying') the music of YES Now in their 45th year, progressive giants YES continue on,with their 18th different line-up. Many long-time fans of prog rock agree the 'classic' period (the 70's) of this band was the most successful, and the most endearing. Paying 'tribute' to this part of the YES catalog is the mission of YESTERDAYS, a visual and musical retrospective exploration.
Standing in the wings at many a performance of these musical travelers, one need only close their eyes, and imagine Anderson, Howe, Squire, Rick Wakeman, and Bill Bruford just a few feet away. Speaking with drummer/percussionist Mike Frasche a few days back, you can sense the intense dedication to his (and the band's) craft. "We're older now, and more into it than ever", says Mike. And with their new stage show, co-produced by J.B. LIGHTING and RMT PRODUCTIONS SERVICES(sound), with a stage/set design by Gregory Cilmi, the visual aspects of a YES concert is well represented. Brothers Ritchie(bass & vocals) and Ray(guitars & lap steel) Corbo are nearly fanatical when rehearsing to reproduce the complex rhythmic sounds of such YES classic as 'And You and I', and hearing them perform live is a revelation.
Rumor has it, both fellows will be heard on an upcoming Jon Anderson solo project. Keyboardist John Rittweger,with a Master's degree in Music Education, has a long history of working with well-known musicians, including Annie Halsam of RENAISSANCE. Fronting the group, lead vocalist, who contributes with harp and guitar, Mark Tobie has studied with jazz great Harry Leahy. His 'dreamy' interpretation of legend Jon Anderson ties the whole "journey" together, and recent addition Angel Arcaro-Rittweger(backing vocals) adds a layer of vocal harmony YES itself would envy. Once having to be satisfied playing locally in such places as MOTHER'S NITE CLUB, AND DEXTER'S (see their shows on YouTube as well as their website, YESTERDAYS has 'graduated' to the theatre level,and is bringing its retrospective jewel to THE DARRESS THEATRE(615 Main St., Boonton, NJ,USA). Friday, October 11th will be a 2-hour performance with guests "US NOT THEM", the well-regarded Pink Floyd tribute from New York. The following night,Saturday Oct.12, YESTERDAYS performs the entire "Close To The Edge"collection as guests of the afore-mentioned "US NOT THEM". As a 40-year devotee of Jon and the boys, I cannot wait, or control my enthusiasm. Go see a great show, from both bands. Classic performances from classic performers don't happen every day. 
And, of course, no issue of this magazine would be complete without something peculiar from the irrepressable Carl Portman...
Dear Jon,

Went and saw Stevie Howe again last week (see attachment) – and had another enjoyable show. Met him afterwards for rough sex and a glass of wine. No sorry, I mean a photograph and an autograph!!
Carlos x
And that is - I am afraid - that, for this week.
I am probably getting a bit OCD about all of this, but I find the Yes soap opera of sound to be absolutely enthralling, and I for one can't wait to see what happens next! 
(colors change,man!)
was a Roman chalice with silver and gold particles embedded
Whatever wine or water was poured into the cup changed its apparent color.
Professor Gang Logan Liu replicated this on a microlevel using nano-particles of silver and gold
Silver particles gave a blue color,gold a green
Varying the contents changed the color.
Aluminum and copper also work-but beyond our visible spectrum
Practically,this can determine water quality.,vine vintages and blood cholesterol levels
Even better,the equipment can be replicated easily and cheaply
Whether wine ,water or blood-vampires,doctors and engineers
can now thank both Romans and Chinese!
In Victorian times every well-bred Gentleman had a 'Cabinet of Curiosities'; a collection of peculiar odds and sods, usually housed in a finely made cabinet with a glass door. These could include anything from Natural History specimens to historical artefacts. There has always been something of the Victorian amateur naturalist about me, and I have a houseful of arcane objects; some completely worthless, others decidedly not, but all precious to me for the memories they hold.

But people send me lots of pictures of interesting things such as this insanely expensive Japanese reel-to-reel copy of Pink Floyd's Meddle album, which apparently is massively rare, because it came out as a limited release by Toshiba, and subsequently sold very poorly.

Very nice. But $10K?????

Read on..


There are nine Henrys, purported to be the world’s first cloned cartoon character. They live in a strange lo-fi domestic surrealist world peopled by talking rock buns and elephants on wobbly stilts. They mooch around in their minimalist universe suffering from an existential crisis with some genetically modified humour thrown in. I think Peter McAdam is one of the funniest people around, and I cannot recommend his book The Nine Henrys highly enough. Check it out at Amazon.

Each issue we shall be running a series of Henrybits that are not found in his book about the nine cloned cartoon characters who inhabit a surreal world nearly as insane as mine...

Kev Rowland
Here we have the third album from Citizen Cain (not the fourth as some would have you believe), some three years after ‘Somewhere But Yesterday’. There had been quite a change in line-up as well, with the band now reduced to just a duo of Cyrus and Stewart Bell. There are no details of who plays what, just that they performed everything themselves apart from lead guitar on one song which was played by Andy Heatie. As with all five reissued albums, it has been remastered and there is a subtle alteration of the artwork, but the track listing is as the original with no additions. In many ways this is one of the band’s darkest pieces of work, as they strike their own path and move somewhat away from the early Genesis feel into something that is more brooding and powerful. 
The bass is now much more to the fore, and taking on a greater lead role, while Stewart’s keyboards have grown both in stature and layers.
The word that keeps coming to mind when trying to describe this album is “power”, as although they are now reduced to a duo this is very much a band firing on all cylinders that disproves the notion that prog musicians should just sit back and not worry too much about the rock element. That is definitely disproved here as these guys belt it out, yet still have loads of time changes and switches as move through numerous styles and designs. By this time in their history Stewart and Cyrus knew each other well, and how to work together, and more than 15 years after the release of this album they are still producing great music. Festival Music have reissued the first five albums in a remastered form, and now couldn’t be a better time to discover the incredible symphonic prog of Citizen Cain.
A few years ago I reviewed, ‘Disappearance’, and back then I asked questions such as “is this music even sane, or something that is taking the listener into new areas of their own mind?” I still don’t have an answer, but he is back now with his latest work (I missed the intervening ‘Cipher and Decipher’).

As before, he provides words while 14 musicians improvise at the direction of Pierre Turner. Unusually, this time he also has another singer in Sari Schorr who definitely provides another facet to proceedings. I know that Copernicus is not something for the mass market, as he mixes poetry and passion with avant-garde into something that is Beefheart in an asylum, Zappa with any sense of melody and constraint squeezed out.
Over the years I have trained my ears and mind to understand music that many people wouldn’t even define as such. It is only in the last few years that I have started to really discover Art Zoyd, Can, and many other artists that some people will never enjoy listening to. It’s a bit like eating vegetables, when young most people only like peas and carrots, it takes a while for the palate to mature and to be able to enjoy brussels and broad beans. Copernicus is like that. Listen to him with a closed mind and you will only hear a dischordant cacophony, but if you have an open mind then you will find something that is strangely compelling, something that has to be played through to the end. The strange thing about this album is that “What Is Existence” starts with a guitar gently playing “Go Tell It On The Mountain” and that is strangely jarring with what else is happening.
Not for the fainthearted, and definitely not for those who only like peas and carrots. It comes with a really informative booklet as well.
Oh. My. God. What we have here is yet another awesome band that have been uncovered by Leonardo, this time from Brazil. This instrumental trio comprise Nelson Coelho (guitar), Jorge Pescara (touch guitars) and Miguel Angel (drums) and in many ways are quite unlike anything I have come across before. Apparently this band originally formed in 1987, but were on ice for a long period before getting back together in 2006, after which they released a couple of albums. Last year original bassist Andrei Ivanovic left, to be replaced by Jorge who instead plays touch guitar and this is their first album since then. What makes these guys so unique, is the way that they are bringing together so many different styles and forms of music in a way that is progressive, instrumental, heavy and containing so many influences that one doesn’t really know where to start.
So, with an instrumental trio it isn’t unusual for there to be plenty of jazz structures and tendencies, and that is indeed the case. But, there are times when these guys move from 13/8 into standard 4/4 without missing a beat and all of a sudden we have shredders that are moving the music in a very different direction indeed. It is slow, it is reflective, it is hard, it is in your face. Miguel is the one person attempting very hard to keep the others in line, as Jorge is not adverse to providing a secondary lead line, very different to what one would expect to a ‘normal’ bassist (although he can also hunker down when the time is right). But Nelson is a real star, with a wonderfully fluid touch that is reminiscent of the great Allan Holdsworth, yet often much more in the face in the style of Satriani.
This album could only ever be described as progressive, yet there are only the three instruments on show, which just goes to show what can be delivered by those who have totally mastery and understanding of what they need to achieve. This may be their third album in recent years, but the first to get a full international release, and I know that we are going to hear a great deal more from these guys. Just stunning.
SIMULACRUM The Master and the Simulacrum (INVERSE)
The debut album from this young Finnish band came out at the beginning of 2012, and the guys class themselves as prog metal. Now, MMA agrees with that statement (but it is always possible that is because it says it in the press release), but they are not listed on PA (although I have just asked the prog metal team to have a listen and see what they think). In my opinion what we have here is a melodic metal band, with the odd progressive tendency as opposed to a progressive metal band per se. But, here is the same old issue of trying to pigeonhole a band, as what really matters is whether the album is actually any good or not.

I suppose it doesn’t help that I’m sticking on the fence on that comment as well.
There is some very good shredding here, and guitarist Nicholas Pulkkinen is definitely the stand out musician. But, I’m not sure that the band is set on a musical direction and seems to be throwing bits and pieces of everything with not always a great deal of success. I mean, nu-metal segueing into piano isn’t what people would normally expect, but is that necessarily a bad thing? I have played this album quite a bit, and find that I change my mind on it the more I listen to it, which is unusual in itself. What I can say is that this is definitely going to be one where everyone needs to make up their own mind. It is possible to hear some of their songs on their MySpace site, and it is certainly worth going there to come up with your own opinion.

Nic Jones is a legend of British folk music. His 1980 record Penguin Eggs is regarded as a classic. In a poll by the Observer a few years ago, Penguin Eggs was rated number 79 of the “100 Best Records of All Time", just above â€œStation to Station” by David Bowie and just below “Let It Bleed” by The Rolling Stones - amazing for an LP that never actually charted. His iconic song Canadee-i-o has even been covered by Bob Dylan.

Many believe that Nic was destined for international stardom; his funky, rhythmical and percussive guitar style and smooth singing meant that his music crossed musical barriers. In the film, comedian Stewart Lee says he heard Penguin Eggs for the first time in a record shop in Birmingham whilst looking for records by The Fall. “If I had known it was folk music I probably 
wouldn’t have bought it but it’s a really great album. The problem is it sets the bar rather high for the rest of your life”.

In 1982 Nic Jones was at the peak of his career, but driving home from a gig one night a near-fatal car crash changed his life forever. Almost every bone in his body was broken and neurological damage meant that he would never play his guitar in front of an audience again. Apart from a couple of tribute concerts, Nic Jones disappeared from the public eye for thirty years. Then in the summer of 2012, encouraged by friends and family, Nic returned to the stage to play several festival performances accompanied by his guitarist son, Joe Jones and keyboard player Belinda O’Hooley. The concerts were a resounding success and for his old and new fans, a moving comeback for their musical hero.

The film is the emotional story of Nic’s return but also demonstrates why he is so revered, not just in folk circles but across all music genres. Nic has inspired a whole generation of younger artists including BBC Radio 2 Folk Awardswinners Jim Moray, Eliza Carthy, Sam Carter and Blair Dunlop. They all appear in the film, as does critically-acclaimed American singer/songwriter Anais Mitchell. Folk legends Martin Carthy, Martin Simpson, Chris Wood and ex Fairport Convention founder Ashley Hutchings are also featured.
My assistant editor Captain Frunobulax the Magnificent and I have had a quite a nice week, which has largely consisted of me sitting (or lying) down reading, whilst the good Captain sits on my lap and purrs louder than any other five month old kitten I have ever met.

The magazine goes from strength to strength as my life gets progressively more peculiar.
The other morning I woke about an hour before dawn with a horrible crushing sensation on my chest. I couldn't move, and it was pitch black. I could hardly breathe and I felt this weird otherworldly sensation around my face. I truly thought that I was about to meet my maker.

However, then I realised that I had gone to sleep remarkably quickly after consuming wine whilst watching the Steve Ignorant 'Last Supper' DVD, which really is most awfully good, and when I went to bed I was accompanied by Prudence the 35kg bulldog x boxer and Captain Frunobulax the Magnificent, the rather nutty orange kitten.

They were both in a loving mood, and as Corinna had been up late doing stuff and had probably kipped downstairs rather than disturb me, my two animal companions had decided to be extra specially affectionate. Prudence was asleep on top of me (hence the horrible crushing sensation on my chest, and The Captain had gone to sleep on my face! My life does get more and more peculiar.

But as far as the magazine is concerned: Remember that it doesn't cost anything to subscribe, and that in doing so you are joining an elite, and rapidly expanding group of music fans who believe that we are not being given the music or the cultural coverage that we deserve. 

We are living in disturbing and strange times, but ultimately they are very interesting ones, and continuing to chronicle the Gonzoverse is an immensely rewarding thing to do. Thank you for reading.

Until next week,

Jon Downes
Copyright © Gonzo/CFZ Press 2013  All rights reserved.

Our mailing address is:
The Gonzo Weekly,
The Centre for Fortean Zoology,
Myrtle Cottage,
Bideford, North Devon
EX39 5QR
Telephone 01237 431413
Fax+44 (0)7006-074-925

unsubscribe from this list    update subscription preferences