Issue Twenty-Eight       June 1st 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.
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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...
Dave BP and I had a smashing time in Brighton; Mick Farren is a lovely bloke and the band were all delightful. We came back with a load of video interviews and the whole concert filmed on two cameras. Because I couldn't resist it, I did a rough cut of Dave's and my favourite song , and other bits and bobs will be posted over the next few days as well as the interview with Mick Farren which will be described later in these hallowed pages.

I was listening to Bobby Gillespie's commentary on the latest Primal Scream album, and I was struck by this comment of his:
"We are living in very extreme times I think, but it doesn't seem to be reflected in any of the music that I hear. People are becoming more depoliticised [...] there are many reasons for that, but it just seems that there's no resistance [...] going on in music, but our song [2013] is kind of dealing with that, and asking 'where are the angry voices? Where's the protest? Why is nobody protesting? Why is everybody silent?'. I think that people are complicit in what is going down because of their silence, or they are just dead to it. I think that people are mainly just dead to what's happening. I just wish people would wake up a little bit more and see what's going down, what's happening. J.G.Ballard said, just before he died that there's no need to write science fiction novels any more, because we are living in a science fiction novel, and I completely agree with that! [...] It seems to me that we are headed for unenlightened times, and that nobody is talking about it or writing about it."
I agree entirely. I actually have a new record in the works, and it deals with much of the same things that Mick Farren and Bobby Gillespie have said. It will be distributed through Gonzo, although it will be on my own CFZ Records. It is called The Man from Dystopia and will be out later in the summer.
Is this just shameless self publicity? No, not really. No-one ever buys my records. I don't think I have ever sold more than a couple of hundred of any title, but in these strange and forbidding times, I just wanted to nail my colours to the mast and show solidarity with both Bobby and Mick, and to state once and for all that we are all singing from the same hymn sheet.

Now, although I think that my politics are self-evident, apart from green issues such as the badger cull, I have always kept quite about my own political views, and party-politics is a no-no in The Gonzo Weekly. However, censorship is anathema to both Rob Ayling and myself, and I will not censor the words of anyone who appears here. I would, however like to say once and for all (and in bold):

Sentiments expressed are those of the individual cited, and do not necessarily reflect the views of Gonzo Multimedia or myself. But me? I have no view, I am just a humble journalist, still amazed that after all these years I can still have fun writing about music!
My dear un-nephew Max (currently working towards a PhD in Insect Genetics)  writes to me every year that he goes to Glastonbury Festival, a few weeks before the event. I am rather touched that a young hipster like him cares about the opinion of an old git like me, so I go through the lineup and give him my recommendations. This year I am sharing them with you, but I am also inviting your opinions of acts I should have recommended, or ones I did that you think that I shouldn't have (a convoluted sentence, but you know what I mean).
Pyramid Stage
On the whole it is not as strong a lineup as previous years. On Friday the only person I would want to see is TOUMANI DIABATE and that would be only if there is no-one else to see. Saturday is self-evident  THE ROLLING STONES and PRIMAL SCREAM duh! PS's new album is bloody good. ELVIS COSTELLO and BILLY BRAGG are always worth a shot, although BB is not as much fun as he used to be. On Sunday, NICK CAVE & THE BAD SEEDS are a given, KENNY ROGERS is probably worth seeing, and I have always had a soft spot for RUFUS WAINWRIGHT, although his Dad is much funnier.
The Other Stage
Again it is not that strong a lineup, in my humble opinion. On Friday PORTISHEAD are a must, and I rather like FOALS and  TAME IMPALA. On Saturday there is no-one that particularly interests me but little Jessica keeps on trying to get me into NOAH AND THE WHALE. On Sunday PUBLIC IMAGE LIMITED are essential, but the others are not really my sort of thing (or I have never heard of them).
The West Holt Stage
An interesting collection of things here. On Friday CHIC FEATURING NILE RODGERS could be interesting, but be aware that Bernard Edwards is dead, sadly, so you won't be getting the whole CHIC experience. SEASICK STEVE has always mildly irritated me, but I have a soft spot for TOM TOM CLUB (if you didn't know, they are a spin off of TALKING HEADS, and I always fancied TINA WEYMOUTH something rotten when I was your age. On Saturday PUBLIC ENEMY Yay!!!!! It takes a nation of millions blah blah blah. THE ORB FEAT. KAKATSITSI could be good or could be massively tedious. Take your pick! On Sunday check out BOBBY WOMACK and ONDATROPICA, and maybe THE CONGOS.
The Park Stage
On Friday DINOSAUR JR may be to your taste. They are massively noisy in a brutal but rather elegant kind of way, on Saturday FUCK BUTTONS are supposed to be good, CALEXICO are completely magnificent. I always remember driving through the Nevada desert listening to them very loud as the sun went down over the Valley of Fire National Park. DEVENDRA BANHART is mad as a hatter, and depending on whether you like hippy whimsy or not, either massively irritating or groovy to the nth degree. I rather like him. ED HARCOURT has his moments, and on Sunday, you should consider checking out  CAT POWER who can be very good if the stars are right, and TIM BURGESS. I always liked him with THE CHARLATANS, and his solo stuff comes recommended although I have to admit that I haven't heard it myself.
The John Peel Stage
There is no-one that I would want to see on the Friday, but on the Saturday JOHNNY MARR would be a good bet. His first solo album, released earlier this year, has definitely got its moments. On Sunday check out VILLAGERS. They are basically one Irish bloke, but well worth checking out from the bits and bobs that I have heard.
The Acoustic Tent
On Friday SINÉAD O’CONNOR is as mad as a bagful of cheese, but usually massively entertaining, as are BILL WYMAN’S RHYTHM KINGS, MARTHA WAINWRIGHT.MARTIN STEPHENSON & THE DAINTEES (if you see him give him and Helen my love). On Saturday STEVE WINWOOD is a Godlike genius, when he remembers that he is - indeed - a Godlike genius) and THE PROCLAIMERS and KT TUNSTALL both have their moments. SETH LAKEMAN on the Sunday is rather good both from a musical and a Fortean point of view. His songs are often based on weird westcountry folklore.
The Avalon Stage has THE OYSTER BAND on Friday and BRUCE FORSYTH on Sunday, but I doubt whether either will be particularly to your taste. OB are rather cool in a Celticy proggy kind of way, and BRUCIE was the ANT and DEC of his day.
The Left Field has lots of BILLY BRAGG and if you haven't seen him elsewhere over the weekend you might well check him out, but hidden away on the Saturday is the mighty WAYNE KRAMER of THE MC5. Kick out the Jams gentlemen of a maternal incest inclination! I actually thought that WAYNE KRAMER was dead, so this is jolly good news all round. I am sure that I have played you THE MC5 on occasion, but if not check them out, I entreat you. If I have never performed any oither avuncular duties, I should at least have turned you on to Detroit's finest. Rama Lama Fa Fa Fa!
The Spirit of 71 Stage is the last one that has more than one person I would recommend. On the Friday is ROBYN HITCHCOCK who is highly thought of, although I have not yet really managed to 'get' him entirely. There is also DON LETTS who is someone you should see before you die. He was a punk film-maker and DJ back in the day, and then formed BIG AUDIO DYNAMITE with Mick Jones from THE CLASH. On the Saturday BEATBOX COLLECTIVE are very good and on the Sunday SYSTEM 7 featuring the mighty STEVE HILLAGE/MIQUETTE GIRAUDY are a must, but you don't need me to tell you that. EAT STATIC are also excellent - an OZRIC TENTACLES spin-off, but again you probably know that already. Much to my amusement they were the favourite band of a certain rather dodgy person of our mutual acquaintance.
Various members of SLY AND THE FAMILY STONE ARE ON the Sonic Stage on Saturday, and DREADZONE are on the Gully Stage on Sunday. I have been recommending you check out their particular dub experiments since you were first at Uni. THE MAD PROFESSOR is on at the Acid Lounge on Sunday with more insane dub experiments. I particularly liked his ADRIAN SHERWOOD produced stuff, but then agaon I have never disliked anything I have heard by ADRIAN SHERWOOD. Apart from Gonzo of course, OnU have to be one of the grooviest British record labels of the last 30 years. ALEX PATTERSON of THE ORB is on at Bez's Acid House.
That's about it from my recommended list, but I am sure that there are lots more things that I have missed, or just not heard of. I'm going to post this letter in this weekend's Gonzo Weekly and ask for input from the Gonzo readership. Let's see what they have to say...
However, an hour or so after I wrote the above email to Max he wrote back:

Thanks awesomely for this, good shout on the Gonzo folks. Send them my thanks! But, obviously you missed some stuff that I can't wait to see, so my additions are:
Pyramid Stage: I'm actually not a huge fan of this year's PS. Obviously, The Stones and Nick Cave are godlike, but I wouldn't be that bothered about anything else. I'm not into Primal Scream (not because I don't like them, just because I don't know them), and the other bands/artists just don't float my boat. 
The Other: I really like Enter Shikari (Friday) if I'm in a good mood to rebel against the Man, so they may well be worth seeing. On Sunday we have the Smashing Pumpkins, who I do have a soft spot for, even if there are other 90's alt rock bands I would much rather see. Other than them, PIL and Tame Impala (again) are high on the list.
West Holts: by far my favorite stage last time. Goat are a stunning psychedelic band you have GOT to check out and are a must-see. On Saturday, Public Enemy fight with the Stones for a place, and for once they may well lose this one. The Orb are brilliant, and on Sunday Dub Colossus are really worth a spin sometime.
The Park: always my least favorite main stage, there is no-one there I am really that bothered about, though I will check out some of your suggestions.
John Peel: sadly, Napalm Death won't be playing, but we do have Everything Everything who play some of the best arty pop of recent years. Though their last album wasn't stellar, the first was one of the best of 2010.
The Glade/'71: this seems to finally have found it's place. Terakaft play some awesome middle-eastern blues, Space Ritual are, well, Space Ritual. I saw them a couple of years ago, and they are consistently good. Cassetteboy is awesome, and I can't wait to see him again.
Other stages: Hypnotic Brass Ensemble on Sonic are good, but nothing essential. Babyhead on Gully are great punk ska, and should be excellent on Sunday afternoon. There are various other bits and pieces, but most of them clash with something more important.
All in all, not a bad year!

THE WEEK THAT'S PAST: The Ballad of Rob'n'Kris (redux)
I wasn't able to make it to Rob and Kristian's belated Wedding Reception on Monday, and I imagine that neither did most of you reading this magazine. So for those of you who weren't there, here is what you missed...
Over the past few weeks I have been telling you about the revitalised Gonzo Web radio, and the new shows which we are hosting. Over to Matthew Watkins:

CANTERBURY SANS FRONTIÈRES: Following on from the Canterbury Soundwaves podcast series, March 2013 saw the launch of Canterbury Sans Frontières, its continuation. As with the original series, a new three-hour episode will be released with each full moon. But whereas Canterbury Soundwaves was a loving act of curation, with an expository quality and many themed episodes, the new podcast will simply involve eclectic three-hour music mixes. There will be no barely listenable hissy bootlegs, interview recordings or scrapings around the fringes of the Canterbury scene for for nearly forgotten material, and a lot less talking. This new podcast broadens the musical remit, so it'll be about one-third carefully selected "Canterbury sound", some progressive/psychedelic/experimental music from the Canterbury of today, and the remainder being a mix of music from various times and places which I feel displays a similar spirit of creative adventurousness (psychedelia/krautrock/free jazz/prog-rock/jazz-fusion/cosmic jazz/minimalism/ ambient/glitch/ Afrobeat/Ethiopique/dub/mathrock/drone/Tropicália/R.I.O./post-punk/beat poetry/more). Canterbury without borders. To further open up the borders, some episodes will include guest one-hour mixes created by various musicians from the music scene in Canterbury.

The complete run of Canterbury Soundwaves will also be archived here at Gonzo. Hooray!

But we also have another treat in store for you. Let me introduce my mate Neil Nixon:


Strange Fruit is a unique two-hour radio show exploring the world of underground, strange and generally neglected music. All shows are themed and all shows set out to give the most hardened of sound-hounds some new delight to sample. The show is also unique in providing homework for undergraduate students on North West Kent College’s Foundation Degree in Professional Writing (who dig up many of the odd facts featured in the links between tracks).  Strange Fruit presenter is currently working on a book about rare albums for Gonzo Multimedia.  

The show is broadcast on Miskin Radio every Sunday from 10-00-midnight.


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
I am very excited about this new venture. We shall also be hosting all the episodes of his previous Canterbury Soundwaves podcast. I don't know how long it will take to get them all up and in place, but we shall get there in the end.

I am growing up in public, as it were. The Gonzo Weekly has been going for nearly six 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?

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.
THE WEEK THAT'S PAST:  Welcome back Rod the Mod
It is hard to fathom it now, back in the early 1970s, when I was a mere stripling, that Rod Stewart was seen as a consumate artist and furthermore one of the most important and influential rock musicians around. Like Elton John he made a spectacular fall from grace (or rather credibility) during the latter part of the decade and the years that followed, and - unlike Elton John, who has redeemed himself massively in recent years, especially with his album with Leon Russell - he seemed to be lost in the depths of showbiz hell.

The other day I got hold of a copy of Rod Stewart's autobiography for 10p, and as I read it, I found myself unexpectedly warming to the man. Despite the appalling stories about anal cocaine and vacuuous supermodels, he came over as a warm and kind geezer (though undoubtedly a geezer).

In the final chapter he (almost shamefacedly) admitted that he had recovered his muse, and said that he was very proud of his new album Time.

Being in an uncharacteristically good mood, despite the weird week that I have had, (more of that later) and having read several reviews which bore out his claims, I checked it out. And guess what?

I was only too prepared to hate it. After the week I have had, I am not in the mood for multimillionaire opulence, but I am only too happy to say:


The new Rod Stewart album is an absolute classic, up there with Gasoline Alley and Never a Dull Moment. He seems to have rediscovered his muse in a big way, and I am very much looking forward to seeing what he does next. In late middle age, he has rediscovered what is important to him both musically and personally, and I - for one - wish him well, and hope that this resurgence is the beginning of an autumnal blossoming of his talent.

In the book he even admitted that many of his album covers now make him cringe. But I have never understood how anyone let him get away with this one:
No, this isn't me - I'm fatter.
I remember a rumour from about 20 years ago concerning the final album that Shane McGowan did with The Pogues. One of the things which eventually led to the band splitting up was allegedly that McGowan had written and recorded an extremely long acid house track called You've Got to Connect Yourself. Has anyone heard this? Or at least can anyone confirm or deny the rumour?

I am still searching to find out why there is a version of (Remember) Walking in the Sand by The Shangri-Las which has a spoken intro that goes:

"Once there was a land where the flowers always grew, even in September.. do you remember?"

Now, my memory is not what it was, and I haven't heard this song for well over thirty years, and the month in the intro might have been November or December I can't remember.If anyone knows anything, please let me know. This has been bugging me for decades.

THE WEEK THAT'S PAST: Bad news from The Residents
Dave McMann who penned the eulogistic live review of The Residents in last week's issue, sent this:

A message from Charles Bobuck:

First off, thank you. I do appreciate the notes of concern I received about my health problems on tour. The lesson I learned is that there is a proper cut off age for me to be spending so many weeks dragging my body around doing shows. I have hit that age. There I said it. I am announcing that I am retiring from epic tours. If there should be more of those I will not be one of the poor suckers on stage. Maybe I'll hit a few dates and leave the rest to a younger understudy.

I had set my mind to get through the 40th Anniversary shows. I did it. I am not dead. Just, at times, wishing I was.

When I saw them recently at The Barbican, I didn't know if he was acting at times or having a breakdown. It seems it was a breakdown. But best wishes Charles, Larry, Randy, or whatever you're name is and thank you for the 40 strange years of music.
THE WEEK THAT'S PAST: The Gospel according to Bart
Once again, Bart Lancia has been on the ball this week. He sent me This Story about Paul McCartney leaving a guitar pick on Elvis' grave. He added this note. "Just a silly little thing.. Found it funny Paul had never been to Graceland.. Beatles big Elvis fans.. Hope you're well,mate.. Bart in the Colonies"

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.
THOSE WE HAVE LOST: Jack Vance (1916-2013)
John Holbrook Vance (August 28, 1916 – May 26, 2013) was an American mystery, fantasy and science fiction writer. Most of his work has been published under the name Jack Vance.
THOSE WE HAVE LOST: Bill Pertwee (1926-2013)
One of the last remaining cast members of Dad's Army has died
EXCLUSIVE:  Genre Peak's ambient album
Next week we will be bringing you a full length interview with Genre Peak main man Martin Birke about the new album, and I hope that we shall even have a few snippets of this extraordinary album for you. But here is a brief taster:

9 Microspheres….Basically in 2009 after I had finished Genre Peak’s second album “Preternatural”, which was big production, big electronic, big 24 track with percussion and bass and everything, I talked to my friend Steve about doing an ambient album because I said I needed a break from the constant programming and just the whole ordeal of doing a big, big  vocal album. 

So I just gotten a new Pro Tools LE studio system for my house, so as part of learning it – you know learning the engineering of it – we got together and basically started doing these ambient pieces. Steve is a former student of Robert Fripp’s League of Crafty Guitarists that I think happened around 1985,  and Steve is also a really talented  guitar synth artist and he can generate these incredible environments and loops with a midi guitar and what’s really nice about the guitar synth  there is something about the midi tracking on strings that gives you more control and a lot more organic sound over the strings than you would with a normal keyboard synthesiser, so Steve being very good at what he does just kinda started recording these pieces and he would layer loops on loop s and it would be very ethereal and calming.

And  we’d put on Stanley Kubrick’s 2001 and we would watch that with the volume turned down and we basically recorded for about a week watching various Kubrick  movies with the volume turned down, and we  found it really inspiring, you know, Kubrick being the master that he was.  And so each piece started to have its own unique sound to it.  Granted they are all kinda on the dark side, but each piece sounded quite different from the last and after about – I think we did about just under two weeks of tracking - I picked about ten of the tracks that I really liked and just kind of cut them, shortened them, played with them, added  effects here and there, reverb sounds, clicks and groans and stuff like that and it just really turned out to be very great and magical and I was really proud of it.... (to be continued)

I’ve just come back from watching a murmuration of starlings over Cromwell Road.

“Murmuration” is the collective noun for a flight of starlings. Starlings don’t flock, they murmur. It’s an odd word to have chosen, since what they actually do looks more like reciting poetry than murmuring.

They cut, they weave, they parry, they thrust, they wheel about in the air forming immense patterns of startling complexity. They shimmer, they switch, they swirl. They swoop, they dive. They split and then reform. It’s like a vast aerial dance of hypnotic precision in which the individual starlings come together to create a unity, as if they are being guided by a single collective will.

They do this on still evenings just before sunset as they are preparing to roost. It’s a fantastic sight, made all the more beautiful in Cromwell Road by the fact that the only reason it can happen here is because the trees on the embankment were saved in the campaign against Network Rail last year.

It’s hard to say why they do this. According to the RSPB, it’s to protect themselves from predators, but to me it looks like nothing less than an act of collective worship, like living creatures expressing themselves in their joy of being alive.

Perhaps they are giving thanks to the people of Whitstable who helped to save their homes and families last year.

And that is how we felt further down Cromwell Road, outside the delivery office on Saturday the 12th January 2013, when a murmuration of humans got together for our own act of collective worship in our joy of being alive.

I’m referring to the postal workers and the people of Whitstable, of course, and our “Carnival of Resistance” against the closure of the office.

It was an unforgettable day. From the first to the last a creative act. We did not stop the mail but, then again, we never intended to. What we did was much more profound. We created a unity of purpose that day, as if all us individual humans were getting together and being guided by a single, collective will.

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About 40 years ago I was a scruffy fourteen year old who lived in the same cottage that I live in today, and baffled most of the people around him by his obsession with strange animals and music that nobody else around him understood. Nothing much has changed over the past four decades, (except for the fact that I am forty years more decrepit) but the other night, in the back room of a pub in Brighton, I had a weird flashback.
Back in about 1973, I was engaged in an untimately unwinnable (by either party) war of attrition with my parents (particularly my father) mostly about rock music. I was convinced that the new vibrations from the ubiquitous pop music that I heard all around me were ultimately going to lead to a new age and a new consciousness (ultimately they would lead to Pop Idol and Simon Cowell, and Les bloody Miser-ubbybloody-les, but we weren't to know that). Whereas my father was convinced that this frightening new culture in which I had immersed myself was going to lead to the end of the British Empire, and to me never having a proper job and being a fifty-something long-haired weirdo who eked out a living writing about things about which most people weren't interested. Either that, or I would turn into some sort of insane self-styled revolutionary.
With the benefit of hindsight, my father was almost completely right, and that the glorious brave new world of peace and love and here comes the sun, was never going to happen. But that, is - as they say - a completely different story. I am (as I so often do) digressing in a disgracefully unfocussed fashion. Sorry about that!
Back in 1973, my parents had a Sunday newspaper every weekend. I cannot remember whether it was The Sunday Times or The Sunday Telegraph and it doesn't really matter. But whatever it was, it seemed to occupy a comfortably reactionary social standpoint that satisfied my parents' needs. Most of the time their newspaper didn't impact upon my life any more than the things that I read (I was in that uncomfortable limbo between Look & Learn and The NME - I was far beyond one, and didn't understand more than one word in four of the other) and I ignored it.
However, one weekend, sometime in 1973, my father read one particular illustrated article about how rock festivals were leading the nation's youngsters into a life of dope-fuelled promiscuity (which sounded quite fun to me) and ranted about how disgusting it was! The article was illustrated by a photograph of a band called The Pink Fairies on stage at a festival (that I think was probably Phun City) but not only were they scruffy and hirsute (which was enough to enrage my papa at the best of times), but two of them (the drummers Twink and Russell Hunter) were naked. My father nearly burst with apoplexy and ranted uncontrollably about this abomination and affront to the standards of the world in which he had been awarded Companionship of the Imperial Service Order, all the way through Sunday lunch. If I didn't start buckling down to my schoolwork and stop behaving like an authority-hating anarchist then this is how I would end up; with my genitals flaunted across the Sunday colour supplements.
He was wrong on that count. I am still an anarchist (and, unlike at the age of 14, I actually know what it means), I still have no real visible means of support, and I still have a sneaking suspicion that rock and roll and good vibrations may eventually save the world (well, they are the best shot we have, at any rate), but - no - I have never flaunted my manhood in the Sunday newspapers (although I was once photographed fully clothed in An Poblacht which would have scandalised my father even more, if he had ever found out). But the other evening I met a man who had.
When David B-P, my dear adopted nephew whom I love more than most other people in the world, and I wandered slightly diffidently into the room which served as the Deviants' dressing room the other night, the first person that I saw was Russell Hunter. And it would not be an exaggeration to say that part of me had a weird flashback to my teenage years. "Hey dude, the sight of  your dick made my Dad really angry", I didn't say. Of course I didn't. There were too many other things that I needed to discuss.
Because the Deviants are important. Together with Hawkwind and The Pink Fairies they were the first of the "People's Bands"; groups who played for the socio-cultural-political benefit rather than the financial, and in these decadent days of the 21st Century we need people like them more than ever.
On the journey up to Brighton I was discussing a whole slew of things with Dave, including my perennial worry that the team of people who help me run the annual Weird Weekend in North Devon gets smaller each year, and the list of people who help financially is rapidly diminishing. Costs get higher, and the milk of human kindness is beginning to curdle. Dave said, (and I am afraid that I have to agree with him) that it is because we are in a recession. People are more worried about money, and therefore become more selfish in their quest of it. My attitude is exactly the opposite; when society is in trouble, this is precisely when we need people to be community oriented, and where crazy-passionate nonsense is most important. But I am in a minority, and this is why we need the Deviants and their ilk now, more than ever.
As Dave and I entered the room, a wiry dude rose to meet us and held out his hand in a greeting, shaking mine warmly. "Hi, you must be Jon. I'm Andy Colquhoun"

This was someone that I had always wanted to meet - he was the main man with Warsaw Pakt who I always thought were rather good and he then went on to join Tanz Der Youth with Brian James, ex of The Damned. They were another of those seminal bands who I always thought were criminally under-rated. He introduced me to the other three members of the band: Russell Hunter and Duncan 'Sandy' Sanderson ex-Pink Fairies who have been with the Deviants since the beginning, and the lovely Jaki Windmill.

I conducted a fairly shambolic, but enjoyable interview with them which you can see HERE.

Mick Farren didn't arrive until a few minutes before the band were due on stage, so we didn't have much time to do anything but exchange pleasantries and go upstairs to the show.

The gig was an uproarious success. It was a truly magickal experience. I was continually reminded of the old Irish rebel song The Boys of the Old Brigade as these four old revolutionaries, joined, augmented and underpinned by the gloriously invocatory shamanic percussion of Jaki Windmill, created a glorious noise, which on occasion took on a life of its own and was truly transcendent. Hopefully when you see the footage that David and I shot you will know what I mean.

Afterwards we sat down with Mick and had a brief chat. You can see it  HERE. It was one of the most entertaining, anarchic and totally chaotic interviews I have ever done. Mick is a warm and a funny man, and he was a joy to talk to. Watching the resulting film you may think that it was all utter chaos. It wasn't. However, I have very strong views on modern film-making. To me, my job as a film maker is to document what actually happens, and to edit it to make it into an understandable form. My job is not to artificially influence the course of events, and then edit it so it appears slick and homogenised. However, I suspect that when one is dealing with a band like the Deviants, you wouldn't believe me if I did!

I truly hope that my relationship with this remarkable band will be a long and productive one. There may never be their like again, and if that does prove to be the case, it will be a sad thing indeed...
(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..
Much of the Hawkwind chat this week has been about the box-set release of "Warrior on the Edge of Time" by the Cherry Red Atomhenge label. Unfortunately, they seem not to send review copies of their material out to blog-based reviewers - and Graham Inglis, who had to buy his own copy, feels it would undermine the international brotherhood of reviewers to actually say much about it.

He admits to liking it, though, and later described the overall contents. There are four versions of the 1975 album in the box-set, plus bonus tracks.  The versions are: a flat transfer of the original stereo master; a remastering of that stereo original; a stereo remix of significant extent, by Steven Wilson.... and a 5.1 remix by the same chap.

"I've never heard 5.1 in my life, so I don't know what the possibilities even are, with that," Graham said. "I don't know what it can do and what it can't. I have read comments by other people, and it all sounds intriguing. For instance, one bloke said: 'You can hear every layer of synth and mellatron, lots of sax parts that I've never heard before and even Dave humming at the end of Demented man.' Another comment I read was: 'I'm hearing things I've never heard before, little drum flourishes, the subtle nuances of Dave's guitar, even the click of the mellotron keys.'

"So... yeah, it all sounds worth checking out."

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
This was a fairly quiet week amongst Yes and their various alumni, but we still managed to run some interesting stories. Possibly the most exciting news, for British fans at least, is that Jon Anderson is playing a show in Manchester.  We also ran an in depth interview with Steve Howe and an interesting feature on Rick Wakeman and also a feature on Chris Squire. Not bad for one week methinks. There is also a whole wallage of Chris Squire stuff in this week's Cabinet of Curiosities, so I think thatYes  fans amongst you have no need to feel short changed!
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! 
Canterbury Tales.Oliver Goldsmith.Travel writers.Marco Polo
"Wonders i have seen -but have not the words for!"
Holy Mountains/rocks/stone circles/wells/springs-
all spots to meditate upon the bridges between worlds
which open when we stop.To contemplate.Where we will
Prophets may arise from deserts-water holds secrets
Holy Elements /witnesses immune to time's dull chipping
Pyramids reminding us of celestial origins/astronomical observatories
aligned with constellations holding ancient names
One day you will walk out your door-to explore-more
will present itself to your photographic eyes/wider horizons
will beckon you-into deserts/or waters..
deeper than stories you have known..
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..

I used to be a collector of rock and roll memorabilia, but most of my collection went into my solicitor's pocket during my divorce from my first wife, and I never had the stomach to build the collection up again. However, people send me pictures of interesting things such as these. 

As regular readers will know, each week we post some item of rock music memorabilia which is vaguely on-topic to a band on Gonzo Multimedia, and leave pictures of it online for all the most fetishistic collectors to salivate over. I don't think that we have ever come close to this, however. These are excerpts from the online catalogue of a Music Memorabilia Auction in Stockport, Summer 2013.

Part One
Part Two
Part Three
Judy Dyble has become one of my favourite artists of recent years. Her last album Talking With Strangers is absolutely magnificent, and her soon-to-be released album Flow and Change is - if anything - even better. But of course she isn't exactly a new artist. As she writes:

Born in 1949, when rationing was still part of daily life and Britain was recovering from the greyness and worry of the war years, Judy was the third of four children whose early years were spent in a prefabricated bungalow surrounded by gardens in North London.

Moving into a maisonette in Wood Green when Judy was 10, she and her sisters and brother were edging into the teenage years in the heady mix of rock and roll teddy boys, beatniks and jazz, the stories of folk and the pure joy of pop. All three girls had started piano lessons, but only Judy continued, to the fury of her sisters when the piano lesson coincided with the start of Ready! Steady! Go! (or was it Popeye?) and the TV was turned off so Judy could learn another bit of music. Her teacher was very into dance music, so the music ranged from quicksteps to foxtrots and that kind of stuff.  Judy asked for, and was given, the sheet music for ‘Let There Be Love’ and was miffed that it didn’t include instructions on how to play like George Shearing.

However, onward to the years of youth clubs, then folk, blues, jazz and soul clubs, often all housed in the back rooms of the same pub but on different nights, and the first of the bands at the age of 16 -Judy and the Folkmen - who practised a lot and performed very little, but whose debut (and only) gig at the Hornsey Conservative Club’s Candlelight Soiree was a triumphant success, until you saw the newspaper photo of some rather terrified Soiree-ers being serenaded while they ate their supper.

But with a newly acquired autoharp in hand (easier to carry than a piano) Judy formed a loose connection with other musicians in the Muswell Hill area, and became the longhaired girl singer when an acoustic set was required with the musicians who later became Fairport Convention.

Oh that was a time of eclectic listening to music from anywhere and everywhere and it was soaked up by the young band like sponges. Songs were given the unique Fairport treatment and arrangements became something wonderfully different from their origins.

Judy was working as a library assistant with the intention of becoming a proper Librarian, but the lure of the drafty van with a hole in the floor was too strong and off the band set in search of their future.

One album later and the band had left Judy and gone off in a different direction, but she met the young Ian McDonald and they joined with the wondrous Giles Brothers and Robert Fripp. In the flat in Brondesbury Park Road in Kilburn, Peter Giles recorded the tentative musical collaborations of Judy and the four young men. Romantic connections between Judy and Ian faded, and Judy left the four musicians who later became the fantastic King Crimson, but they retained several of the songs in their repertoire that had arrived with Judy and Ian at the very beginning of the meetings.

Let loose in the world of music once more, a new connection was made via Martin Quittenton who shared a flat with his girlfriend and Judy. Martin, from the band Steamhammer, was a session musician for Rod Stewart and co-wrote ‘Maggie May’ and ‘You Wear It Well’ with Rod.

Another of the session musicians was Pete Sears, who - together with Jackie McAuley and Judy - formed a band. Jackie had been part of Them and the Belfast Gypsies but had thought to try his hand at something quieter and more delicate. Pete Sears heeded the call to head off to America to join with Leigh Stephens in Blue Cheer and thence onto Jefferson Starship and Hot Tuna and all those great American rock bands, while Judy and Jackie continued as the duo Trader Horne. Barry Murray recorded them for the psychedelic Pye label, Dawn;  â€˜Morning Way’ was released along with two singles, and a whizzing around the country began. Judy found the continual travelling difficult and became pretty exhausted, and having met her future husband left the band.

A few recordings were made with various people but Judy left London with Simon and returned to library work in Northamptonshire. Eventually a small cassette manufacturing business began to take up their time and they moved back to Oxfordshire.

Judy had to all intents and purposes given up music and closed her ears to concentrate on bringing up their two children and running the cassette duplication business.

For the next 30 years that was her life, until the death of Simon and the leaving home of her children, and the invitation of Fairport to play at their annual festival gradually moved her back into the world of creating music.

Starting with Marc Swordfish of Astralasia, three albums were created and then by the tentacles of the internet ‘Talking With Strangers’ was created with Alistair Murphy and Tim Bowness.

With the wonderful assistance of many fine musicians, including Robert Fripp, Ian McDonald, Pat Mastelotto, Simon Nicol, Julianne Regan, Jacquie McShee and Celia Humphris, this album was to be one that everyone connected with its creation was proud of.

The19 minute Harpsong was adapted from an autobiographical poem of Judy’s life and brought together musicians from her past, present and future ending in a joyous assertion that ‘Nothing could go wrong.’

Now working with Alistair on a new album, ‘Flow and Change’ which will be different again to the previous work, yet will still have connections to her history, Judy continues to investigate new and occasionally slightly weird byways and collaborate with interesting musicians like the Norwegian bandSleepyard and whatever comes her way in the future. It’s keeping her very amused.

‘Talking With Strangers’ was originally released in the UK but is now properly and completely released in the US and Canada with two additional bonus tracks for your delight.

More information here at where there are pictures and tunes and all sorts of information

And find me here on Facebook

Contact me via

Over the past few weeks Judy and I have been swapping emails, mostly about our various pets, past and present, but also about music. She has sent me a number of guest appearances that she has done on various artists recordings, and she is so good at hiding her light under a bushel that very few people have heard of them which is a great pity.

Just check these out:

Sand Snowman:


Oll Lewis:
The Murder of the Elephant Man
Lars Thomas: The Natural History of Trolls
Judge Smith: Life after Death
Jon Downes/Richard Freeman: Intro to Cryptozoology
Nick Wadham: You will believe in fairies; you will, you will!
Tony Whitehead (RSPB): Starslime
Hayley Stevens: Scepticism
Glen Vaudrey : Mystery animals of Staffordshire
Darren Naish: Adventures from the world of tetrapod zoology
Richard Freeman: Expedition repoort Sumatra 2013
Sarah Boit: Orbs from a photographer's perspective
London Cryptozoology club: Bigfoot
Shaun Histead-Todd: Pre Columbian civilisations in america
Ronan Coghlan: Amphibians from Outer Space
Jon Downes: Keynote Speech
Speaker's Dinner at the Community Centre
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...
The latest news from Iona co-founder Dave Bainbridge on his solo album funding campaign:
"There's less than 3 weeks to go now until the end of my Indiegogo campaign. Over £11,000 has been raised so far which is amazing, but the next few weeks are crucial if the complete funding goal of £15,000 is to be raised. 
(For those of you who are not familiar with the concept, Indiegogo is a crowd funding platform where people can support projects that they really believe in, by pre-ordering the various perks that are on offer.)
"I've just added a new video (see the updates section), which contains a snatch of one of the new album tracks and also added a last perk. This is the opportunity to have a one to one 45 minute Skype guitar or keyboard lesson with me, or, if you prefer, an insight into how I come up with the sounds / compositions I put together for Iona and my solo projects.
There are some other great perks on offer too, not only signed cds, but limited edition alternate mix cds, previously unreleased tracks, rare, vintage Iona posters, your own unique piano recording by me of any Iona song you request, a one to one music lesson with me and even a house concert! 
to check out the campaign and please share with others you think might be interested. It would be great to share this journey with you!"
Dave (also see Dave's Facebook page -

The Edgar Broughton Band was formed in Warwick in 1968 under the original name of The Edgar Broughton Blues Band. The band moved to London and was signed by the emerging Blackhill Enterprises management team, who secured a recording contract with EMI’s progressive label, Harvest.   In June 1969, the band released a first single, entitled ‘Evil’ which also happened to be the first single released on the Harvest label.

The debut album ‘Wasa Wasa’, followed in July 1969. The band achieved notoriety, not to mention police interest at the time, by performing a series of “Free Concerts” with some from the back of a truck. The Edgar Broughton Band attained a suitably large cult following and enjoyed widespread popularity across the U.K.  and Europe.  There was also commercial success at this time, with albums released on the Harvest label such as, ‘Sing Brother Song’, ‘The Edgar Broughton Band’, ‘Inside Out’ and ‘Oora’.   In addition to the albums, the band also released a number of singles with two of these, ‘Out Demons Out’ and ‘Apache Drop Out’ , achieving chart success.

Following ‘Oora’ in 1973, the band signed to the NEMS record label and released the album ‘Bandages’ in 1975.  Due to legal problems The Edgar Broughton Band was placed on ice for four years whilst this was sorted, returning in 1979, as The BroughtonsThe Broughtons released ‘Parlez-Vous English’, for the Infinity label and also managed to secure a number of high profile tours, including one with former Deep Purple vocalist Ian Gillan. There followed another lengthy interval which was broken through the eighties and nineties by infrequent bouts of touring and an album entitled ‘Superchip’ in 1982. The band returned to full active touring duty with the re-release of their back catalogue in 2006.  Led by founder Edgar Broughton, supported by fellow founder members Steve Broughton and Arthur Grant with latest member Luke Grant, the band continues to this day.

by Corinna Downes
I don’t have the luxury of the non-advert version of Spotify so I don’t listen to it very often.  There is not a lot worse than getting really stuck into listening to something and then being interrupted by adverts about cars I will never be able to afford and so on and so forth. A prime example being “The Lamb Lies Down on Broadway”, the fluidity of which – for me at least - needs to run smoothly like a waterfall and not like a canal when houseboats come along and keep opening and closing locks.    Anyway, as soon as Spotify opens up on my PC, I minimise it and usually forget about it for the rest of the day.  However, a couple of days ago, just before I hit the button, something caught my eye and beckoned me to stop my finger from carrying out the deed.   Was it their moody, good looks that stopped me in my tracks?  Quite possibly….moody, good looks have always stopped me in my tracks. 
It wasn’t the album cover that drew me – it features part of Damien Hirst’s spot painting series, this piece entitled "Isonicotinic Acid Ethyl Ester" – as I am not really a fan of said artist’s work (sorry mate, but I am a Holbein sort of girl).  But, once upon a time, I do admit to flicking through albums in a nearby second-hand  record shop that I frequented and being influenced by album covers as much as the band’s music (I am pretty sure I am not the only one – or am I? Perhaps it is just a gal thing). 
Anyway, to cut what is rapidly becoming a long, convoluted story short, I pressed the play button.  And I found to my pleasure that not only did the band consist of three guys with moody, good looks, but that I actually found myself enjoying their music. I even put up with the blasted adverts while I listened.  I passed the link to Jon and said ‘Oi, listen to this’, or words to that effect, and he agreed that they are pretty damn good. 
Now anyone who knows me will know that my taste in music is not really what one would perhaps expect in a lady of a certain age.  I made the leap from the likes of Pink Floyd et al to listening to basically nothing much during the ‘80s and ’90s.  Then I was introduced to the likes of Slipknot, Dimmu Borgir et al after hearing the somewhat indelicate tones emanating from my youngest daughter’s bedroom, and I was hooked on music again, and became an aged, armchair ‘maggot’ (for those not in the know, Slipknot followers are fondly known as ‘maggots’). Now my music of choice basically involves Viking Folk Metal and bands that utilise more than just a bass, guitar and drums – with a keyboard of some description thrown in on occasion.  I like classical strings.  My dad always said that one day I would enjoy listening to such things when I got older – and I guess he was half-right.  I do like them, and I definitely have a fair few favourite pieces of classical music, but I like strings even more when they are mixed with 20th Century instrumentation.  I am not a musician; my foray into the world of playing music began with me learning the ba-ba-ba-bah of Beethoven’s 5th on a piano, and ended with the trilly bits of The Godfather theme on a mandolin. I cannot read music, I have no real idea what a chord is and I cannot begin to get my head around the patois that music critics use when reviewing music.  I either like it or I don’t. And I love the relationship of the hard, raw sound of electric with the evocative sound of ‘classical’ strings.
Which leads me back to 30 Seconds from Mars.  The original band was formed in 1998 and is from Los Angeles.  The current line-up is: Jared Leto on lead vocals, guitars, bass guitar, keyboards, and synthesizers; Shannon Leto on drums, percussion, and synthesizers; Tomo Miličević on guitars, bass guitar, keyboards, synthesizers, violin, and â€˜cello.  Yes….they use violin and ‘cello on some of their songs. And it is the band’s fourth studio album “Love, Lust, Faith and Dreams”, which has recently been released, that Jon asked me write 200-odd words about for this newsletter.   
I see on good ol’ Wikipedia that their music is mainly associated:
….. with new prog, progressive metal and alternative rock, but they have also included emo, screamo, space rock and synthrock into their music. They have been compared to Pink Floyd (who were an influence on their work) and Tool  because of their use of philosophical and spiritual lyrics, concept albums and their use of experimental music.
Huh?   Well, just take it from me (and Jon) they are well worth a listen.
It has been another horrible week for the Downes household. Tuesday was a weird one even my my standards! I used to have a Roger Waters bootleg in which he described his then-current stage show as an 'emotional rollercoaster'. Well I cannot remember much about the rest of the show because I lent it to someone who shall remain nameless over twenty years ago, and never got it back, but the phrase still lurks in my cerebral cortex...and Tuesday WAS an emotional rollercoaster.

To recap: we started the day with no car, (and Graham's car being o/s as well) and with Prudence the dog facing over a grand's worth of surgery. Helen (Gawd bless her) took Corinna and Prudence to the vet in Bradworthy in the morning.

Then the garage (which is run by Helen's brother and sister-in-law) rang. The car was fixed! I was convinced that I was going to have to fork out for a new car (I had set my heart on a Mercedes) but now I don't. Not yet, anyway.

Then on Wednesday morning, the RAC arrived to tow Graham's car into Bideford to get the clutch fixed. And guess what? Despite the fact that it has not worked for three weeks it works fine now.

Then on Thursday Prudence had her X-Ray. She will indeed be having major orthopaedic surgery on Monday, and will then have to rest for six weeks. Poor little thing. I feel so sorry for her: not only is she going to have an operation on Monday, but she will be confined to the kitchen for six weeks as she won't be allowed on the sofa or chairs in case the climb destroys her recovering ligaments.

Post operative recuperation is nasty enough for humans who understand what is going on, but for an (admittedly not very clever) dog, who is trusting and affectionate and wants nothing more than cuddles and fussing, it must be  horrid. Poor dear. And poor me - I have to find a thousand quid from somewhere to pay for it.

And then this evening, I had a telephone call from my younger stepdaughter who is living in my house in Exeter. There has been a burst pipe and a subsequent flood. There doesn't seem to be that much damage, but I won't know until Graham gets there tomorrow.

Emotional rollercoaster? I should coco.

Thank you for letting me share the ups and downs of my peculiar life with you all. I know that they have little or nothing to do with the main subject of this magazine - or do they?

Music is important, because it brings people together. It was one of the earliest social activities practised by our species, and one of the most important things about this magazine is that it brings like minded people together into a very real and sharing community.

So I make no apologies for sharing my problems with you all, but I thank you from the bottom of my heart for allowing me to do so.

There is still likely to be a monthly magazine in both digital and hard copy formats at some point, as soon as I have managed to attract around me more like-minded souls who want to contribute.

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 © 2013, Gonzo Multimedia, All rights reserved.

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