All That We Share

This Is Not A Fascist

From this weeks Nation pic.twitter.com/jVdwSIHqs9

— Peter Kuper (@PKuperArt) February 4, 2017

Simon Holland: Apathy For The Devil (February 1978 at the Roxy Club London)

16mm Doc featuring, The Damned, Johney Moped with Chrisie Hynde, The Cortinas, The Drones, Charles Shaar Murray, Andrew Czezowski, Susan Carrington, Gun Rubber Fanzine Sheffield, Mick Jones of the Clash, Fans in the Roxy club dressing room. Featuring a very young Bruce Smith, Gareth Sagar and Mark Stewart

Ad Break: Born The Hard Way

Fergus Kelly: Napalm Calypso (On the 10th anniversary of Paul Burwell's death)

'Napalm Calypso' was composed to commemorate the 10th anniversary of Paul Burwell's death. It was created with a mixture of his solo work and work with the Bow Gamelan, interview material and slices of some of his favourite music and exerpts from films and TV shows he enjoyed.
The solo extracts are taken from his 1979 album, 'A Mummified Person With A Pleasant Smile Is Kept In A Cupboard In The Vestry'. The Bow Gamelan material is taken from a documentary about the 'Offshore Rig' performance of 1987, made for Channel 4 arts programme Alter Image, some footage of them performing on the concrete barges at Rainham Marshes in 1986, and from my own bootleg of the 'In C And Air' performance at the ICA in 1986, some of which includes Paul talking to me afterwards.
It also includes my field recording of tidal wash at the Forty Foot in Sandycove, Co. Dublin in June 2016, with foghorns sounding. Dublin Bay as stand-in for Thames Estuary. The latter being a place where Paul & Bow Gamelan did various gigs. Water was also my means of transport between Ireland and England when working in London in the 1980s, as I used to travel by boat from Dunlaoghaire to Holyhead, so it forms part of my initial connection between Dublin and London and between Paul and myself. Before cheap air travel. Before internet and mobile phones. Less clutter, less distraction.
Paul loved Kung Fu movies and Westerns and was a big fan (like myself) of Apocalypse Now, which I've sprinkled liberally throughout the piece. The film soundtrack includes some great explosions, which are entirely in keeping with Bow Gamelan's penchant for using fireworks as a form of percussion. Someone once memorably described Bow Gamelan as 'like a cross between Turner and Apocalypse Now'. I like how the sound effects in the film creates a deep, widescreen sense of landscape, with the constant battering ram of near and distant shelling puncturing the air.
I only met Paul a couple of times, so I hardly knew him, but I took to him straight away. I liked the cut of his jib. His friendliness, openness and free-spirited nature was inspiring. When I re-watch Bow Gamelan footage for the nth time and see him interviewed I feel a great fondness for him. This piece is a tribute to that - my way of saying, 'Thanks Paul'.
Some of the elements in this piece are woven deep in the mix, and won't necessarily reveal themselves on first listen. Other elements move around the stereo field to create a sense of momentum in a soundworld I like to think of more in terms of a radio play or cinema for the ears.
Therefore, it must be heard connected to a proper amp/speaker set up or headphones (not computer speakers) with good stereo separation.
Thanks to Anne Bean and David Toop for suggesting the sources, which include:.
Film:
Apocalypse Now (1979)
The One-Armed Swordsman (1967)
Kwaidan (1964)
Woman In The Dunes (1964)
Bad Day At Blackrock (1955)
Rashomon (1950)
TV:
Hancock's Half Hour
Dad's Army
Music:
Baby Dodds drum improvisations
Buddy Rich drum solo
Jet Harris & Tony Meehan: Diamonds
One String Sam: I Need 100 Dollars
Screaming Jay Hawkins: I Put A Spell On You
Albert Ayler: Ghosts
Roderick MacLeod performing the Scottish piobaireachd, 'Old Men Of The Shells'
Radio:
Orson Welles narrating Joseph Conrad's 'Heart Of Darkness'.

America First

Thor Harris: How To Punch A Nazi

How to punch a Nazi pic.twitter.com/zakPz1RB0k

— thor harris (@thorharris666) February 3, 2017

Zero Days

Zero Days: Why the disturbing Stuxnet documentary is a must-see

Friction: The Making of Television's Marquee Moon

Singapore Sling - Riffermania (KILL KILL KILL)

+

Live on KEXP

Deke Leonard - Map of India / Diamond Road

+

'Why phil Collins is a good chap'

REUTERS says

In a message to staff today, Reuters Editor-in-Chief Steve Adler wrote about covering President Trump the Reuters way:
The first 12 days of the Trump presidency (yes, that’s all it’s been!) have been memorable for all – and especially challenging for us in the news business. It’s not every day that a U.S. president calls journalists “among the most dishonest human beings on earth” or that his chief strategist dubs the media “the opposition party.” It’s hardly surprising that the air is thick with questions and theories about how to cover the new Administration.
So what is the Reuters answer? To oppose the administration? To appease it? To boycott its briefings? To use our platform to rally support for the media? All these ideas are out there, and they may be right for some news operations, but they don’t make sense for Reuters. We already know what to do because we do it every day, and we do it all over the world.
To state the obvious, Reuters is a global news organization that reports independently and fairly in more than 100 countries, including many in which the media is unwelcome and frequently under attack. I am perpetually proud of our work in places such as Turkey, the Philippines, Egypt, Iraq, Yemen, Thailand, China, Zimbabwe, and Russia, nations in which we sometimes encounter some combination of censorship, legal prosecution, visa denials, and even physical threats to our journalists. We respond to all of these by doing our best to protect our journalists, by recommitting ourselves to reporting fairly and honestly, by doggedly gathering hard-to-get information – and by remaining impartial. We write very rarely about ourselves and our troubles and very often about the issues that will make a difference in the businesses and lives of our readers and viewers.
We don’t know yet how sharp the Trump administration’s attacks will be over time or to what extent those attacks will be accompanied by legal restrictions on our news-gathering. But we do know that we must follow the same rules that govern our work anywhere, namely:
Do’s:
--Cover what matters in people’s lives and provide them the facts they need to make better decisions.
--Become ever-more resourceful: If one door to information closes, open another one.
--Give up on hand-outs and worry less about official access. They were never all that valuable anyway. Our coverage of Iran has been outstanding, and we have virtually no official access. What we have are sources.
--Get out into the country and learn more about how people live, what they think, what helps and hurts them, and how the government and its actions appear to them, not to us.
--Keep the Thomson Reuters Trust Principles close at hand, remembering that “the integrity, independence and freedom from bias of Reuters shall at all times be fully preserved.”
Don’ts:
--Never be intimidated, but:
--Don’t pick unnecessary fights or make the story about us. We may care about the inside baseball but the public generally doesn’t and might not be on our side even if it did.
--Don’t vent publicly about what might be understandable day-to-day frustration. In countless other countries, we keep our own counsel so we can do our reporting without being suspected of personal animus. We need to do that in the U.S., too.
--Don’t take too dark a view of the reporting environment: It’s an opportunity for us to practice the skills we’ve learned in much tougher places around the world and to lead by example – and therefore to provide the freshest, most useful, and most illuminating information and insight of any news organization anywhere.
This is our mission, in the U.S. and everywhere. We make a difference in the world because we practice professional journalism that is both intrepid and unbiased. When we make mistakes, which we do, we correct them quickly and fully. When we don’t know something, we say so. When we hear rumors, we track them down and report them only when we are confident that they are factual. We value speed but not haste: When something needs more checking, we take the time to check it. We try to avoid “permanent exclusives” – first but wrong. We operate with calm integrity not just because it’s in our rulebook but because – over 165 years – it has enabled us to do the best work and the most good.
Media Contact:
Heather dot Carpenter at thomsonreuters dot com
[Reuters PR Blog Post]

Twenty Seventeen

  Via

Man & John Cipollina - Live & Rehearsals (1975/6)

Man with John Cipollina - The Cipollina Rehearsals (1975)
01 Heliport Jam
02 Many are Called but Few Get Up
03 Bananas
04 Bigelow 6-9000
05 Razorblade and Rattlesnake
06 C'mon
07 Hard Way to Live
08 John Cipollina Interview

Deke Leonard - Guitar, Vocals
Micky Jones - Guitar, vocals
Terry Williams - Drums
Martin Ace - Bass, Vocals
John Cipollina - Guitar
Man were touring the States in March/April 1975 as a four-piece with Ken Whaley on bass. When Ken left the band half-way through, the call was put out to Martin Ace, who duly flew over. The band went into rehearsal at the Sausalito Heliport in San Francisco. According to Deke's book 'Rhinos Winos & Lunatics'[, John Cipollina turned up at one of these rehearsals and jammed with them. The band invited John to play on the Maximum Darkness tour. Track 1 is nearly 17 minutes of MAN jamming with John Cipollina.
Tracks 2 - 7 are from a pre-Maximum Darkness tour rehearsal at Shepperton, 8 May 1975.
Track 8 is a John Cipollina radio interview. I don't know the name of the station, or the date, but it's post-tour
HERE

Winterland San Francisco 05-04-75 (Radio Broadcast)

1. 7171-551 (Incomplete) 

2. C'mon 

3. Hard Way To Die 

4. Many Are Called But Few Get Up

5. Jam (with John Cippolina) (Incomplete)

Deke Leonard - Guitar, Vocals

Micky Jones - Guitar, Vocals

Martin Ace - Bass, Vocals

Terry Williams - Drums

John Cipollina - Guitar

HERE

Glasgow Apollo 14-05-75 (Audience)
01 7171-551 
02 A Hard Way To Die 
03 Babe I'm Gonna Leave You 
04 Hard Way To Live 
05 The Storm 
06 Codine 
07 Someone Is Calling 
08 Razor Blade And Rattlesnake 
09 Many Are Called But Gew Get Up 
10 Bananas 

Deke Leonard - Guitar, Vocals
Micky Jones - Guitar, Vocals
Martin Ace - Bass, Vocals
Terry Williams - Drums
John Cipollina - Guitar

HERE

I caught this Apollo gig which to be honest was a slight disappointment on the night. Cipollina seemed to be really just phoning in his performance and maybe there was a sense of awe in the Manband camp, still it is nice to hear it again all these years later

Free Trade Hall Manchester 20-05-75 (Audience)
01 7171 551
02 Hard Way to Die 
03 Babe I'm Gonna Leave 
04 The Storm 
05 Hard Way to Live 
06 Codine 
07 Razorblade and Rattlesnake 
08 Many are Called but Few Get Up 
09 Bananas 

Deke Leonard - Guitar, Vocals
Micky Jones Guitar, Vocals
Martin Ace - Bass, Vocals
Terry Williams - Drums
John Cipollina - Guitar

HERE

Savoy Theater San Francisco 04-08-76 (Radio Broadcast)
01 Intro > Babe,I'm Gonna Leave You
02 The Ride & the View
03 Hard Way to Live
04 Spunk Box
05 The Welsh Connection
06 A Hard Way To Die
07 Something Is Happening
08 You're Out Of Your Head
09 Many are Called But Few Get Up
10 Romain

Deke Leonard - Guitar, Vocals
Micky Jones - Guitar, Vocals
Phil Ryan - Keyboards
John McKenzie -  Bass
Terry Williams - Drums
John Cipollina - Guitar

HERE 

Keystone Berkeley  09-08-76 (Soundboard)
01 Let The Good Times Roll 
02 7171-551 
03 A Hard Way To Die 
04 The Welsh Connection
05 Something Is Happening
06 The Ride & The View
07 You Are Out Of Your Head
08 Born With A Future
09 C'mon
10 Many Are Called But Few Get Up
11 John Cipollina introduction
12 Babe I'm Gonna Leave You *
13 Hard Way To Live *
14 Romain *
15 Bananas *
*with John Cipollina

Deke Leonard - Guitar, Vocals
Micky Jones - Guitar, Vocals
Phil Ryan - Keyboards
John McKenzie - Bass
Terry Williams - Drums
John Cipollina - Guitar

HERE

'...While we are all having a good time, John raises the question about his parts being removed from Maximum Darkness. Micky and Deke turn a couple of shades of white, and manage to deflect the mild irritation John has shown. At the gig, the band play well, but it's not their best of the tour. Phil seems to have problems keeping the synth in tune. At the end of the night, he spends some time sorting out the problem. John joins the band for the last three numbers. This night his amp isn't put through the PA, so it's nearly impossible to hear him. At least he's not too loud. The next night John returns for another go. The show goes smoothly, and John shows a few flashes of brilliance. On Romain he steps up for a solo, and catches fire. They have a go at Bananas, the song that caused all the trouble in the first place. The Hawaiian guitar is left home this time, and John has worked out a nifty chord sequence to play. Everyone seems much happier at the end of the night. The crowd is beside themselves. The East Bay has always shown a strong support for John, and guitar rock in general...The balance is perfect, and the playing is heavenly. A song like Romain is perfect for a round of solos from everyone up front. John again rips off a classic bit of SG manipulation. By this point Micky has quit worrying, and is matching John lick for hair raising lick. With confidence they launch into Bananas once again. There is now a shimmering layer of chords from John's side of the stage, it's 1968 all over again. Ah, but then the power once again takes a dive. With a frightened exhausted look, Terry keeps the beat while Micky scats a vocal line to fill the gap. Everyone is relieved when the power comes back up, and the crowd roars its approval. Well that's it, Man's last stand in California. John on the other hand is just starting to find his legs again, and begins a fantastic run of playing that lasted for the next 13 years, until his untimely death in 1989'

From Man VS Cipollina @ 'Donovan's Brain'

NB: I have liberated a couple of my posts from HerrB's long lost and very lamented 'Pathway To Unknown Worlds' blog for this post!

In memory of Deke Leonard (18 December 1944 – 31 January 2017)

Deke Leonard R.I.P.

Deke Leonard (2015)

Daughter Of The Fireplace / Would the Christians (1971)

Live At Rockpalast (1975)

Day & Night (OGWT 1975)

Bananas (1976)

Born With A Future (1976)

7171551 (1976)

C'Mon (1976)

Spunk Rock (1983)

Live At The Marquee (1983)
Even Visionaries Go Blind
C´mon
Talk About A Morning
Back Together Again
Hard Way To Die
The Ride And The View
Asylum
Romain
Hard Way
Bananas

So the Facebook message came through about six hours ago from one of my oldest and dearest friends that Deke had passed away a couple of hours previously. A number of years ago the message was that our mutual friend Ken Whaley who also played with Man had died. I was sworn to secrecy as it hadn't been formally announced and sat here listening to my Man records, listening to a recording of that time they played the Glasgow Apollo with Quicksilver Messenger Services' John Cipollina, which was a joy for my fifteen year old self to watch though in truth was not a particularly good gig. I dread the next private message...

They say it’s always a mistake to meet your heroes