NICO artworks

 

Above: Nico by Charlotte Bracegirdle

Above: Nico by Francis Macdonald

Above: Nico by Sandra Turnbull

Above: Nico by Ritchie Lamby

Above: Nico by Daisy Devillenurve

Above: Nico by Harry Pye and Rowland Smith

Above: Nico by Beswick and Pye

Artworks featured in Sleepless in South London

The video for Sleepless in South London features 68 great artworks. 

You can watch the video: HERE

Here's a rough guide to who did what. The video begins with two drawings by Francis Macdonald (one of which is a self portrait). There are then 5 drawings by Harry Pye. 

A painting by Humphrey Ocean. 

Above: 'Neighbour's Wife' by Humphrey Ocean.

There are then 10 Pye painting half made in collaboration with Rowland Smith.

A painting by John Heywood-Waddington

A painting by Geraldine Swayne

A Pye painting

Two paintings by Lee Maelzer

Above: 'Crossed Arms' by Lee Maelzer

Four paintings by Fabienne Jenny Jacquet

Above: 'You Do Loneliness Really Well' by Fabienne Jenny Jacquet

Three paintings by Sandra Turnbull

Above: Sleepless by Sandra Turnbull

Two artworks by Julia Maddison

Above: Artwork by Julia Maddison

Marie Louise Plum

Two paintings by Geraline Swayne

A painting called Night Owls by Rowland Smith and Harry Pye

Two artworks by Cathy Lomax

Above: 'She Was Conflicted' by Cathy Lomax

Two paintings by Marcus Cope

Above 'The Lie': by Marcus Cope

Above: 'Closing Time At The Dog and Bell' by John Heywood Waddington

A Pye painting

A painting by Cathy Lomax

3 Pye paintings

A painting by Georgia Hayes

Portrait of John Cleese by Harry Pye and Rowland Smith

Painting by Marie Louise Plum

Above: by Marie Louise Plum

Two artworks by Janette Parris

Above: 'Wimpy' by Janettte Parris

Two illustrations by Bob London

Above: Sleepless Artwork by Bob London

Three more Pye paintings

Three paintings by Tinsel Edwards

Painting of Van Gogh On The Road by Harry Pye

A painting by Geraldine Swayne

A painting by Gordon Beswick

A close -up of a painting by Josie McCoy

Above: painting by Josie McCoy

Two Pye paintings

Two paintings by Lee Maelzer

A painting by Humphrey Ocean

A painting by Kathleen Thompson

Above: 'Lazy' by Kathleen Thompson

Amyl & The Sniffers by Roberta-Ann Smith

 When asked about their name, 28 year old singer Amy Taylor explained "you sniff it, it lasts for 30 seconds and then you have a headache – and that's what we're like!" On The 15^th of November I was lucky I got to see the Australian Punk band Amyl & The Sniffers at their thrilling, explosive and ferocious best at London’s Roundhouse. Taylor was spontaneous and magnetic, prowling and pacing the stage like a caged puma, flexing and posing with aggression and vulnerability in equal measures. There was a moment during this sell out show, just before performing ‘Tiny Bikini’ (from the band’s third album ‘Cartoon Darkness’), when Taylor felt the need to address the crowd... “I just wanna take a second at the start of the set to talk about politics... Donald Trump can eat my arse...But not in a cute way, in the way where he should stop being a fuckwit and let me get an abortion, let trans people go and be trans if they wanna be, and all that other fucked up shit. The problem with that is, those motherfuckers over in America, Australians are always sucking them off, so it’s gonna hit us up too, which is bullshit, and you are probably doing the same. but I’d also like to say Free Palestine, We’re all going to burn to shit so do the fuck whatever you want.” Whatever you think of her views or music you could never accuse them of being boring onstage

There were so many highlights but two hardcore slammers,  ‘Motorbike Song’ and ‘Chewing Gum’ really stood out and showed the band at their very best, bouncing about the room to a finger-clicking verse before erupting into a firewall of distortion. Also ‘Monsoon Rock’” which I believe is a fan favourite, is a great example of the band’s ability to blend fiery punk aggression with infectious melodies. Taylor’s vocals on this track were a perfect mix of ferocity andfun, delivering the song’s cheeky, rebellious lines with a sense of joyful abandon. The band played with such abandon that it was impossible not to get swept up in the sheer energy of it all. Lyrics like “I wanna ride you like a Harley D / you’ve got the intelligence and you yearn for me” (‘Motorbike Song’) bring to mind Iggy Pop & The Stooges in their heyday, both with the captivating physical performance of their lead singer and with the garagey raw power brought by the pared down 3-piece band. While many of today's bands, even in the ‘heavy rock’ category feel overly produced and ‘smoothed over’, Amyl and the Sniffers aren’t afraid to show their ragged edges, either live or on record. They sound like 4 people together in a room playing their hearts out, prioritising feeling and energy over precision or polish every time.

Guitarist Dekay’s razor-sharp riffs and Fergus “Ferg” McFadden’s relentless bass lines created a tight, unyielding rhythm section, with drummer Gennie anchoring everything with blistering speed and precision. Their sound is a chaotic and intense fusion of garage rock and punk, but it’s also accessible, thanks to Taylor’s magnetic vocal hooks and the songs’ anthemic energy. It was an unforgettable, exhilarating experience, one that captured the essence of what makes the band so special: a mix of aggression, fun, and authenticity that refuses to be ignored. Amyl and the sniffers broke all my bones. The only thing to do after that is take another sniff.

Kirsty MacColl sings Morrissey and Marr's You Just Haven't Earned It Yet Baby

 

When Kirsty MacColl died way too young in December 2000, Johnny Marr rightly sang her praises. MacColl’s talent was one of the few things Marr and Morrissey still agreed on.

Marr: “Kirsty believed in genuine inspiration and was able to write quickly because she was so talented, but she never just knocked something off. She had real craft as well. She wasn’t a good musician technically. She wasn’t interested in mastering an instrument, but she was great at putting chords together. Her expertise was melody, lyrics and harmony. She’s one of England’s greatest ever pop lyricists, she believed her songs should be almost like mini-novels, and she was a fucking Jedi at harmony… She had her own system that was all her own ...She was no nonsense, but at the same time she believed in magic. A true artist, in a class of one, and irreplaceable.”

In a few weeks every radio station will start playing ‘Fairy Tale Of New York’ like  they do every Christmas. The track wasn’t written with Kirsty in mind. Had she not left the band the track would have been sung by Cáit O'Riordan but MacColl made it her own and will always be associated with it.

 

When MacColl released her album ‘Kite’ all the critics gave it rave reviews and it’s now seen as her masterpiece and a document of when she was at the peak of her powers. There are so many great tracks but maybe the top 3 for me are '15 Minutes', 'What Do Pretty Girls Do', and 'Don’t Come The Cowboy With Me'. One of the singles off the album is ‘Free World’ and on the b-side of that single is a cover of The Smiths song ‘You Just Haven’t Earned It Yet Baby’ which features Johnny Marr on guitar.

According The Smith’s drummer Mike Joyce, the title of the song came about because Morrissey requested for a driver to pick him up and the head of Rough Trade records had replied “You just haven’t earned it.” In 1987 The song was scheduled to be the follow up single to ‘Ask’ but as Morrissey felt the production could have been better and the rest of the band preferred the song ‘Shoplifters Of The World’ it never happened. 

Despite the fact Kirsty MacColl’s version of  the Morrissey/Marr classic ‘You Just Haven’t Earned It Yet Baby’ featured on the soundtrack to John Hughes Rom Com ‘She’s Having A Baby’ in 1988 and as then later as a bonus track on the CD reissues of ‘Kite’ I still feel enough people don’t know about it. Have a listen HERE and see if you agree.

***

This text by Roberta-Ann Smith

Johnny Turnbull interviewed by Mark Dezzani on Radio Caroline

 

On Tuesday 19th November Blockheads legend Johnny Turnbull was the special guest on Radio Caroline’s Mark Dezzani Show. Tracks played on the show included 'Hit Me With Your Rhythm Stick', 'Wake Up And Make Love With Me', 'Sex & Drugs & Rock & Roll' 'Billericay Dickie' (by Ian Dury & The Blockheads) 'Sausages' 'Little Ray of Sunshine' and 'Bless Our Love' (from Johnny's new solo LP 'Never Mind The Frolics') 'On Love' (by Skip Bifferty) 'Close The Gate' (by The Loving Awareness Band) 'Ship of Fools' (by World Party)

Johnny talks about early bands, dodgy managers, bad contracts, Ronan O'Rahilly (who is the man who launched Radio Caroline also instigated The Loving Awareness Band which Johnny was a member of), How the Blockheads met, the Stiff records tour, The Small Faces, His friendship with Karl Wallinger and their final collaboration, and much, much more.

Listen to the show: HERE

Above: Johnny in Skip Bifferty

Above: Ronan O'Rahilly of The Loving Awareness Band.

Johnny's album “Never mind the Frolics“ is available on CD by post. CD orders are now available through PayPal. Use the following link to place your order: paypal.me/Nevermindthefrolics

'Never Mind the Frolics' is a 13 track CD that features the talents of among others The Heavenly Host, Charlie Charles, Karl Wallinger , Leonard Cohen, Mitt Gamon, and many Blockheads.

 

Vic Flick and A World Without Love

 

Yesterday it was announced that Vic Flick, the English guitarist behind distinctive riff on the James Bond theme, had died at the age of 87. Vic Flick is arguably the most influential session guitarists that this country has produced. Flick’s guitar playing was an essential part of the success of the big hits by Tom Jones, Dusty Springfield, Shirley Bassey, Cliff Richard, Petula Clarke, Herman’s Hermits, Nancy Sinatra, and many others. So many great songs are connected to Flick one song I feel is a bit neglected and underrated is A World Without Love which was composed by Paul McCartney and made famous by Peter and Gordon.

When Paul McCartney and John Lennon began writing songs together they would often work in the bathroom of Lennon’s home in Menlove Avenue. After the sessions the young McCartney would have to walk home in the dark. The worst part of this journey was crossing a golf course. McCartney would often sing to himself and on one occasion, whilst walking across a golf course in total darkness he came up with the song A World Without Love.

When McCartney played the song to Lennon it was met with derision. It was the opening line of the song (“Please lock me away”) that Lennon thought was unintentionally hilarious, maybe it reminded him of the sort of thing Peter Sellers would say in The Goon Show? It was agreed that the song wasn’t good enough for The Beatles and no more was said about it. Two years later, In April 1964 however the song was released in the U.K. by the duo Peter & Gordon and it spent 2 weeks at number one. It was also number one in Ireland and New Zealand. And in the U.S it topped both the Billboard and Cashbox Hot 100.

The producer of A World Without Love was the head of EMI records Norman Newell. Newell wrote lyrics for singers such as Mat Monroe. He also enjoyed working with comedians such as Ken Dodd, Norman Wisdom, and Joyce Grenfell and Newell also had great success with musicals the only genre of popular music he didn’t really understand Rock and Roll. So it was fortunate for everyone that Vic Flick was on board to deliver the perfect guitar part. Without Vic I don’t think the song would have knocked Can’t Buy Me Love off the number one spot.

Although The Supremes recorded a cover version of World Without Love for their third album it’s not a McCartney track many other artists have performed or recorded. Doc Pomus (who co-wrote classics singles by The Drifters, the Searchers, Dion and several of Elvis Presley’s biggest hits) said that out of all the songs Lennon and McCartney wrote together or apart, World Without Love was his personal favourite. Maybe the song's magic comes from the combination of Vic's slick guitar and the innocence of Paul’s lyrics.

So I wait and in a while

I will see my true love smile

She may come, I know not when

When she does, I'll know, so baby, until then

Lock me away

And don't allow the day

Here inside

Where I hide

With my loneliness

I don't care what they say

I won't stay in a world without love

This text by Roberta Ann-Smith originally appeared in What Goes On?

Johnny Turnbull releases fantastic new album Never Mind The Frolicks

 

Johnny Turnbull’s brilliant guitar playing has featured on many much loved albums by The Blockheads, Bob Geldof, World Party, David Stewart, Paul Young, and Talk Talk. This month sees the release of his fab new solo CD “Never Mind The Frolics“ which is available from: paypal.me/Nevermindthefrolics 

Q: My favourite lyric from Never Mind The Frolics is “All the world is quiet, all the world is still, Everybody is praying that their God will pay the bill, Everybody Is Hoping For The Perfect Happy Pill” – how did they come about?

Johnny: “The words to ‘Perfect Happy Pill’ came on a morning walk in Crouch End. Twas a still, calm morning and words just flooded in. Emma-Clare helped me a bit with the title. Dave Stewart told me a John Lennon quote about songs being like postcards which is a good line of thought. Don't fret too much - when inspiration strikes just go with it - the flow is always the right way."

Q: ‘Everything Is Broken’ is an amusing song that reminds me of George Formby – are you a fan of Mr Formby?

Johnny: “I enjoyed writing ‘Everything is Broken’ on my drives to the studio. We had moved to an old cottage near Derby and most things needed attention. So it was all true. I had the tune on Ukulele for a while and yes, I am a big George Formby fan."

Q:   ‘Figure It Out’ is a sweet love song – have you been lucky in love and do you have any advice for young lovers?

Johnny: “Figure It Out started at Karl Wallinger’s studio Seaview. He recorded me on acoustic and he played a bass on Moog. Karl also suggested I tweak the lyric here and there. He was a fabulous producer -arranger and a dear friend. My advice to young lovers would be to try to stay in love and to love like you’ve never been hurt.” 

Q:  The first 3 minutes of ‘Anniversary Bash’ is quite gentle music accompanying a singer whose pondering the rights and wrongs of a band who does a crown pleasing show that consists of trips down memory lane but then there’s a fantastic 2 minute jam at the end. Can you talk about what inspired the lyric or would you rather keep it mysterious and ambiguous?

Johnny: “Anniversary Bash is an out take from Blockheads album ‘Where’s The Party?’ I took a monitor mix at the end of the session .It’s good to have a mix even if the song doesn’t make it on an album. I love the jam on the outro. Gilad Atzmon plays beautiful Soprano lines and Dylan Howe on drums mashed it up nicely. Mickey Gallagher on electric piano, Norman Watt-Roy on Bass, Chaz Jankel on Moog. The lyric was originally about Eric Clapton. I played at his Hall of Fame event in New York at the Armoury. I was in Spiritual Cowboys with Dave Stewart. I spoke with Eric after sound check. He was kind and very relaxed even though his life must have been complex and tinged with sadness.  The other influence was Ian Dury at the Palladium. His last ever concert with The Blockheads and special guest singers.” 

Q: To my ears both ‘Little Ray of Sunshine’ and ‘Flirting With Mountains’ are quite Beatle-esq – they wouldn’t be out of place on later albums by The Fabs such as Abbey Road. Have you met any of The Beatles or worked with them? Do you get a little star struck when you meet your heroes?

‘Little Ray of Sunshine’ also started out at Karl Wallinger’s studio many years ago.  I had the tune and Karl was mumbling words including the title. We never finished it sadly … When Karl died I decided to write more words .The night before his funeral I finished it and sang it to his family. They approved so I tagged it on the end of the new album.   I may have borrowed a few Paul McCartney chords for this one but I don’t think he would object. The last time I saw Paul I told him I had bought all his records and he said thanks mate…I did meet all the Beatles. Paul and Ringo were very kind and relaxed. Ringo let me play his drum kit when I was recording Kai Olsen’s album at Tittenhurst studios. The snare drum still had a piggy packet taped on the skin from years ago. I was chuffed to bits... John Lennon asked me to help find his glasses late one night at The Speakeasy club London. We found them and he was grateful a little bit drunk at the time...Twas a late night lock in and most people had gone home….  George was always moody to me and I think I know why. We both fancied a beautiful woman.. I don’t want to mention the girl’s name so we will leave it at that. Bless him.”

Q: Karl Wallinger died in March of this year aged just 66. You played in World Party with him for quite some time. Can you share a happy memory of working with Karl and do you have a favourite World Party song?

“The Beatification of Saint Karl….We were recording ‘The Whole of The Night’ I was using my Gibson Melody Maker guitar which is easy to play but to Karl’s ears sounded a bit thin so he put it through his latest bit if trickery and got a fantastic sound which inspired me onto bendy tricky licks .We celebrated with a fat one and a cup of Tea. On my first solo record ‘Quantum Frolics’ Karl loved the song ‘Love and Magik’ so he stayed up for hours sorting out my vocals and did a wonderful mix.'            

 

The Blockheads (who now consist of Chaz, Mickey and Johnny with new boys John Roberts on drums, Dave Lewis on sax, Nathan King on bass, and singer Mike Bennett) will be playing Dingwalls on the 14th of December. To see all their tour dates for next year visit: HERE