We’ve been seeking a contributor from the UK for quite some time. Mark recently touched base after finding us on The Moths! Myspace page. This is his first post as a contributor for the site.

Photo: Alan Marks CBE

Prospect Lane were bizarrely recommended to me by someone from Mexico. I checked out this Birmingham UK five-piece and have reviewed two of their tracks.

The band’s first single will be available on Monday 3rd September. It will feature the A-Side “Fickle” back with “Ghosts”. The single be available on I-Tunes with live video footage from the Barfly and Vinyl. It will also be available via ‘Rough Trade Records’ (London) and Tempest Records (Birmingham).

From the opening guitar riff of “Fickle” the song jumps out at you and begs to be sung along to. The clever lyrics are backed up by great production and a chorus that will be stuck in you head for days. This is indie/pop at its best!

Dont be fooled by “Fickle” though, delve a little deeper and you’ll discover the hauntingly aptly titled “Ghosts”. Fantastic vocal atmospheric melody that picks you up and takes you right within the song itself.

I predict a bright future for this band added to that they are a friendly approachable bunch.

- Mark

I recently received an e-mail from David Cory II, but that’s not his real name. The II represents the rebirth of David Cory, who died in March during ‘Spies & Clowns”. It also stands for alienation which is a common theme in his music.

David has probably recorded over a hundred songs this past year. He’s lost a lot of them. He gave them to a lot of people on CD and a lot of people downloaded them when he used to share them on the internet, so they’re out there. Right now, he’s releasing the songs he recorded back in April as singles. “Hole In My Shoe” is the first, it’s about a girl he used to love…kind of a ‘can’t live with or without’ cliche type song. He also likes to make simple formulaic pop songs sometimes, you see so few of them anymore anyway it’s sad. The B-side to that single is “Flower Child” which is completely nonsensical, but David thinks it’s catchy. It’s about a hippie girl or something, he can’t decide if it’s pro or anti-idealism. David’s sarcasm can often be confusing.

His next single will be available for download on August 14th and it’s called “Words” and it’s a bit more of a rock song (”indie” rock, maybe post-punk). It’s about a guy with dueling personalities, one wants to follow his dreams out of a sense of duty to himself, the other is always trying to belittle him, its sung from the formers perspective.

If you were making a mix for our readers, what would be the first three songs you’d select?
“Wig Wam Bam” by The Sweet
“Saturday Night” by The Bay City Rollers
“Sweet Dream” by Atom Tan

Name any musical influence(s)?
Brian Eno and Brian Wilson are two big ones. They completely changed the way I look at music production.

What new music are you currently listening to?
I’m really into that band Dead Heart Bloom, I have had some correspondence with the singer/songwriter and he’s quite nice. His song “Chelsea Song 2″ is hands down the best song I’ve heard this year, maybe in the past five years. I like the new Devendra Banhart song on his myspace. The new Tegan and Sara single is fantastic. I was a bit disappointed with the new White Stripes LP. Toy Band from Cincinnati is great.

Name a band (current or defunct) that would be your dream act to open for on a major tour?
I would have loved to play for GG Allin’s audience!

Who, if anyone, would you like to collaborate with?
Eno, Jack White, I’d love to work with some of those bohemians out there in California.

Tell us something about you that we can’t find on Google.
I only own 10 CD’s. I was born in Little Rock Arkansas, grew up in New York City and New Jersey, have lived in florida, ohio, new york, spent the last three years in scranton, pennsylvania and currently live in Kentucky outside Cincinnati ohio. started playing music at 12 on guitar, started recording around the same time, on a kareoke machine I’d fashioned into a multitrack recorder. have done the bulk of my serious recording in the past three years, recording albums of folk, garage rock, glam rock, new wave, pop.. have played in a few bands notably the ultraviolet rays and the flavours of evil. i plan to record a new album sometime at the end of the year after a build a new studio. I have all the songs in my head and theyre amazing. if i can find a cheap microphone I might make a few albums of lofi folk in the meantime..

Tom Snyder, a former late-night staple and veteran newsman, died Sunday at his home in San Francisco from complications of leukemia. He was 71.

Between 1973 and 1982, Snyder conducted a raft of memorable interviews with Tomorrow guests including Charles Manson, Johnny Rotten of the Sex Pistols and KISS.

U2 made its first American appearance on Tomorrow in 1981, while John Lennon gave Snyder his last televised interview in 1975.

Known for his casual, no holds barred interview style and his frequent hearty laugh, Snyder smoked cigarettes unabashedly throughout his interviews, generating a hazy cloud that encircled him and his subjects. His catch phrase for the show was: “Fire up a colortini, sit back, relax, and watch the pictures, now, as they fly through the air.”

He is survived by his daughter and two grandchildren.

MP3: Radiohead - “Talk Show Host”
MP3: The Clash - “Janie Jones”

Source: E! Online

1986 originally hail from Austin, TX. The band has since relocated to NYC, but find it difficult to call anywhere home as they’re on the road a significant amount. See, 1986 consists of two members from the band Bishop Allen: bass player Giorgio and drummer Cully. So, these boys keep busy.

1986 are about to go into the studio to work on their next record. The band will be recording in November with Agnello studio collaborator, TJ Doherty (Wilco, Stephen Malkmus, Sonic Youth). Also making guest appearances on the record are Jesus Lizard’s guitarist, Duane Denison and Black Flag/Circle Jerks’ singer, Keith Morris.

Here’s a new demo that Giorgio shared with us called “Habits”. It was recorded by John Agnello who produced The Hold Steady’s latest as well as releases by Sonic Youth, Dinosaur Jr., etc.

Here’s one from the band’s last release Nihilism is Nothing to Worry About:
MP3: 1986 - “Better When You’re Stoned”

I had the grand pleasure of participating in a late night phone call with Bruce Foxton last night. Bruce is, of course, best known as bass player for The Jam as well as Stiff Little Fingers & Casbah Club. He’s recently completed a successful tour with Rick Buckler in a Weller-less ‘From The Jam’. The tour quickly sold out all 20 dates so FTJ have just announced an additional 21 UK dates for November/December.

You can imagine my schoolgirl giddiness as I spoke to an icon from my childhood, so forgive me any overly ‘typical’ questions I may have asked. Bruce and I chit-chatted about the time differences between Arizona and the U.K. and then jumped right into it:

SEAN: Just starting at the beginning of it all, what was it about the bass that drew you to that particular instrument?

BRUCE: I was kind of thrown into the deep end really. I joined The Jam as a rhthym guitarist and at that time there was a guy called Steve Brooks on lead vocals & rhythm guitar, there was Paul [Weller] obviously on bass guitar and vocals and Rick on drums & myself as a sort of second rhythm guitarist. Then Steve left the band around ‘75, early ‘75ish and we had to re-jig the lineup. We did audition for another guitarist but we couldn’t find the right person for whatever reason, so Paul said well, why don’t I play bass and he’d pick up rhythm and stroke lead guitar and I took it from there. So I was sort of forced into it really. [Laughs]

S: So it sort of wasn’t even a choice.

B: Well, I mean it would have been obviously but I thought I’d give it a shot and see how it goes. And that lineup stayed until the end of The Jam really. It obviously worked really well.

S: Were there any bass players that you drew inspiration from?

B: Yeah, there was John Entwistle at that time, McCartney, etc.

S: What’s your fondest memory of that time when you were all still together in the band?

B: Wow. I mean, there’s so many things…I’m pleased to say it was good fun all the way through. I mean, getting your first record deal ever, that was a very exciting moment in time because we’d obviously been working hard at small venues & clubs around the Woking area where we were all based and then moving into the London pub circuit at that time all with the hope of getting recognized by a major label. It’s just fantastic. Then going on from getting your first record deal, having your first vinyl 45 single released and you go into your local pub and your mates have put it on the jukebox and your embarrassed but it’s still kind of fantastic, ya know? [Laughs] From there it’s going in at #1 with ‘Going Underground’ in 1980…and you know, really it’s a lot Sean, it’s a lot. I’m pleased to say there are so many moments.

S:That’s good though. Better to walk away and be able to pick from so many good memories rather than the opposite and having to really search for a good one.

B: Absolutely.

S: Now obviously, when the band kind of called-it-quits (or Paul called it quits) in 1982 I know Paul went his own way and neither you nor Rick [Buckler, drummer] had much contact with him. Did you keep in close contact with each other?

B: Well, close in terms of I had his phone number and he’d got my number and we’d speak to each other a few times throughout the year and Rick was there if I needed him and vice versa ummm…we’d never really kind of hung out together that much outside the band in the first place, but yeah I was there for him and he for me as I’d said. About 5 or 6 times throughout the year there’s always, I mean to this day there’s Jam business to discuss, things to do with the label, reissues, etc. so I still speak to Rick obviously. But yeah we kind of keep in touch and exchange Christmas cards & such. Paul, unfortunately, has just kind of disappeared off my radar. He’s got his own way and he kind of, I wouldn’t know how to get in touch with him. I did, however…I’m in this band called Casbah Club and we toured with The Who last year at Hyde Park and Paul was backstage hanging out with some of the guys from Ocean Colour Scene because they were on the bill as well and we did briefly speak then, and it was very friendly and hugs all around but it was very brief, ya know, it was only a couple of minutes but it was nice to see that past was in the past - or it appeared that way anyway - and that if my path did cross with Paul again that sense of awkwardness, of what am I going to say or what is he going to do…we broke the ice, I think that’s what I’m trying to say. And hopefully when I see him again I’ll have time to chat with him.

S: So hopefully that goodwill might turn into a positive project in the future?

B: Yeah, exactly. All Rick and myself ever wanted was, when your in a band with your mates for 6 or 7 years you just want to keep in touch now-and-again and it’s not like I’m going to call him up every day and ask him to go for a beer. As I said earlier, I also see Rick but I seem him now mostly because of From The Jam. Prior to that, I would have only seen Rick 2 or 3 times a year. It would just be nice to know that if I need to get in touch with him [Paul] that I could. We’ll see, we’ll see how it goes.

S: Has he said anything at all, even in the press, about you and Rick touring under the name like this?

B: No, he’s actually been completely quiet. Even when we were talking about the idea, I think Billboard tried to contact Paul and even they didn’t get a response. [Laughs] He’s a very tricky guy to track down. All we could do is say this is what we’re doing, it’d be great if you’d join us. Ya know, via the press or radio. So I just don’t know how he would feel about it. He would probably say ‘I’m not bothered’. [Laughs]

S: Given his past feelings on it…

B: Yeah, exactly.

S: You mentioned Casbah Club there…is that something you’ll continue to be involved in or is that more or less done now?

B: Well Simon Townsend - as you know he’s Pete’s brother - he’d gone off to tour the world with The Who and that obviously meant the Casbah Club came to a grinding hault. Which is a shame because we’d toured with The Who here in the UK and done quite a few shows very well, and I love the Casbah songs, Simon is a great writer like his brother and it was all going really well. We didn’t get The Who’s American tour, they got some other bands out there. We just didn’t make it on the bill basically. So he went out there and I’m not sure what The Who’s plans are, if they’re going to continue touring or if they’re done with touring or what. I’m going to see Simon next month, we’re getting together in August and we’ll try to pick up the pieces because it was done really well and it was just one of those situations that was forced upon us due to not getting The Who tour and it meant Simon went off and did The Who and that left Mark, Bruce & myself sort of twiddling our thumbs. I’d like to think we could do something in the future. But now of course I’m involved with From The Jam and that’s getting really busy so now it’s going to be a question of can they fit around my plans.

S: In terms of From The Jam, have you thought about an American tour?

B: Certainly. We’re obviously on the agency books and they’re based in Los Angeles anyway and I think we’d do quite well out there. Our agent, he’s testing the waters right now and he’s going to announce a few shows soon and we’re going to see what demand there is. But we’d love to come to America. I think we’re looking at late January/early February and then Australia and Japan are in the cards because, see, what’s happened Sean is that a lot of promoters here in the UK were waiting to see how that May/June tour was going to go down and it was a wait-and-see with a tour and how it would be perceived without Paul Weller, etc. and it’s gone so well and favorable and the press have been brilliant and the audience reaction has been phenomenal so we’re getting a lot more promoters involved now whereas before they were waiting on the fence and saying wait-and-see because without Paul, ya know, but we proved it was the music, first and foremost, in Jam fans’ minds and heads and hearts, etc. and we’re producing that and playing it with as much passion and conviction as we did 25 years ago so, there’s a lot more territories opening up for us now, which is great because we’re doing the songs justice and it’s very exciting to be playing again.

S: I was going to say, it’s got to feel great with that tour selling out so fast and realizing how passionate your fans still are about what you do…

B: Yeah I mean, it’s great that it sold out. We just didn’t know if we’d cut it. The rehearsals were sounding great but in front of the audience, you still get apprehensive. We started off in Oxford in the May/June tour and it was so emotional because the crowd wouldn’t stop clapping and we hadn’t started playing and I think they have such affection for The Jam music and I guess Rick and myself, that it was very touching. And we delivered in the end, so it was all very good.

S: How different is it with Russell [Hastings] singing lead on the songs? That’s got to be quite a different experience than when you used to play with Paul.

B: It’s not that different actually. When I’m up there alongside him and I glance to my right and he’s playing the song so well and singing so well it’s sort of like Paul is there anyway. Russell has a slightly different take on certain songs, and he’s not trying to emulate Paul totally, but he obviously does sort of sound like Paul anyway. He’s brought a lot to the table himself and he’s a very good musician and he’s been a Jam fan since his early teens. He was there as a fan at the last show we did in Brighton in 1982 and here we are in 2007 and he’s fronting the band. It’s an unusual situation but he’s a perfect guy to have with us. And Dave Moore.

S: Given that he’s enjoying it so much and you’re all slipping into this comfortable rhythm, are you going to record new music together?

B: Yeah, actually that’s why we were hassling you about times because I’m headed into the studio today. We’re working on some new material. But we’ve got such a wealth of Jam songs to choose from that I mean, From The Jam, the sets will probably always be predominately Jam songs. But eventually we would like to put in some new music amongst the Jam songs, though there’s no rush because as we’d said there’s such a huge back catalogue of Jam material - which is a great position to be in - plus you know, we’ll take our time is what I’m trying to say. We’re going to write, and then we’ll see how they sound and then we’ll try them out live in November/December and see how they go down but we’re not going to rush a release on an album or whatever not yet. We’re working on it.

S: Just a see-how-it-goes situation then…

B: Yeah yeah. We don’t want rush something, because as I said the press in the UK, we’re riding the crest of a wave and we can’t do anything wrong but they’re looking! They’re looking!

S: Haha, just waiting for the tripup.

B: Exactly, and the new material would be put under a microscope so we just want to make sure as a band that we’re happy with it and it’s where it should be before we release anything.

S: Keeping in mind your time constraints, I’ll just ask one more question before I let you go. In terms of new music from other bands, is there anyone you’re particularly enjoying? Either having seen them live or heard a record?

B: Yeah, recorded stuff, I mean the Kaiser Chiefs are pretty good. The Feeling, I saw them I think they did the concert for Diana…

S: Yeah I remember them being there.

B: Yeah, I thought they were pretty good and I love their vocals & harmonies. Arctic Monkeys are another band that I wouldn’t say I play them all the time but I do sort of like some of their stuff. And then there’s a new band called The Enemy over here that are really good, and they’re pretty heavily influenced by The Jam as the Arctic Monkeys are pretty into The Jam as I’ve heard. They’ve got to get their influences from somewhere I suppose. [Laughs]

S: Better you than elsewhere.

B: Yeah, well and I mean as we ourselves did so many moons ago.

S: Bruce, I really appreciate you taking time to do this. I’ve really enjoyed it.

B: Well, likewise I mean you’re calling from Arizona in the middle of the night.

S: Hey, I grew up on The Jam and for me to be calling you and getting to talk to you in the middle of the night, that’s more exciting than anything else I might be doing.

B: So you need to get out more really. [Laughs]

S: Haha, well yeah that’s true. Thank you very much though.

B: Likewise. And keep your eyes peeled, and I hope that we’ll be out in the States.

S: If you are, I’ll be there.

B: We’d love to come so it’s just a matter of whether the demand is there or not and we’re finding that out as we speak.

S: I guarantee it’s there. Plenty of U.S. Jam fans. Thanks Bruce.

B: Thank you again.

From The Jam: ‘Bruce Foxton & Rick Buckler’ on tour in the UK from 24th November. Ticket Hotline: 0870 264 3333, www.seetickets.com.

‘The Jam Unseen’ is published by Cyan Books on August 6. ‘The Unseen Jam Photographic Exhibition’ will run at The Movie Poster Gallery, 1 Colville Place, London, W1T 2BG, from October 6 - 20, 2007.

MP3: The Jam - Going Undergound
MP3: The Jam - News Of The World (Vocals: Bruce)

- Sean

I stumbled upon a YouTube video of Motorhead performing “Ace of Spades” on the BBC comedy The Young Ones yesterday. I started wondering if the six degrees of Kevin Bacon theory could somehow musically apply to Lemmy?! Y’know, if every rocker’s career could somehow be linked back to Mr. Kilmister in one way or another? I didn’t think about it for long, but figured I might as well throw guitarist “Fast” Eddie Clarke out their as an example, because there’s really no other logical reason for sharing his post-Motorhead band Fastway on the site. OK, that was a little harsh…but I meant it in the kindest way.

Eddie Clarke was a member of the “classic” Motorhead lineup (with Lemmy and “Philthy” Phil) which can be seen below on the cover of 1980s masterpiece Ace of Spades. Clarke left the band in 1982.

MP3: Motorhead - “Ace Of Spades”

“Fast” Eddie would join forces with UFO’s bassist Pete Way to form the band Fastway. Get it? “Fast” + Way = Fastway?! I thought you would. The lineup was completed by ex-Humble Pie drummer Jerry Shirley and vocalist Dave King (who would later be affiliated with Flogging Molly). So yeah, back to the music…here’s the first single off that band’s debut album:

MP3: Fastway - “Say What You Will”

I recently received an e-mail from a band out of Santa Cruz, CA called The Good Grief. The songs were fun, but there really wasn’t enough information about the band on their Myspace site to put together a decent post.

A few weeks later, I received an incredibly creative 5 song promo in the mail from the band. Same situation…still not enough information about the band to write anything worthy of reading. The effort the band made to make sure the readers of our site heard their music needed to be acknowledged though, so I figured a link to their Myspace and sharing an mp3 would have to do.

Take the time to put together a decent bio for your band, kids…it really is worth your while.

MP3: The Good Grief - “Pages”

For better or for worse, when Clap Your Hands Say Yeah made a huge splash with their self-released debut in 2005, it signaled a landmark change in the music world, at least as far as indie music is concerned. And whether you liked them or not, it meant that tons of bands would have the balls to try and do the same thing, and expect at least somewhat similar success. The problem was, a lot of these bands wound up sounding the same too, spawning a genre that we somewhat-affectionately referred to as “ewok music” back when I was working at Amp Camp. Some of these bands have been pretty successful too, most notably former Clap Your Hands tour mates the National, while others such as Takka Takka have had a harder time gaining a critical hold.

Bishop Allen, another band from Brooklyn, where it seems all of these bands come from, are part of the similar boom in which bands self-released their material and relied on online outlets such as blogs and Myspace to gain attention and fans. Now the band has decided to go the more conventional route and sign to the new Secretly Canadian/Jagjaguwar spinoff label Dead Oceans, and are finally releasing their first true studio album The Broken String. 2006 was a particularly unconventional year for the band, as they released an EP of music every month, titled after that month. I love the idea and I think it’s one of the cooler projects one could undertake, but it’s also just a bit too much. And I think I’m not the only one who’s more than a little old-fashioned and still loves the album format. Which is why I’m more than a little stoked that Bishop Allen’s official debut full-length is more than worth any hype this band has drilled up for themselves in the past years.

Not quite twee but still bearing that quaint affectation that makes people fall in love with Belle and Sebastian, Bishop Allen have that immediately sincere quality that makes them more than a little endearing. “Middle Management,” a plugged-in garage rock romp may be the lone exception to this rule, and though it feels a little out of place it isn’t an unwelcome addition at the back end of the album. It’s the dramatic opener “The Monitor” that really drew me in, with singer Justin Rice proclaiming, “Once a great iron works stood at the end of my street / And they hauled in the Monitor, fit her with armor for to save the Union fleet.” It declares something both nostalgic and historical, and coupled with Rice’s admission “And you’d think I’d understand that a rock ‘n’ roll band doesn’t mean a blessed thing” it begins to take context. It’s a self-second-guessing song comparing the chaos of the ironclad Civil War battles with life in a touring band. “It’s stunning to know I’ve survived, but I don’t know what I’m fighting for anymore / But when I break another string and continue to sing, is that courage? I’m not sure” is Rice poignantly questioning his (and his band’s) place in the big picture. But more than anything, kicking off your debut album with a song this good takes courage too. It’s far too early in their career for Bishop Allen to be asking these kinds of meta-industry questions, but at the same time shows a band who understands their place while simultaneously wondering whether or not it really matters all that much. But it does. It does when the next track, “Rain,” ends and the next song smartly begins with the line “I have ducked out of the rain.” That same song, “Click, Click, Click, Click,” addresses the way photographs can affect our memories and the way we re-imagine events long past. Continuing, the following song (“The Chinatown Bus”) looks at the way we see the world as it’s passing by in present time: “And I, I am a passenger tonight, I watch the world from inside.”

These aren’t difficult metaphors, but despite what some people might have you think, music doesn’t have to be difficult to be good. The Broken String is often simple in structure despite the wonderful arrangements. But its intricacies are what make it more than background music. As I’ve mentioned, songs frequently lead into each other. While “The Chinatown Bus” is a “Lost in Translation” or sorts about being overseas, then “Flight 180” gracefully takes us home to our comfort zone. I won’t connect each song for you here – you’ll have to buy the album and do that for yourself. But it rewards multiple listens – the kind of record you’ll (hopefully) put on your stereo and listen to as you lie on your floor on a rainy afternoon. It seems to me that the mp3 age has made that past-time nearly obsolete. If they could inspire many to do just that, then I’d hope they wouldn’t be too worried about their place anymore.

Bishop Allen - Rain

Bishop Allen - Click, Click, Click, Click

-todd.

I was recently afforded the opportunity to email back-and-forth with the cheeky boys in Dappled Cities Fly. I wasn’t sure who was answering my questions at any given time, so your guess is as good as mine. But hey, that’s what makes it interesting, right?

We’ve talked about DCF several times here on Rock Sellout, but for those who aren’t yet familiar with the band, here’s a brief tidbit I wrote the last time I discussed them on the blog:

Dappled Cities - or Dappled Cities Fly, depending on who you talk to - are a five piece from Syndey. They recently completed their second LP which features production work by Jim Fairchild, former guitarist for Grandaddy. They describe themselves as ‘art rock’ which sounds terrible, so I’ll just say they’re in a similar league as Of Montreal, Built to Spill and the aforementioned Grandaddy.

1) Your latest album was produced by Jim Fairchild from Grandaddy. What was it like working with him?/What did he bring to the table?

Yeah there were actually two producers on the record, Jim Fairchild and Peter Walker. Both of them are mucians who we as a band had utmost respect for, and so we were mighty chuffed when we discovered that this respect was whole-heartedly recipocated. And so there was no iron-fist-arrogant-producerism going on. But on the contrary it was seven musicians in a studio getting buzzed about making cool sounds and creating zaney psudenims for everything and anything.

2) Is there any connection between the album title and Jim’s old band?

Actually no. The name of the album came from the title track, of the same name, ummm of course. And the song was written and named well before we knew who would be in the hot seat for the recording. So it just a funny co-incidence I guess, not in a ha-di-ha way, just a smirk. Funnily enough our first album, which was only released in Australia, is entitled “A Smile”, and Jim Fairchild’s new solo outfit is called “All Smiles”. Weird no? Yes. Make of that what you will.

3) You guys are well known for putting together shows showcasing local bands. How important do you feel it is to support your local music scene?

We come from a very close little indie scene in Australia. Just because of the size of the population, the under-belly is quite small but nevertheless quite fruity. And we actually started playing around just as there seemed to be a bit of resurgance of live music, particularly in Sydney. So that’s nice! It would be even more nice to see our stomping ground planted recognised on the global map, and I guess that’s what we’re trying to do by coming to America, music like Eddie Murphy did in the movie “Coming to America”, starring Eddie Murphy.

4) What music (besides your own) are you guys currently into?

Ummmmmmmmmm pretty much everything. There are the newish bands who we seem to be consistantly aligned with, like Arcade Fire, TV on the Radio, Modest Mouse et al. And then there are the older bands like Beach Boys and Roy Orbison. And there’s obviously plenty more out there that we seek out and really enjoy. Actually I’m really getting into Neko Case at the moment; she kicks.

5) If you were making us a mixtape, what are 5 essential songs you’d include?

Emerson, Lake and Palmer - Lucky Man
Serge Gainsbourg - Bonny and Clyde
Scott Walker - We Came Through
Donovan - Hurdy Gurdy Man
Melvins - Bar X and the Rocking M

6) Tell us something everyone should know about you but very few do.

We have no secrets. We are a very open band, hearts on the sleave kinda thing. Indie pop bands are well known for their innocence and purity, so we’re just living up to that prescribed reputation

TOURDATES:
Jul 23 2007 The Independent w/ Tokyo Police Club San Francisco, California
Jul 24 2007 The Echo…. Los Angeles, California
Jul 25 2007 Troubadour w/ Tokyo Police Club LA, California
Jul 26 2007 Beauty Bar w/ Tokyo Police Club San Diego, California
Jul 27 2007 Anderson’s Fifth Estate w/ Tokyo Police Club Scottsdale, Arizona
Jul 29 2007 Varsity Theatre w/ The Fratellis Mineapolis, Minnesota
Jul 30 2007 Pabst Theatre w/ The Fratellis Milwaukee, Wisconsin
Jul 31 2007 Newport Music Hall w/ The Fratellis Columbus, Ohio
Aug 1 2007 Black Cat w/ All Smiles Washington, Washington DC
Aug 2 2007 Mercury Lounge w/ All Smiles New York, New York
Aug 4 2007 Johnny Brendas w/ All Smiles Philadelphia, Pennsylvania
Aug 5 2007 TT The Bears w/ All Smiles Cambridge, Massachusetts
Aug 7 2007 Mod Club w/ The Fratellis Toronto, Ontario

- Sean

Twenty selected photographs from the forthcoming photographic book “The Jam Unseen” will be on sale for the first time as a series of limited edition prints for a limited time only at London’s The Movie Poster Gallery from Saturday 6th October to Saturday 20th October 2007.

The exhibition coincides with the 30th Anniversary of The Jam and when they originally signed to Polydor Records in 1977, and also follows hot on the heels of the forthcoming photographic book “The Jam Unseen” published by Cyan Books on 6th August 2007.

For the rest of the story, click here.

The Jam’s Rick Buckler, Bruce Foxton and Paul Weller backstage at the Michael Sobell Centre, Islington, North London, 13/12/1981 Photo credit: © 1981 Twink

“The Jam Unseen”
Photographic Exhibition
A rare never-before-seen collection of limited edition photographic prints of Britain’s best loved band “The Jam”

Saturday 6th October until Saturday 20th October

The Movie Poster Gallery, 1 Colville Place, London W1T 2BG,
Private View – Wednesday 3rd October, 6-9pm

MP3: The Jam - “The Butterfly Collector”
MP3: The Jam - “Tales From The Riverbank”