Despite the industrial ravages of the Eighties, the landscape of Doncaster in England’s unfeasibly flat north-east is still one of railway sidings, chimneys and canals. There is, however, a recent exclusion from the horizon. Colliery winding gear, so long a feature of the terrain, has vanished, although from the window of a Hull-bound train you’ll still see the odd slagheap sprawled out like an oversized, fast-asleep Labrador. Coal, which powered the industrial revolution and the engines of the British Empire, is no longer mined in Yorkshire. In 1984, there were 56 pits in the region but the 2015 closure of Hatfield and Kellingley collieries brought to an end an industry that had been active since Roman times.
By Alan Gregson
In these days of Spotify and YouTube, it’s difficult to imagine a time when your music stayed at home and the only way to listen to music on the move was on the radio.
The birth of the Compact Cassette, commonly referred to as simply the “cassette” or “tape”, kick-started a revolution in music, and possibly in society as a whole. Now we were no longer forced to simply hum the last track we heard on the radio as we walked to school. Now we could block out the rest of the world and listen to The Clash or New Order on our Walkman, or, if our birthday funds couldn’t stretch to the real thing, a £5 Alba personal stereo from Argos or Woolworths. But we’re running ahead like a stretched tape. Let’s rewind a bit.
Clocking in at over 700 pages, former New Order bassist Peter Hook has much to say in his new book Substance, which catalogues, in fan-delighting minutiae, his tumultuous tenure in Britain’s foremost indie four-piece. Intra-group wrangling, love trysts, moodiness, shocking amounts of white powder and hangovers from hell defined the band’s existence. Throw in some jet lag, tax issues and ownership of a loss-making nightclub and you have a story that’s more epic than any film could ever capture (although Michael Winterbottom’s 24 Hour Party People from 2002 gave it a good try.)
By Alan Gregson
Any James fan will tell you that a vital part of the band’s live show is Andy Diagram and his roving trumpet antics. What they might not know is that over the years, Diagram has performed trumpet duties for, among others, Black Francis, Nico, A Certain Ratio, The Pale Fountains and Pere Ubu.
Diagram was one of the first trumpeters to use effects pedals with his instrument and he took the sound to a new level with his own band, Spaceheads, using loopers controlled from his iPhone, along with percussion from his long-time collaborator Richard Harrison, to produce extraordinary soundscapes, usually accompanied by projections from Rucksack Cinema.
We catch up with Diagram on the Warrington farm of his mate Mark Harrison for the 11th annual Mud Hutters Tea Party.
As autobiographies go, Tony Garnett’s The Day The Music Died: A Life Lived Behind The Lens is as gritty, honest and heart-wrenching as the film and television work that he’s known for. In the Sixties and Seventies, his career was entwined with that of director Ken Loach, a producer on such notable dramas as Kes (possibly the finest film ever made), Cathy Come Home and Up The Junction. In the Nineties, Garnett’s BBC projects This Life, about a group of hedonistic law graduates, and The Cops, focusing on a police station in the fictional northern town of Stanton, were both controversial and strong signifiers of their time. Continue reading “Tony Garnett: the film-maker with his own epic story to tell”
The bit of the website where someone of sonic sophistication supplies a selection of serious dance-floor stompers.
YOUR DJ 2-NITE!
By Alan Gregson
Like most kids growing up in the Seventies and Eighties, before EasyJet made European holidays affordable to most people, we spent our family holidays in the UK, initially at caravan parks, then Pontins in Blackpool and Butlin’s in Pwllheli.
The first holiday I can remember was at a caravan park in Grange-over-Sands, Cumbria. My memories are not dissimilar to Fathers Ted and Dougal’s experience of a caravan holiday, although I don’t remember Graham Norton turning up to perform the Riverdance. It did, however, rain so much that the whole caravan shifted overnight. My other memory of that holiday is the Laurel & Hardy films shown every night in the campsite bar, possibly a memorial to Stan Laurel who was born close by in Ulverston.
When Rowetta joined the Happy Mondays in 1990, not only did she bring the Mancunian masters of indie-dance crossover a more soulful presence, she provided additional visual stimulus to a band that was already pretty watchable in the first place: cos the Mondays had Bez!
With her dominatrix toughness and body hugging bondage attire, Rowetta arrived as an equal partner in this most laddish of lad bands. Here was a woman who was clearly having a ball. With every swish of her whip, Factory Records shifted towards the mainstream: no longer would indie automatically mean an embracing of the mediocre. Soon, Pills ’N’ Thrills And Bellyaches arrived, an LP that was basically a summer holiday on vinyl, reaching No.4 in 1990. Rowetta’s extraordinary vocal range and “Yippee-yippee-yay-yay-ay”-ing perfectly counterbalanced Shaun Ryder’s Nike Air-wearing, couldn’t-give-a-toss cool. We just wished that our girlfriend was hot like Rowetta.
When your knees have started to knock and there are too many miles on the clock, the idea of spending a weekend in the sprawling metropolis of Glastonbury brings on a sense of unease rather than excitement. All that expanse, all those people and, can you believe it?, Coldplay!
Nowadays, of course, there are more festivals than bands but for those of us not overly fussed about standing three-quarters of a mile down a field to watch Muse on a distant screen, there are options. Take the Cock & Bull Festival near Bath, for example, a 500-capacity gathering that manages to mix music, DJs, farm animals, decent food and reasonably priced drinks. Cock & Bull is more Livestock than Woodstock, with pigs, cows and sheepdogs all delighted that you could make it.
By Dan Poole
Premiership football in the mid-Nineties was played upon hallowed turf. It was a time of glorious convergence, when TV money and foreign flair hadn’t yet saturated the English game with a tsunami of cynicism but, rather, added a subtle sheen to a sport still rooted in Bovril and bobbly pitches. Players’ shirts were still baggy, football boots were black and advertising hoardings were analogue. Players such as Dennis Bergkamp, Gianfranco Zola and Juninho were rubbing shoulders with Darren Peacock, Neil Ruddock and Carlton Palmer; like pineapple and cheese on a stick, it was a clash of tastes but by God it was delicious.