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Rock Rock And Roll Song of the Day

Song Of The Day (The Chain): Mott The Hoople – All The Young Dudes

Day 23. I’m assuming that most people who may be reading this post will be able to pick out the link between Perfect Day & All The Young Dudes from miles away. That’s right. Perfect Day is take from Lou Reed’s excellent album Transformer, which, as I’m sure you’re aware, was produced by none other than David Bowie. All The Yung Dudes by Mott The Hoople is also produced by David Bowie. Unlike Perfect Day, however, Bowie actually wrote All The Young Dudes. Legend has it that Mott The Hoople asked Bowie for Drive-In Saturday, but he liked it too much & decided to give them All The Young Dudes instead. An excellent Bowie version is also available.

All The Young dudes is a fairly typical Glam-era Bowie tune, with a swaggering & androgynous vibe, amazing guitar work (Bowie & the legendary Mick Ronson both play on it) & lyrics about feeling different & taking solace in your generation’s art. NME described it as “one of that rare breed: rock songs which hymn the solidarity of the disaffected without distress or sentimentality”.

Well, Billy rapped all night about his suicide
How he’d kick it in the head when he was twenty-five
Speed jive, don’t want to stay alive
When you’re twenty-five
And Wendy’s stealing clothes from Marks & Sparks
And Freddy’s got spots from ripping off the stars from his face
Funky little boat race
Television man is crazy saying we’re juvenile delinquent wrecks
Oh, man, I need TV when I’ve got T.Rex
Oh brother, you guessed
I’m a dude, dad

All the young dudes (hey dudes!)
Carry the news (where are you?)
Boogaloo dudes (stand up, come on)
Carry the news
All the young dudes (I want to hear you)
Carry the news (I want to see you)
Boogaloo dudes (I want to talk to you, all of you)
Carry the news (now)

Lucy looks sweet ’cause he dresses like a queen
But he can kick like a mule, it’s a real mean team
But we can love
Oh yes, we can love
And my brother’s back at home with his Beatles and his Stones
We never got it off on that revolution stuff
What a drag, too many snags
Now I’ve drunk a lot of wine and I’m feeling fine
Got to race some cat to bed
Oh, is that concrete all around
Or is it in my head?
Yeah
I’m a dude, dad

All the young dudes (hey dudes)
Carry the news (where are you?)
Boogaloo dudes (stand up)
Carry the news
All the young dudes (I want to hear you)
Carry the news (I want to see you)
Boogaloo dudes (I want to relate to you)
Carry the news
All the young dudes (what dudes?)
Carry the news (let’s hear the news, come on)
Boogaloo dudes (I want to kick you)
Carry the news

All the young dudes
(With the glasses)
Carry the news (I want you)
Boogaloo dudes (I want you in the front)
Carry the news (now)
(Now, you’re his friends)
All the young dudes (now you bring him down)
(‘Cause I want him)
Carry the news
Boogaloo dudes (I want him right here)
(Bring him, come on)
Carry the news (bring him)
(Here you go)
All the young dudes
(I’ve wanted to do this for years)
Carry the news
(There you go!)
Boogaloo dudes
(How’d it feel?)
Carry the news

If you’ve not heard it (you should have), here’s the Bowie version too.

Keep up to date with the Song of the Day (The Chain) Spotify playlist.

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Pop Rock Song of the Day

Song of the Day (The Chain): Lou Reed – Perfect Day

Day 22. Golden Brown was a song which many assume to be about heroin addiction which became a huge commercial success. Lou Reed’s Perfect Day is also a song which many assume to be about heroin addiction which has seen great commercial success.

Perfect Day is a slow, druggy ballad with huge uplifting choruses. It might be just me but I believe I detect a strong note of sarcasm in the chorus.

Just a perfect day
Drink Sangria in the park
And then later
When it gets dark, we go home

Just a perfect day
Feed animals in the zoo
Then later
A movie, too, and then home

Oh, it’s such a perfect day
I’m glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on

Just a perfect day
Problems all left alone
Weekenders on our own
It’s such funJust a perfect day
You made me forget myself
I thought I was
Someone else, someone good

Oh, it’s such a perfect day
I’m glad I spent it with you
Oh, such a perfect day
You just keep me hanging on
You just keep me hanging on

You’re going to reap just what you sow 
You’re going to reap just what you sow
You’re going to reap just what you sow
You’re going to reap just what you sow

Keep up to date with the Song of the Day (The Chain) Spotify playlist.

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Indie Rock Rock Rock And Roll

Richey Edwards (Manic Street Preachers) Interview, 6 February 1994

This interview, which has been uploaded to YouTube today, was probably one of the last that Manic Street Preachers lyricist & rhythm guitarist Richey Edwards gave before his disappearance, nearly a year later. Most of the interview focuses on the bands late manager, Philip Hall, who’d lost his battle with cancer in 1993, & a special award he was being issued posthumously for services to music. There are, however, strong hints of the depression which drove Edwards to maybe take his own life.

Anyway, this afternoon I transcribed this video, which is why I am sharing it. The reason? Because I have never transcribed anything & wanted to know if I could do it. It’s something I feel the need to practice. I have to say, you really notice all of the utterances & dysfluencies in everyday speech, which we normally don’t pick up on, when you’re transcribing informal interviews like this.

Transcript

Paul King: In fact, first time I’ve ever spoken to you, surprisingly over the years.

Richey Edwards: I recognise you from your dubious past.

PK: But we have, 120 in particular, we’re very supportive of the Manics, from early days. I think it was probably the first people who played those vids

RE: I think so, yeah

PK: But you don’t need that kind of support anymore, you’re… I think you’re one of these, termed as established bands now. Is that what you think you are, would you say?

RE: I don’t think any band is established. Most bands have got a career of, maybe, three or four years, then they fade into oblivion and end up checking out dole checks at the DSS, maybe.

PK: Or you go the other way and end up checking in those tax accountants and making millions, that’s… that’s the other alternative, isn’t it?

RE: Yeah maybe, but that’s for the very lucky, the very few. I don’t think that’ll be us, actually.

PK: Well I’ll always remember, the Manics, that you swore that after the first album, you’d break up then anyway, which you obviously didn’t do.

RE: No, I mean, that was a big… ultimately, we wanted to be the perfect band that could make a record that sold globally, you know, millions, and that there would be no need to make another record. All we’ve ever been interested in doing is making a record which encapsulates a mood and a time and then, it can be a full stop, you know, bye bye. You know? No need. Go and live with my dogs on the coast, wherever.

PK: Well the last records anyway, well the last record, was very well received for the group and was seen very much as a mature progression for yourselves. As songwriters and also as musicians.

RE: Yeah, I mean, it was called mature, which is something I find difficult to live with, but I guess it was. I mean… I think the older you get the more life becomes more… miserable. Definitely. I mean, you just…. All the people you grew up with die. You know, your parents die, grandparents die, your dog dies. Your energy diminishes. There’s less books to read. There’s no more groups to discover, you know. You end up a barren wasteland, just trying to find something new which never really occurs. You end up finding worth in groups which, maybe two or three years ago, you would have just spat on. Which is depressing. Which I do all the time. I mean, I’m getting into Buffalo Springfield, which to me, I mean it’s a nightmare…

PK: For what it’s worth, as the song said (haha)

RE: For What It’s Worth is their best song, but you know…

PK: Well on that positive note then, what are the Manics up to at this moment in time? Getting depressed or actually getting positive.

RE: Well, since Philip died, we cancelled everything and just went into a crappy little studio about a quarter of this room’s size and just been writing new songs, just like we did at the start. Just tried to, you know, maybe….

PK: And Philip Hall was obviously the special award this evening.

RE: Yeah, Philip was a very special person to us. It’s pretty well documented, but we spent, maybe, a year, year and a half writing letters, phoning journalists up, you know, people like MTV. Any address or phone number we got, we would write to or phone up. And there was, like, never any response because, like, an unknown band, you know, who cares, or whatever. And Philip was one of the first people who ever called us back, erm, and he said he was interested in coming to see us play in London, erm, and we obviously couldn’t get any concerts here at all, because it’s impossible. So, he drove down to see us practice in, you know, a crappy little schoolroom in South Wales.

PK: Yes, I mean, it’s well documented the guy…he was a very big supporter of new music, that’s why he’s represented tonight at the awards.

RE: He drove down, he saw us play, he liked what we did, he got us some gigs in the Bull and Gate, you know? the Falcon, wherever. And then, just sort of looked after us. And even then, when we started to get some press, he just said, oh, come and live with us. He’d been married, maybe, like a year. So, we slept on his, like, lounge, his kitchen, wherever was available.

PK: So, I appreciate that for you, this evening, here, with him being represented it’s a more of a… a kind of a reflective mood you find yourselves in tonight.

RE: I mean, the only reason we are here tonight is because of Philip. I mean, we’ve never been to one of these things before in our lives. It was just [for] the memory of Philip that we came here. We’re not the sort of band that is seen en masse, in these sort of public occasions. We’re a very private band. We didn’t like these, kind of, showbiz awards.

PK: Well, on from that, can I get a video from you? Would you like to see anybody?

RE: Ermm.

PK: No (haha).

RE: No (haha), yeah, erm, I’d quite like Roxanne by The Police.

PK: Okay, we can go back in time.

RE: Thanks very much. A long time ago.

PK: The Police.

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Rock Rock And Roll

Neil Young – Homegrown

Neil Young’s “lost” 1974 album, Homegrown, finally saw release this year. Although it has been around for years in various bootleg forms (& some songs from it have been played live over the years), the new release is the first time a Neil Young approved version of Homegrown has been available for fans.

As much as I love Neil Young, it would be quite dishonest to describe myself as anything other than a casual fan. I own a few of his records (Everybody Knows This Is Nowhere, After The Gold Rush, Harvest, American Stars ‘N Bars etc.) & this excellent greatest hits collection, but I am by no means a collector or completionist. As such, I have personally never heard any previous bootleg versions of Homegrown before. Although I do know the version of the title track that made it onto American Stars ‘N Bars. I am approaching this as a fresh Neil Young album & with a little excitement, if I’m being honest.

Rock steady rhythm section. Check. Country inflected rock rhythms. Check. Atmospheric, instinctual harmonica playing. Check. Lapsteel. Check. Plaintive falsetto vocals. Check. This is definitely a ’70’ Neil Young album. Homegrown seems to be light on the crunchy guitar sound that Young was already known for at this point.

Separate Ways & Try are heavily lead by the rhythm section, lapsteel & harmonica providing the majority of melodic content. Mexico is one of Young’s melancholic piano ballads. Love Is A Rose is a percussive country rock song campfire song, with hard strummed acoustic guitars adding colour to the percussion more than anything. Homegrown is the first time we hear any crunchy rock guitar. It’s the same classic rock anthem you know from American Stars ‘N Bars, but perhaps a little rawer in the production. A bit of a highlight for me. Even though it’s not as new as much of the album.

Florida feels to me like something between a satire & a pastiche of Jim Morrisons’ spoken word poetry. Neil Young slowly tells a story about an idyllic town in Florida, a horrific gliding accident & a newly orphaned child, over a noise collage of guitar feedback & tape hiss. It’s very different to the rest of Homegrown. There’s a distinct dreamlike quality to it & it really stands out to me.The following track, Kansas, seems to continue the story , opening with the line “I feel like I just woke up from a bad dream” & featuring references to gliding. It’s a subdued acoustic solo track. Melancholic, minimalist melodies which wouldn’t sound totally out of place on After The Gold Rush. It’s hard to write about new music by an artist with a catalogue as vast as Neil Young’s, without comparing tracks to others from his catalogue.

We Don’t Smoke It No More is plodding, blues inspired Rock And Roll, with barroom piano, harmonica histrionics & as solid a rhythm as you’ll find anywhere on Homegrown. There’s plenty of Neil Young’s rough and ready lead guitar playing to go around too.

White lines is all midnight harmonica, galloping country rhythms & instinctive sounding acoustic guitar playing. It has an almost jammed quality to it, improvisational. It reminds me of when a demo is so good it gets included on the album.

Vacancy is a mid tempo rock number with big crunchy guitars. Practically written for stadium & festival gigs. I imagine it would sound thrilling in the open air. Little Wing is another tune which has appeared on other releases. 1980’s Hawks & Doves in this case. It’s another simple, acoustic led ballad with beautiful atmospheric harmonica parts.

To end, we’ve got Star Of Bethlehem, which also appeared originally on American Stars ‘N Bars. A chipper, upbeat Country Pop song with pleasant vocal harmonies & biblical references. Follows in Neil’ Young’s “tradition” of putting pleasant, short & simple songs at the ends of albums. Think Cripple Creek Ferry at the end of After The Gold Rush. That’s the kind of ballpark we’re in here.

Homegrown is out now on Silver Bow Productions.

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Blues Folk Poetry Rock

Bob Dylan breaks record for oldest artist ot top UK album chart

It was reported by the BBC today that Bob Dylan has just broken the record for oldest artist to have a number one album of new, original material in the UK. This is great new for Dylan & his fans. It also comes hot on the heels of his first US Billboard chart number one, with the fantastic new single Murder Most Foul.

At 79 years old, Dylan has overtaken previous record holder, Paul Simon, who hit the top spot in 2006, at the age of 74, with Stranger To Stranger. Dame Vera Lynne holds the record for oldest artist to have a number one album with her 2009 greatest hit’s collection, We’ll Meet Again. She was 92. Maybe in 13 years time, Dylan can beat her too.

This is a significant achievement & I’m happy for DYlan. Check out this great animated lyric video for Dylan’s most recent single, False Prophet.

And while we’re on the topic of Bob Dylan, he’s just uploaded this video to his YouTube channel. An alternative take of If Not For You.

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Rock Synth Pop

David Bowie – Is It Any Wonder?

Second David Bowie post in two days (& third this week). Is It Any Wonder? is a six-track EP consisting of unreleased or rare tracks recorded in & around 1997.

To kick things off, there’s the version of The Man Who Sold The World from the ChangesNowBowie radio show (also released as a new album this year). This is a stripped back, downtempo, acoustic version of the song, reminiscent of the much lauded Nirvana cover. A conscious decision, I’m sure, & a moving tribute to the late Kurt Cobain.

The second track is a moving, moribund treatment of the Tin Machine song, I Can’t Read. This version was recorded during the mixing of Bowie’s ’97 album, Earthling (which I wrote about yesterday) & is said to have been Bowies preferred version of the song. Check out the video (above) for some great, artistic visuals. I particularly like the faces projected onto the white masks.

Stay 97 is an update of the track from 1976 album Station To Station. The idea was to bring older material in line, sonically, with the newer stuff from Earthling. This is achieved with motorik rhythms & crunchy, digitized guitar riffs.

Baby Universal 97 is a rerecording of another Tin Machine track. Originally intended as the penultimate track on Earthling, Bowie was aid to have being extremely fond of the track & didn’t think enough people had heard it before. This version is built around hard drum machine beats, thrashing guitars & a melodic soundscape of synth & vocals. I can easily imagine it sitting comfortably on Earthling.

Nuts is minimal, Junglist, Drum & Bass. Recorded in the Earthling sessions, Nuts was also originally slated for inclusion but was eventually left off the album. It’s incredibly atmospheric. A friend of mine says it reminds him of a lot of Eric Serras film soundtrack work, paticularly The Fifth Element & Goldeneye. I agree, but it also reminds me of the music for the excellent original PlayStation game, G-Police or Wipeout.

The final track is another version of The Man Who Sold The World. The ‘Eno’ Live Mix, 2020 remaster. This Brian Eno produced version transforms the song into a downtempo, Dub-influenced Trip Hop tune. This version was recorded in 1995 & released as a single alongside Strangers When We Meet. Heavy dubby basslines, delayed percussion & echoey sonar blips combine to create a truly contemporary (for 1995) sonic experience.

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Music Overlooked Classics Rock Synth Pop

Overlooked Classics: David Bowie – Earthling

David Bowie’s 1997 album Earthling was the first new Bowie record I was aware of as a teenager. I already knew songs like Space Oddity & Ashes To Ashes, & even liked what I knew, but Earthling was essentially my generation’s Bowie album.

Bowie, finger ever on the pulse of the zeitgeist, was inspired by emergent genres like Drum & Bass, IDM & Breakbeat. Earthling was written & produced with these influences at the fore. Everything could have gone so horribly wrong. Many other classic artists who embrace genres of younger generations fail miserably (in my opinion), take Neil Youngs synthetic experiments in the ’80’s for example.

Luckily, Bowie was able to understand & appreciate what it was about these genres that made them special & unique. Instead of bending the technology & techniques used to create Drum & Bass to match his songwriting, he bent his songwriting to match the technology.

Album opener & lead single, Little Wonder, is a great example of this. A thumping, Junglist, Drum & Bass beat underpins trademark. His incredible vocal melodies floating above the hard, Junglist beats. In line with a key influence at for Bowie at the time, The Prodigy, Little Wonder’s skittering breakbeat manglement gives way to headbanging, anthemic hard rock sections.

Elsewhere, other influences come to the fore. Looking For Satellites is heavy downtempo breakbeats, somewhere between Hip Hop & Trip Hop (Meat Beat Manifesto?), but with rhythmic vocal melodies that wouldn’t be out of place on a Talking Heads record.

Prodigy vibes abound on Battle For Britain (The Letter). Crunchy, digitally harsh guitar chords juxtaposed against similar Junglist rhythms to Little Wonder. Bowies trademark melodic melancholia & a space rock glueing the whole thing together. Free jazz piano segments notwithstanding.

Seven Years In Tibet brings us more downtempo drum machine shenanigans, with heavy, metallic guitar riffing. This is more in Nine Inch Nails’ sonic territory than Prodigy though.

Dead Man Walking sees modem noise distorted guitars over thumping four-to-the-floor beats. Techno synth arpeggios & harmonic vocal loops give this a distinctly ’90’s vibe to it. Perhaps reminds me a little of Björk’s Hyper-Ballad. I could easily imagine a successful mix of the two songs in the hands of a competent DJ.

Telling Lies sees the return of the Drum & Bass rhythms. Lowkey baritone Bowie vocals & incoherent moaning help to build an oppressive sonic atmosphere.

The Last Thing You Should Do is upbeat, cut-&-Paste breakbeat with melancholic, subdued verses & explosive, distorted choruses. Like The Chemical Brothers with a more experimental sensibility. Grunge dynamics feel strangely at home here.

I’m Afraid Of Americans is more downtempo, industrial influenced darkness. Wears it’s Nine Inch Nails influence proudly on its sleeve. Doubly so on the various Nine Inch Nails Remixes which were also made, Trent Reznor’s unique production style bringing out Bowie’s darkest artistic impulses. You’ve got to hand it to Reznor. Not only did he do a great job of this, but he did it from the position of being completely starstruck & in awe of Bowie.

Finale, Law (Earthlings On Fire) is another dive into the sonic textures of Techno. Four-to-the-floor drums, bubbling, sidechained bass lines & stabs of distorted noise. Vocals mimic the rhythms brilliantly, acting as just another instrument in the soundscape.

I forgot how much I loved this album & I’m glad I was reminded of it by a post on Facebook earlier this week. One of Bowies darkest, & most sonically adventurous, albums, Earthling still sounds incredibly contemporary today, 23 years after its release.

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Blues Rock Rock And Roll Song of the Day

Song of the Day (BLM): The Jimi Hendrix Experience – Purple Haze

Day 14. There’s a fair argument to be made that Jimi Hendrix was probably the most influential musician of the mid-20th century. His incendiary brand of guitar playing & the gritty, aggressive sonic textures he was able to wring from his instrument were pioneering & went on to inspire pretty much all modern Rock music. Many will dismiss this and say that the Kinks (or any number of other musicians) used distortion on their guitars, but that wholly fails to understand what it was about Hendrix’s sound that was so unique. It wasn’t just distorted, it was sustained & loose. It felt like Hendrix was guiding it rather than playing it. It sounded effortless & made generations of Rock fans a) want to play guitar & b) be massively underwhelmed by their own lack of ability.

Purple Haze is a funk inflected Blues Rock stomper. Waves of harmonic distortion crash against “blues & Eastern modalities” (Wikipedia). The psychedelic connotations which many fans & critics ascribed to the lyrics were brushed aside by Hendrix, who described Purple Haze as a “love song”.

Check out this live version from his set at the Atlanta Pop Festival, 1970. The same set where he played his famous rendition of the US national anthem, The Star Spangled Banner. To quote someone from the comments (with the respectable username Spongeboob 69): “His playing is so effortless he probably finds walking harder”.

Purple haze, all in my brain
Lately things they don’t seem the same
Actin’ funny, but I don’t know why
Excuse me while I kiss the sky

Purple haze, all around
Don’t know if I’m comin’ up or down
Am I happy or in misery?
What ever it is, that girl put a spell on me

Help me
Help me
Oh, no, no

Ooh, ah
Ooh, ah
Ooh, ah
Ooh, ah, yeah!

Purple haze all in my eyes
Don’t know if it’s day or night
You got me blowin’, blowin’ my mind
Is it tomorrow, or just the end of time?

Ooh
Help me
Ahh, yeah, yeah, purple haze
Oh, no, oh
Oh, help me
Tell me, tell me, purple haze
I can’t go on like this
(Purple haze) you’re makin’ me blow my mind
Purple haze, n-no, no
(Purple haze)

Looking for some great music? Why not check out the Song of the Day (BLM) Spotify playlist?

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Music Rock

Neil Young – Vacancy

Neil Young has released another song form his “lost” 1974 album, Homegrown, as a single ahead of its release on the 19th June. Vacancy is the kind of fuzzy, proto-grunge rocker that Neil Young is famed for. His excellent falsetto vocals piercing a rocksteady rhythm section & his expressive, intuitive guitar playing. Sections of harmonica ground Vacancy in atmospheric Country Rock which would inspire early Alternative Rockers like Dinosaur Jr. Another excellent single.

Vacancy is out now on all good digital music platforms.

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History Punk Rock

Proto Punk at The Rowing Club, MC5 in York, 1972

MC5, 1969

During the research for my series of articles about the near-mythical Pink Floyd gig at New Earswick Folk Hall, it came to my attention that Michigan Proto Punk legends, the MC5, performed at a venue in York which I had preciously not heard of.

As a fan of Punk, music & its various offshoots, I am a fan of the MC5. They are held as a foundation of the genre. A semi-militant, anti-Vietnam, furious live band, their debut album was recorded live at Detroit’s Grande Ballroom on October 30th & 31st 1968. You’ve probably heard Kick Out The Jams & it’s incendiary, profane intro, if nothing else. That perfect moment of rebellious Rock and Roll energy is seared into the history of Rock music.

So, my first inkling about this gig was a letter printed in the York Press, dated 24th July 2006, by Roy Hughes. You may remember he was the DJ & compere at the Tinned Chicken Club, the club night at the Folk Hall in New Earswick, which hosted ’60’s Psyche bands like Pink Floyd & Procol Harum. In the letter, which is titled Definitive Record, Roy confirms that MC5 did perform at The Rowing Club in 1972. He has some other interesting information in this letter:

The following day they appeared at Wembley Stadium with Little Richard, Jerry Lee Lewis and Chuck Berry.

The bass player was a member of York band Gideon’s Few, who joined MC5 in Germany and remained on tour with them throughout Europe and USA for nearly a year. He is, incidentally, my brother Derek!

So Roy’s brother was Derek Hughes, who replaced original bass player Michael Davis, who was practically forced out of the band for Heroin abuse. Derek Hughes played with them for the majority of 1972.

a poster for Syd Barrett’s band, Stars.

In other Pink Floyd related news, around this time MC5 played a gig in Cambridge with Syd Barrett’s band, Stars. Barrett had left Pink Floyd in 1968.

After reaching out to the same York Past & Present Facebook group that provided me with so much information about the Pink Floyd gig, I have received account from group member Mike Stewart.

He recalls that the gig was “Loud!” & that it was “quite a coup for the venue.” He thinks that the band added the York date at last minute to fill in a spare night while travelling up and down the country. The Rowing Club apparently held “progressive/heavy rock discos every Saturday night.” He remarked how “not many bands performed with such high-octane energy in those days.”

Edgar Broughton Band 

Mike also remembers seeing Psychedelic Rockers, the Edgar Broughton Band at The Rowing Club. I hadn’t heard of Edgar Broughton Band before, but I am listening to them now & their sound is a heavy, psyched up Blues Rock. Shades of Black Sabbath. I’m interested in listening further so expect a review in the near future.

The York gig is not listed in this fan managed gig guide on the Concerts Wiki, but it looks like the gig probably took place in the June of 1972. Other gigs in the local vicinity, Leeds & Scarborough, seem to bear this out.

Listed June gigs from 1972, Concerts Wiki

Another York Past & Present member, Brian Walker, recalls how he could not believe the MC5 gig was happening at the time. There was no advertising, as such, and the news of it was spread by word of mouth. He believes it may have been a warmup gig before they played a few other dates, so perhaps it could have taken place at the end of May, before the Leeds City Hall gig on June 1st.

As for the venue, I assume it was the same building as houses the York City Rowing Club today (pictured above). Though I am not sure. York Past & Present user says he took over DJ responsibilities in 1976 from predecessor, Paul Blitz. So the Saturday rock nights must have gone on for quite a while. I’d be interested to hear from anyone who has more information about the venue, so don’t hesitate to get in touch if you remember it.

For now, that is all I have been able to find out. If anything else significant comes up about either the gig or the venue, there may be a follow up to this blogpost.

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