“this is England” Year: 1984 City: Sunderland Label: Razor Format: CD, LP Tracks: 13 Time: 34 min. Genre: rock Style: Oi!
RED LONDON is an English punk band formed in Sunderland in 1981, influenced by The Clash, Angelic Upstarts and The Jam. The band named themselves after a Sham 69 song. By 1983 they were signed to Razor Records. Their first release was the “Sten Guns in Sunderland” EP in 1983 followed by the “This is England” LP in 1984. Since then they have recorded for various labels both in the UK and abroad, and toured Europe including Germany, Poland, Belgium, Holland, France, Italy, and Spain as well as playing occasional gigs in England. Nowadays the band play some concerts from time to time. The release we have here was made by the label “Step-1” and include the first EP plus the debut LP. Is probably the best known work of the band, but Red London made more albums very recommended and always combining Oi! music with melodic voices and political lyrics. The four members declared themselves as socialist, libertarian and internationalist, inspired by the british SWP. Record label called “RedStar 73” has made the first re-issue on vinyl format and If somebody wants to buy it can go HERE. Later in 2016 was a new re-issue with remastered sound and some changes in the artwork made through italian label “Radiation Ressiues” just on LP format. Red London disbanded in 2002 and they are come back in 2018, touring in UK and Europe. Discogs , Lastfm , Download , Myspace , Facebook , Wikipedia
Vicious Rumours make a comeback..Brighton Skinhead Reunion 2017.
Question 1. Why would you like to play the great skinhead reunion, in brighton ..Symond, 2 1/2 years ago, you reached out to me and asked if we would consider playing the Reunion.. Well you and I had many exchanges, surprisingly most of them about our kids, principles and general outlook on life.. We discovered that we were very much cut from the same cloth… I was so excited to be playing and it was going to be our first show back together in England since the Main Event.. Then unfortunately we were unable due to JC and his wife expecting a baby right at that time. Symond, whilst disappointed never once showed or held it against us or me personally and we have continued to build our friendship these past couple of years.. Okay (I tend to ramble so this will be a long interview, so if edited I will take no offence) now why we/I want to play Reunion 2017.. This Event is to get together people from all over the world who love this scene and for some has been part of their lives since their early teenage years as it was for me.. I love music and ever since I can remember that has always been my first love.. Along came punk and then punk/Oi!/ska.. Well that was it. As you can see from the picture my vast taste in music.. See I told you I ramble.. What was the question? Oh yes. This is an event to see old friends, make new and a way to show our and my appreciation to you all and thank you for letting us/me be part of something that will live forever.. And this event is about just that.. Being in a band was and still is a dream for me but none of this means anything without you lot, so when Symond said yes a 2nd time to my/our request to Play 2017 my face and heart lit up and we promise to give you a show to remember.. Don’t forget we are one big family xx
2. When did you start the band, and why. in 1979 around April /may I had the idea of a starting a band. A friend of mine Dave field played guitar and another Al Kilpin was up for trying put drums.. Why, well it seemed like fun, I loved to sing and a few other kids at school had put together bands.. So why not me!!
3. Who were the original members, and how did you meet? Okay, I met Dave Field at Church, we were I the Boys Brigade together and actually ended up going to the same school.. Al Kilpin on drums, we also met at the church in one of those kids club things, but Alan was also hanging out at the local youth clubs and knew everybody. Also Alan’s good friend and co-worker was Micky F lead singer of an up and coming band called the Business. Also we had a stand in bass player, Phil Lecomber.. So that was the original up.
4. Who were the writers? I did most of the writing once we starting playing more gigs and then the band would put it all together as at first we only had about 4 songs, including Vicious Rumours, which was actually written by a girlfriend of ours, Lesley and Dave and I wrote music.. The rest of the songs I the first few months were mainly sex pistols covers, even some early Adam and the ants, oh and Chip on your Shoulder was one we played at every gig till Bout 81..
5. What was your first gig? Our first gig was at welling baptist church with a local band Called The Reprobates, whose guitarist Ian eventually ended up being our guitarist a couple of years later. We co-workers and recorded This is your Life together..
6. What would you say was the most memorable, for good or bad reasons? Wow, most memorable.. Okay sorry Symond I will have to name 3..only because of different reasons and all good.. 1.our first high at Skunx, May 1982. JC, AL, Worve and myself. Supporting The Business and One Way System.. It was our first Big gig in London as all the others were in local pubs, church halls and youth clubs.. It was very special and the crowd really accepted us.. 2.Red Lion, Gravesend 2015..simply because it was our first gig back in the U.K in 25/26 years and the friends that showed up on a Wednesday night, in the middle of nowhere was just overwhelming.. To see so many smiles, hugs and just felt the love.. Absolutely priceless.. Plus it was my introduction to the lads in The East End Badoes.. Just a great band and brilliant blokes.. We have become friends for life.. Now there were gigs in the early days, France, Old Bexley, The Lovel, Danson youth club, Isle of wight scooter run, Coventry but for my 3rd is… 3.PSK 2015 Stockholm, Sweden and this is why.. Pike Kollberg and Niklas Törnblom put on an outstanding show.. Amazing bands and put their heart and soul into it as I know that you can relate to Symond.. They were enthusiastic, Genuine and made us feel right at home.. Now the crowd, playing to people that had never seen us before, we’ll most of them, all I could feel was an amazing energy, total support and people having a great time and enjoying us.. What a beautiful feeling, this was also my 50th birthday trip so to spend it doing what I love, with people that I love and making new friends. Honestly, what could be better..
7. Why did the band fold up? The band stopped playing after the main event, for me and I know for JC we were disappointed with our performance that night.. I insisted on a wireless guitar cable which didn’t work, and a few other hick ups, , well we didn’t talk about splitting we just took a break then in 1990 I left for the States.
8. What happened to the members after you moved on in life? Well now, JC Lives in France, and He still loves playing his bass.. Danny lives in Malta, Ian(worve) sadly passed away a couple around a year ago as for some of the other members along the way I’m not sure but all of them had a part to play in the band..
9. What do you feel about the modern scene, as opposed to the 80’s? As JC would say to me and still does that I am clueless.. I just love people.. Love meeting them and being a part of an amazing culture.. Though I have seen fights break out at gigs, I myself have never once had a problem.. I am extremely happy that there is still such a strong scene as it gives us a chance to do what we love, and a chance to make memories with the best people and Symond, would you not agree making great memories and having fun is what it is all about!! I know you do mate..
10. What advice would you give to young bands starting out? Well young bands starting out, have fun and enjoy it, be humble and appreciate anyone who shows an interest in your band, get to know some of the bands that you enjoy and could see yourself playing with, it is so easy now to get in touch with them because of the Internet etc.. and start off by just introducing yourself, let them know you have a band.. Start there.. Practice practice practice then gig gig gig.. I still reach out to bands that I have always looked up too, even at 51..The Cockney Rejects, still absolutely first class till this day. I got a message from Jeff Turner and I was like a big kid, it meant so much to me.. Micky Fitz from the day I met him at the age of 14 has always treated me with nothing but kindness and respect. He is my mentor and I have always looked up to him and appreciated the way he treated me. Although Jamie Flanagan, lead singer with Tear Up have never met we have built up a great relationship this past year and a half.. I am saying this because he has done everything that I just said to do and not because I suggested it, because of who he is.. Love ya Bruv xx Okay last thing that I want to say is…. I love this Band, 37 years and I can honestly say the line up that we have now sounds brilliant, tight and full of energy. Mad Max Spartan back on rodie duty, keeping everything on track..Tom Sultans our youngster drummer is brilliant, Dave Hayman on guitar who just bets it out like I only wish that I could, Dave Reeves on guitar who is a fantastic solid seasoned player, John Coupé on bass and as tight and poised as ever, Nippa Troth, my little brother right there with us and Myself on vocals ready to give my all heart n soul and a night you will always remember.. Love and respect Symond and of course everyone else cannot wait to see you in Brighton.. Always, Johnny Mundy xxx
With The Great Skinhead Reunion looming we dropped into Jamie from Tear Up to see how things were cooking, so here’s a 5 minute interview
Whilst looking for new bands to introduce to the skinhead world, i came across Tear Up last year, and after a brief chat with the singer Jamie, sussed out, he had the right attitude and decided to give them a whirl at the Great Skinhead Northern gathering, an event which i thought might intimidate a young band, being in the deep dark north East town of Sunderland, home of British ship building and strong working class community, but they rode it like professionals and brought the house down. Apprenticeship served, they are up for smashing the fuck out of the Brighton Skinhead Reunion.
Takes me right back to early Cockney Rejects with a touch of Peter and The Test Tube Babies
1. the first thing that jumped in my mind when i saw Tear Up was, why would a young bloke be into oi? Well I grown up always loving the cockney rejects and I have known Jon from argy bargy and Nick from angry agenda since I was really little so they got me hooked on the oi scene I love the passion and aggression behind it
2. why did you decide to form a band I wrote a few songs in prison and when I came out I tried giving them to Terry Hayes from the east end badoes but he said I should start my own band so got on stage with them a few times then started my own band
3. where are you from, whats your history and connection to the oi/ skinhead scene Im from watford I was a bit of a scallywag growing up but I got a my little boy Ronnie now the only thing I love more than the band as I said previously there is a few bands out of Watford u go to a gig talk to people and your network just gets bigger and bigger
4. who writes for tear up I write all the stuff for us I co wrote a song with Steve thurlow from Peckham Rolex and I am currently writing a song with John mundy from vicious rumours top bloke he is
5. what was your first song My first song was bollocks to the smoking ban
6. what was your first gig, and the highlight so far My first gig was angry agenda nicks birthday at some club in Watford I was so nervous I pace up and down and drive everyone mad lol we played 4 songs I think
7. whats the plan for 2016 -2017 Just gotta finish recording the album and get it out there hopefully get a few gigs over the water
have you released any material for people to buy We have a 5 track ep called fuckin av it I’m sure we will have a couple kicking about in Brighton
9. why did you ask to play the skinhead reunion, a tough crowd to please We played the northern gathering and people loved us not as tough as they look lol I had lost my voice as well I’m pretty sure you asked us when we had all them jager bombs 10. can we expect new material from tear up soon We have 3 New songs called dodgy Dave, punch the cunt out of you inspired by the YouTube video cockney rejects trouble at bridgehouse and another song called retribution .
It was tuesday, 21st of july 2015. My bell rings at 3 o’clock in the morning. This time I wanted to go to Hamburg to see the Angelic Upstarts from South Shields in England. Support band at that show were The Headlines from Malmö/Sweden.
I wasn’t in the city of Hamburg for a long time, so I started at about 4 o’clock in the morning to have the posibility of spending much time in Hamburg. But my first destination wasn’t Hamburg, it was the city of Oldenburg in Holstein. Frank, a good friend of mine lives there. First time we met was in Lübeck at an Oi! Punk show where he and his band „Drunken Swallows“ played as support act. Frank invited me to stay the night at the flat of him and his nice girlfriend. Otherwise I had to drive 4 hours to get home after the Angelic Upstarts show. He really takes care of me, hahaha.
At about midday we drive together with Henning, a mate of Frank to the harbour of Hamburg. The sun was shining and it was warm so we decided to go on a ship to do a sight-seeing-tour of the harbour and have a few beers in the sun. After that we to the store of Remedy Records to meet our friends of Skinheads Hamburg. We had a little meal at the greek rstaurant next to Remedy Records and went to the concert at Monkey Music Club. When we arrived The Headlines were already on stage. The location was mostly full of people, so a lot of people saw this great show of the four swedes. Some songs were sung by Jake, the male singer and guitar player and some songs were sung by Kerry, the female singer and bass player. I think that hot Kerry ist he reason why especially some male persons in the audience will like this band. They played their own songs and covered Sham 69’s If The Kids Are United and Rose Tattoo’s Nice Boys Don’t Play Rock’n’Roll.
Now it was time for me to see Angelic Upstarts. They entered the stage very confident. The audience enjoyed the show as much as I. It was a wonderfull evening and I was glad to see some classics like 2.000.000 Voices, Teenage Warning, England or Solidarity live. Sham 69’s If The Kids Are United was covered by Angelic Upstarts too. After the concert we went back home to the city of Oldenburg in Holstein.
I slept very well and long at Frank’s sofa. At 12 o’clock I was on my way back to my north hessian home. The rest of the day I spend in my flat because of the 11th Back On The Streets Festival in a village called Rheinböllen one day later.
It was thursday july 23rd 2015. After loading my car I startet to Rheinböllen. I was very happy because I knew I will see a lot of friends and bands I like at the festival.
At the early afternoon I arrived in Rheinböllen. I occupied my hotel and decided to do a little siesta because I knew that the evening would be very hard, haha. My first Stop at the festival was Diana and the pavilion of Randale Records. We hadn’t seen for a long while so we had to tell us a lot and had to have a few beer. Thank’s Diana for the records you brought to me. It was a wonderfull first evening of that festival with lots of friends from Kassel, Frankfurt, Hamburg, the „Ruhrpott“ and Passau. We told stories from the past, had a laugh and made new friends. My musical highlight of that evening were the guys from Rude Pride (Madrid/Spain). They do traditional Oi! with some influences of ska and reggae. They did a great job!
It was friday morning and I woke up with a big headache. Maybe we had a few beer too much at the evening before. When we went back to the festival our first stopp was again the pavilion of Randale Records. On this day The Business played at the festival and we wanted to have a look if they took some new merchandise to Diana. The first band playing was called Extrem Unangenehm (in english: extreme unpleasant). Butt he show of them wasn’t as bad as their name promised. It was a pity that there were just a small quantity of people in the audience. Then a Band called Foiernacht entered the stage. These four young guys from South Tyrol played a mixture of Oi!, Punk and Psychobilly. They did a very good job and there were more and more people in the audience.
my personal highlight was The Business as you maybe expected. From the beginning their show was powerfull and the sound was great. mostly the whole audience were in front of the stage so many people enjoyed The Business as much as we did. The weather got worse and worse. Now another band from South Tyrol wanted to play their instruments. They had one of the best slots at the festival but the heavy rain caused there were just a few fans watching their show. The completely tattooed singer of the bandwas able to encourage the audience although the weather was as bad as possible. While Unantastbar played their Song „Das Stadion brennt“ (in english: The football stadium burns), a song about football fans burning pyrotechnics, many people in the audience burned pyrotechnics too. Maybe a little bit dangerous but it looked very impressive. The last act of the night was Roy Ellis aka Mr. Symarip. The rain stopped so the audience got bigger again and the people dancd heavily to his reggae beats and ska tunes. As his concert ended, we got back to our hotel.
Saturday, July 25th 2015. It was the last day of eleventh Back On The Streets Festival. Because of the bad weather the local authority forbade to start the music before 5pm. So all the bands had to abridge their set. It was 5 o’clock in the afternoon and the first band of the day called EgOi!sten played their show very experienced and the audience liked it. Either I didn’t see the drummer of the band Paris violence or they used a drum computer, but I think it was the second one. The band Martens Army got strengthening by Ferdy Dörnberg while they were playing. Ferdy, the half Englishman is a real virtuoso at many instruments and this time he played the slide guitar. Then my personal highlight entered the stage: Superyob. Franky Flame and his band really knew how they got the attention of the audience. Many young bands could learn a lot from this Oi! Punk veteran. After KrawallBrüder played their set Franky entered the stage again. It was just him, his Piano and Ferdy Dörnberg for a few songs. I couldn’t imagine a better end of the festival as these two great musicians.
At the next morning I bade farewell of my friends and drove to my north hessian home.
Thilo (written in august 2015)
Eine Woche voller Subkultur
21.07.2015 – 26.07.2015
Es war Dienstag, der 21. Juli 2015, 03:00 Uhr, der Wecker klingelte. Mein Weg sollte mich dieses Mal in den Norden der Republik führen. In Hamburg spielten an diesem Tage die Punkrock-Urgesteine Angelic Upstarts aus South Shields in England. Vorband an diesem Abend waren The Headlines aus Malmö in Schweden.
Ich war schon länger nicht mehr in Hamburg, deswegen fuhr ich schon um 04:00 Uhr in der frühe los, um noch möglichst viel vom Tag zu haben. Das Auto war gepackt und so ging es in Bad Hersfeld auf die A7 und immer Richtung Norden. Das erste Ziel meiner Reise hieß aber nicht Hamburg, sondern Oldenburg in Holstein. Dort wohnt Frank, ein mittlerweile sehr guter Freund von mir. Ich lernte ihn vor Jahren in Lübeck auf einem Oi!-Punk Konzert kennen, an dem auch seine Punkrock-Band Drunken Swallows spielte. Er lud mich ein die Nacht in der Wohnung von ihm und seiner Freundin zu schlafen, damit ich nachts nach dem Upstarts-Konzert die Strecke von Hamburg nicht mehr zurückfahren muss, sondern erst ausgeschlafen am nächsten Tag. Sehr führsorglich von ihm, hehehe.
Gegen Mittag fuhren wir dann zusammen mit Henning, einem guten Freund von Frank in die Hansestadt. Da das Wetter absolut auf unserer Seite war, fuhren wir nach St. Pauli an die Landungsbrücken. Da jeder von uns überraschenderweise eine Hafenrundfahrt machen wollte, taten wir genau dies und gönnten uns währenddessen auf der Elbe ein paar Bier. Inzwischen war es später Nachmittag und wir trafen uns bei Remedy Records mit unseren Freunden von den Skinheads Hamburg, gingen nebenan griechisch essen und fuhren weiter auf das Konzert in den Monkey Music Club. Als wir ankamen, hatten The Headlines bereits die Bühne betraten und begannen zu spielen. Der Club war bereits sehr gut gefüllt, sodass die Schweden nicht vor einer halb leeren Location spielen mussten. Das war auch gut so, denn die vier Punkrocker legten die Messlatte zu beginn an gleich sehr hoch. Ihre Musik war kraftvoll und der Wechsel zwischen Frauen- und Männergesang passte perfekt dazu. Kerry, die Bassspielerin und Sängerin sorgte zusätzlich für Kurzweiligkeit, insbesondere beim männlichen Publikum. Neben ihren eigenen Liedern coverten sie Sham 69’s If The Kids Are United und Rose Tattoo’s Nice Boys Don’t Play Rock’n’Roll. Danach betraten endlich Angelic Upstarts die Bühne und begannen vor einem nahezu überfüllten Club zu spielen. Endlich konnte ich Angelic Upstarts das erste Mal live sehen. Ihr Programm war sehr solide und auch die Song-Auswahl war gut überlegt. Bei den Klassikern wie 2.000.000 Voices, Teenage Warning, England oder auch Solidarity gab es im Publikum kein halten mehr. Auch Angelic Upstarts coverten Sham 69’s If The Kids Are United. Nach dem Konzert fuhren wir wieder zu dritt zurück nach Oldenburg in Holstein.
Nachdem wir am nächsten Morgen ausschliefen und danach gemeinsam frühstückten, war es auch schon wieder Zeit sich zu verabschieden. Gegen Mittag startete ich wieder in meine nordhessische Heimat. Den Rest des Tages verbrachte ich nur zuhause auf dem Sofa, denn am nächsten Tag ging es schon wieder weiter. Das Ziel hieß Rheinböllen. Dort fand das 11. Back On The Streets Festival statt.
Donnerstag, der 23. Juli 2015. Gegen Mittag stieg ich voller Freude ins Auto, denn ich sollte an diesem langen Wochenende viele Freunde und Bekannte wieder treffen und auch die ein oder andere gute Band zu Gesicht bekommen.
Am frühen Nachmittag kam ich in Rheinböllen an. Da ich noch etwas Zeit hatte, nachdem ich im Hotel eingecheckt habe, beschloss ich ein kleines Mittagsschläfchen zu halten. Der Abend sollte ja noch lang genug werden, hehehe. Mein erster Halt am Festivalgelände galt dem Stand von Diana und Randale Records. Lange hatten wir uns nicht mehr gesehen und hatten uns daher viel zu erzählen und hatten auch das ein oder andere Bierchen zusammen zu trinken. Danke an der Stelle noch einmal an Diana für die Platten, die sie mir mitgebracht hatte. Es dauerte auch nicht allzu lange bis meine Freunde und bekannte aus Kassel, Frankfurt, Hamburg, dem Ruhrpott und Passau ankamen. Mein musikalischen Highlight an diesem Festivaltag waren Rude Pride aus Madrid/Spanien. Ihre traditionellen Oi!-Klänge, bei manchen Liedern mit leichtem Ska- und Reggae-Einschlag trafen voll meinen Geschmack. Die Jungs können was!
Es war Freitag Vormittag und ich wachte mit einem ordentlichen Kater im Hotelzimmer auf. Ich ging vom Hotel zum Rastplatz um zu frühstücken und erstmal einen Kaffee zu trinken. Inzwischen war es Nachmittag geworden und ich pilgerte mit ein paar Freunden zurück aufs Festival Gelände. Da an diesem Abend The Business spielten, gingen wir zuerst wieder zum Stand von Randale Records um zu sehen, ob The Business Diana noch neues Merch zum Verkaufen vorbei brachte. Die erste Band des Tages hieß Extrem Unangenehm, wurde aber ihrem Namen überhaupt nicht gerecht. Ganz im Gegenteil, Ihr Konzert war sehr kurzweilig. Schade nur, dass noch nicht allzu viele Leute vor der Bühne standen. Ähnliches Schauspiel bei der Band Foiernacht aus Südtirol. Ihre Mischung aus Oi!, Punk und Psychobilly kam beim anwesenden Publikum sehr gut an. Auch sehr gut waren die 5 Jungs von Restrisiko. Das Publikum wurde inzwischen auch immer größer und das Festivalgelände füllte sich zunehmends.
Mein persönliches Highlight an diesem Tag des Festivals waren – wie vielleicht schon zu erwarten – The Business. Ihre Show war von Anfang an energiegeladen. Und da mittlerweile das Festivalgelände fast voll war, konnten dies auch noch viele andere so sehen. Das Wetter wurde zwar zunehmend schlechter, aber die Jungs konnten noch trockenen Hauptes Ihr Konzert beenden. Danach spielten die Punkrocker von Unantastbar aus Südtirol. Diese hatten mit dem starken Regen allerdings so dermaßen Pech, dass bis auf einige Fans nahezu alle Gäste das Festivalgelände verließen, oder sich bei den Zelten der Merchstände unterstellten. Bei ihrem Lied „Das Stadion brennt“, ein Lied über Pyrotechnik in Fußballstadien, zündeten jede menge Fans passenderweise Bengalos. Ein herrlicher Anblick.
Zu guter letzt an diesem Abend lud Roy Ellis alias Mr. Symarip zum Tanz ein. Da sich das Wetter wieder einigermaßen beruhigt hatte, folgen dieser Einladung viele Festivalbesucher. Als sein Konzert vorüber war gingen wir auch wieder ins Hotel zurück.
Samstag, der 25. Juli 2015. Es war der letzte Tag des diesjährigen Back On The Streets Festival. Aufgrund einer Unwetterwarnung des Deutschen Wetterdienstes konnte das Programm erst um 17 Uhr beginnen und nahezu alle Bands des heutigen Tages durften nur ein verkürztes Set spielen. Da das Festival so spät los ging, hatte auch die erste Band EgOi!sten Glück und konnte vor einem großen Publikum spielen. Selbstsicher spielten sie Ihr Programm und wurden vom Publikum auch gut angenommen. Ein gelungener Auftritt dieser noch jungen Band. Bei der Band Paris Violence vermisste ich den Schlagzeuger. Entweder ich habe ihn tatsächlich übersehen, oder sie verwendeten einen Drum Computer. Die Band Martens Army holte sich für ihren Auftritt auf dem Festival Verstärkung in Form von Ferdy Dörnberg. Der halbe Engländer ist ein echter Allrounder, was Instrumente angeht und unterstützte Martens Army an der Slide Gitarre. Danach sollte mein persönliches Highlight an diesem Abend folgen: Superyob. Franky Flame schafft es auch im hohen Alter noch, das Publikum ganz auf seine Seite zu ziehen. Viele jüngere bands können sich von ihm noch eine gewaltige Scheibe abschneiden. Nachdem dann die KrawallBrüder einen zum Besten gegeben haben, betrat Franky erneut die Bühne. Dieses Mal haute er allerdings Solo am Piano. Auch Franky bat Ferdy Dörnberg für das ein oder andere Stück auf die Bühne. Diese beiden Virtuosen bildeten wirklich einen würdigen Abschluss für dieses Festival.
Am nächsten Morgen trat ich den Weg in meine hessische Heimat an.
Tony Van Frater, the guitarist with Sunderland punk band Red Alert, has died, reportedly of a heart attack. He was 51.
He was a mainstay of the group, who were formed in Sunderland back in 1979 and went on to tour nationally and internationally.
He also played with the Angelic Upstarts and Cockney Rejects, and was one of the most respected figures in the North East punk scene.
Tony – real name Anthony Frater – was a founder member of Red Alert, who made three studio albums and released several singles which reached the UK Indie Charts Top 30.
Red Alert broke up in 1985, reformed four years later and continued touring and occasionally recording.
Meanwhile, Tony, who was known as ‘Tut’, played with South Shields band Angelic Upstarts, and, since 1999, with the reformed Cockney Rejects.
Away from music, he used to have an ice cream van, and it is believed he had recently been working as a taxi driver.
Tributes started flooding in today on social media sites.
Dear friends and supporters worldwide, most of you are probably aware of the tragic circumstances of this past week in which we lost our beloved brother and friend Tony Van Frater. Due to this catastrophic event we have no option other than to cancel the forthcoming UK tour forthwith as a mark of respect for the man and his family. none of us knows what the future holds at present, we wish to enter a period of mourning and reflection on the massive contribution and impact that Tony made on all our lives. All tickets will be refunded and we apologise for this, and we hope that we have your understanding and co operation in these difficult times.
Thank you one and all. The Cockney Rejects.
Tony played for us at Concrete Jungle Festival for us in 2007, and has been a big part of the Cockney Rejects band since he joined
“The founding member of Red Alert and Cockney Rejects bass player was one of the scene’s true gentlemen.
“His talent and friendship will be missed by many. RIP big man – our thoughts are with your family and friends.”
Red Alert singer Steve ‘Castiron’ Smith wrote on his Facebook page: “Best mate, brother, legend, thanks for the memories son, see u up there.”
I was actually to be seeing Tony tomorrow, as i am DJ’ing a festival in Bavaria. we are all deeply shocked by this, and our thoughts go out the the Rejects and all Tony’s friends and family, it makes you realise once again, how short this life is, and we have to keep on keeping on. Stop the negative infighting, and enjoy the life we have. We are all brothers and sisters in our old punk and skinhead subcultures. Symond
The show will go on, and a pint of two will be drank in Tony’s name. Big respect will go out to Tony ifrom Bavaria, and across the Punk and Oi! world
The Great Skinhead Reunion Brighton Every Year, the first weekend of June, Skinheads come from across the globe to Brighton seafront. for full event details go to www.subcultz.com
FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT, AND THERE WILL BE NO ADVANCE DAY TICKETS AT A REDUCED DAILY RATE , IN ADVANCE.
The line-up maybe subject to change, as so many band members and dj’s are involved. Babies coming along, alcohol, world wars and famine can be unforeseen, but the Great Skinhead Reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
SKINHEAD ONLY HOTELS .
Add to your experience, by getting a room in our Skinhead only hotels. Conveniently located, with a short walk to the venue, and no moaning neighbours to worry about. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. We have hotels exclusive to the Great Skinhead Reunion guests and bands. Party party !! please email subcultz@gmail.com with your requirements, to be booked into the Skinhead Hotels
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free, clean and comfortable holiday in Brighton.
TRAVEL INFORMATION
Brighton is situated on the south coast of England, approximately one hour from London. London Gatwick is the nearest airport. There are regular direct trains and National Express buses. The next nearest is Heathrow, There are also direct trains from Luton Airport . Its advised not to fly to Stansted, as this is a long way, and you risk losing valuable drinking time
The nearest ferry port serving mainland Europe is Newhaven -Dieppe . Newhaven is about 20 min drive to Brighton. Dover is about 2 hours to Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of Brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
Stomper 98 are confirmed for the great skinhead reunion in Brighton England june 3-4-5th 2016. Brighton is seen as a birthplace of the skinhead subculture, with mods and rockers fighting on the beaches in 1964, by 1967 the skinhead had spread across the uk, a solid British working class subculture. Saturday afternoon saw mobs of skinheads fighting for their territory and team on the football terraces, by night, Stomping to Jamaican reggae, wearing the cutting new clothing of quality British design and cloth, handmade leather shoes and boots. After a dip came the rebirth, with the aggro Boot Boys and explosion of Punk Rock from 76, the Sham Army. 79 saw the 2tone revolution, bringing the Punk and Reggae sounds together. By 1980, the largest number of skinheads in history were on the streets of Britain. Then came a backlash against the middle class system, which had controlled the people for centuries, this music was known as Oi! Music. Direct action through music. As riots spread across the UK skinheads scared the government, an army of angry disenfranchised street kids, ready to Ruck. Margaret thatcher put a ban on oi music, clubs and pubs refused skinheads entry, record shops took the vinyl from the shelves. The SPG ( police) Attacked Skinheads across the country . But we refused to die. We went underground, created our own scene, our own clubs, promoted by fanzines and word of mouth. ‘skinheads, a way of life’ like martyrs through the centuries. a faith, which is stronger than any latest fashion. So by the mid 80’s Skinheads were popping up across the planet, fed by the media scare stories, of the anti Christ. By photographic images and books. But also by skinhead bands playing around the globe, for a few beers and a hot dog. Gone are the days of territorial violence and racial conflict. The political infighting designed to divide and destroy, thrown aside. What’s now, is a world wide community, living A skinhead way of life. Every year we celebrate the skinhead subculture, in all its positive eras. From 60’s ska to 21st century oi! And with that, We invite Selective bands each year to come represent their country and scene. We are very pleased to announce Stomper 98 from Germany will be performing at the Great Skinhead Reunion, Brighton, England for 2016. tickets are already 1/3 sold out for 2016, so dont miss out, on what is set to be a sell out event www.subcultz.com
Stomper 98 sind für die Great Skinhead Reunion in Brighton/England bestätigt, die vom 3.-5. Juni 2016 stattfindet.
Brighton gilt als eine der Geburtsstätte der Skinhead-Subkultur, denn im Jahr 1964 war es eben genau in Brighton, wo sich Mods und Rocker ihre ersten Schlachten an den Stränden und in den Straßen ablieferten. 1967 hatte sich die Skinhead-Bewegung bereits über das gesamte Vereinigte Königreich ausgebreitet und war fester Bestandteil der Subkultur der britischen Arbeiterklasse. Samstag nachmittags sah man Skinhead-Banden im Umfeld von Fußballspielen für ihre Städte und Vereine auf den Straßen kämpfen und nachts konnte man die Skinheads dann zu jamaikanischem Reggae tanzen sehen. Bei all dem achteten sie darauf stets smart gekleidet zu sein. So trugen sie qualitativ hochwertige Stoffe im typisch britischen Design, sowie handverarbeitete Lederschuhe und Stiefel.
Die Zeit verging und durch die Boot Boys und und den nicht mehr aufzuhaltenden Punk Rock erlebte dieser Kult eine Wiedergeburt im Jahr 1976. Drei Jahre später braucht der 2Tone zusammen, was zusammen gehört und kombinierte die Klänge von Punk und Reggae.
Es war in 1980, als man so viele Skinheads wie nie zuvor in den Straßen von Großbritannien finden konnte und als eine bestimmte Musikrichtung die Leute aus ihrem Mittelschicht-Winterschlaf reisen sollte. Diese Musik war bekannt unter folgendem Namen: Oi! Mit dieser Musik gingen viele Unruhen und Krawalle einher, sodass die Skinheads bei Staat und Polizei ein Gefühl der Angst verbreiteten. Margaret Thatcher verbot Oi! in Clubs und Kneipen, veranlasste gar ein Hausverbot für Skinheads und sorgte dafür, dass keine Oi!-Platten mehr in den Plattenläden zu finden waren. Die Polizei griff uns Skinheads scharf an, aber wir ließen unseren Kult nicht sterben! Die Bewegung verschwand zunehmend in den Untergrund. Wir betrieben unsere eigenen Clubs, veranstalteten eigene Konzerte, brachten eigene Fanzines heraus und lebten unseren “Way Of Life” abseits der Masse. Wir waren wie Märtyrer. Der Stolz auf diesen unseren Kult war und ist stärker als jeder Trend und wird überleben!
In den Medien verteufelt verbreitete sich der Skinhead-Kult über den ganzen Globus. Doch nicht nur den Medien gelang es Diesen Kult zu verbreiten, sondern auch Bands, die die wahren Werte dieser Subkultur in die Welt hinaus trugen.
Fernab von territorialen Auseinandersetzungen, jeglichem Rassismus und unzähligen Versuchen der Politik die Bewegung zu Spalten oder gar zu zerstören, lebt der Skinhead-Kult unbekümmert weiter wie eine weltweite Gemeinde am Rande der Gesellschaft.
Und genau deshalb feiern wir jedes Jahr unsere Subkultur in all ihren positiven Epochen. Vom Ska der 60er Jahre bis hin zum Oi! der heutigen Tage.
Jedes Jahr laden wir wohl ausgesuchte Bands ein, uns die Szene in ihrem jeweiligen Land zu präsentieren und wir freuen uns ganz besonders im Jahr 2016 die Band Stomper 98 https://www.facebook.com/Stomper98?fref=ts aus Göttingen/Deutschland in Brighton begrüßen zu dürfen.
Ein Drittel der Karten ist bereits verkauft und wir rechnen auch in 2016 wieder mit einer ausverkauften Great Skinhead Reunion.
The Cockney Rejects’ 1980 performance at Birmingham’s Cedar Club remains unnoted in the annals of rock history. It warrants no mention when music journalists compile the 100 Most Shocking Moments in Rock, nor the 100 Craziest Gigs Ever, which seems like a terrible oversight. In fairness, no one is ever going to rank the show by the East End quartet – then enjoying chart success with a punk take on the West Ham terrace anthem I’m Forever Blowing Bubbles – alongside Jimi Hendrix at Monterey in terms of musical brilliance. Still, it has its own claim to historical import: by all accounts, it was the most violent gig in British history.
“I’d seen quite a bit on the terraces or outside football grounds, but this was carnage,” says Jeff Turner, today an immensely amiable decorator, then “Stinky” Turner, the Cockney Rejects’ teenage frontman, cursed with what his former manager Garry Bushell tactfully describes as “a bit of a temper”. Turner continues: “There was a lot of people cut and hurt, I got cut, my brother [Rejects’ guitarist Micky Geggus] really got done bad, with an ashtray, the gear was decimated, there was people lying around on the floor. Carnage.”
The problem was football-related. “Most of the punk bands at the time, they had their ideals – the Clash, Career Opportunities, political stuff, fair play,” says Turner. “When I was a kid, my thought for punk rock was that it could put West Ham on the front pages.” To this end, the band – affiliated to the club’s hooligans in the Inter City Firm – had appeared on Top of the Pops in West Ham shirts. “After that, everybody wanted to fight us, but you couldn’t back down,” says Turner. “Once you were defeated, it would have opened the floodgates for everybody.”
So the Rejects and their party fought: “Twenty Cockneys against … well, not all 300 Brummies were trying to attack us, but I’d say we were trying to fight off 50 to 100 people.” In the aftermath, Micky Geggus was charged with GBH and affray, and the Cockney Rejects’ career as a live band was, in effect, over. An attempt to play Liverpool later that year ended after six songs “because there was 150 Scousers trying to kill us”, while a subsequent gig in Birmingham was aborted by the police: “The old bill got wind of it and escorted us on to the M6,” says Turner. “At the time, I was gutted, but now, I think, thank God for that. Someone could have died.”
Perhaps it’s unsurprising the gig has been swept under the carpet of musical history: after all, so has the genre the Cockney Rejects inadvertently inspired. Thirty years after Bushell – then a writer for the music paper Sounds, as well as the Rejects’ manager – coined the term “Oi!” to describe a third generation of punk-inspired working-class bands playing “harder music on every level, guitar driven, terrace choruses”, it remains largely reviled or ignored in Britain.
In the eyes of its remaining fans, Oi! is the “real thing”, the genuine sound of Britain’s streets in the late 70s, populated by artists Bushell championed when the rest of the music press concentrated on “bands who dropped literary references you wouldn’t have got if you didn’t have a masters’ degree and wrote pretentious lyrics”. Bands such as the Cockney Rejects, the Angelic Upstarts – Marxists from South Shields managed by a man Bushell colourfully describes as “a psychopath – his house had bars over all the windows because people had thrown firebombs through it” – Red Alert, Peter and the Test Tube Babies. It briefly stormed the charts. The Angelic Upstarts followed the Cockney Rejects onto Top of the Pops, while Splodgenessabounds made the Top 10 with the deathless Two Pints of Lager and a Packet of Crisps Please. But today, if the general public have heard of it at all, they tend to agree with the assessment once offered by journalist and broadcaster Stuart Maconie: “Punk’s stunted idiot half-brother, musically primitive and politically unsavoury, with its close links to far-right groups.” It is, asserts Bushell, “without a doubt, the most misunderstood genre in history”.
The problem isn’t really to do with the music, although protracted exposure to the oeuvre of Peter and the Test Tube Babies – home to Student Wankers, Up Yer Bum and Pick Your Nose (and Eat It) – could leave all but the hardiest soul pleading tearfully for a few literary references and pretentious lyrics. The problem is Oi!’s adoption by the far-right as its soundtrack of choice. It wasn’t the only part of street culture to attract the attentions of the National Front and the British Movement in the late 70s and early 80s. Losing out at the polling stations thanks to the rise of Margaret Thatcher, the NF had instigated a programme of “direct action”: it would attempt to kick its way into the headlines at football matches and gigs. Chart bands such as Sham 69, Madness and the Specials had concerts disrupted.In 1978, seig-heiling skinheads caused £7,500 worth of damage at a Sham 69 gig in London.
But it was to Oi! that the far-right was most attracted, not least because it attracted both football hooligans and the re-emergent skinhead movement – two groups the NF’s direct-action programme targeted for recruitment. “We played a gig in Camden, we saw these Nazi skinheads beating the shit out of these two punks,” remembers Turner. “They’d managed to wreck Sham 69’s career, but us with our following” – the ICF was then headed by Cass Pennant, whose parents were Jamaican – “we weren’t going to have it. We just went down and absolutely slaughtered them. We declared to them that if they ever set foot where we were again, we’d decimate them.” And so it proved. “Neo-nazis confronted the Rejects again at Barking station,” remembers Bushell. “They basically told them, ‘We’re going to come to your gigs, we’re going to do this and do that.’ The Rejects crew battered them all over the station. They didn’t come to the gigs after that.”
Bushell points out that there was “a Nazi subculture all the way through punk. Malcolm McLaren started it all with the swastikas, which thick people saw and thought, ‘Oh, they must be Nazis.’” There were white power punk bands, too – such as the Dentists and the Ventz, which were formed by the “Punk Front” division of the National Front, in lieu of real punk bands showing any interest in promoting white supremacy. It was a trick the NF would be forced to pull again when Oi! bands resisted their overtures – the party recruited a failed punk band from Blackpool called Skrewdriver and repositioned them as the musical voice of the neo-Nazi movement. “It was totally distinct from us,” says Bushell. “We had no overlap other than a mutual dislike for each other.”
Bushell’s latterday career as a gleeful provoker of the liberal left, writing for the Sun and the Daily Star, probably hasn’t done much to help public perceptions regarding Oi!’s political affiliations. When Oi! was at its height, however, he says he was a Trotskyist who did his best to infuse the movement with socialist principles. He organised Oi! conferences and debates, “trying to shape the movement, trying to stop the culture of violence, talking about doing unemployment benefits, working with the Right to Work campaign, prisoners’ rights gigs – I thought we could unite punk and social progress.” Not everyone was receptive: “Stinky Turner was at one debate, and he didn’t contribute much, apart from the classic line, ‘Oi! is working class, and if you’re not working class you’ll get a kick in the bollocks.’” He laughs. “Perfect! That was what the Rejects were all about.”
Trotskyist or not, Bushell also managed to exacerbate the problem, not least by masterminding the unfortunately titled 1981 compilation Strength Thru Oi!. “I didn’t know!” he protests. “I’d been active in politics for years and had never come across the phrase ‘strength through joy’ as a Nazi slogan.It was the title of a Skids EP.”
To compound matters, its cover featured a photograph of a skinhead who turned out to be the delectable-sounding Nicky Crane, who – nothing if not a multi-tasker – managed to combine life as a neo-Nazi activist with a secret career as a gay porn star. “I had a Christmas card on the wall, it had that image that was on the cover of Strength Thru Oi!, but washed out. I honestly, hand on my heart, thought it was a still from The Wanderers,” Bushell says. “It was only when the album came through for me to approve the artwork that I saw his tattoos. Of course, if I hadn’t been impatient, I would have said, right, fucking scrap this, let’s shoot something else entirely. Instead, we airbrushed the tattoos out. There were two mistakes there, both mine. Hands up.”
Much worse was to follow. A July 1981 Oi! gig featuring the 4-Skins and the Business in Southall – the scene of a racist murder in 1976 and the race riot that ended in the death of Blair Peach in 1979 – erupted into violent chaos: 110 people were hospitalised, and the venue, the Hambrough Tavern, was burned down after being petrol bombed. Depending on whose version of events you believe, it was either sparked by skinheads attacking Asians or Asian youths attacking gig-goers: either way, the Southall riot stopped Oi!’s commercial progress dead. The Cockney Rejects found that shops refused to stock their new album, The Power and the Glory: “I’d sung a song called Oi Oi Oi and all of a sudden there’s an Oi! movement and I didn’t really want anything to do with it,” says Turner. “This awful, awful shit happened in Southall, we were never there, and we got the rug pulled out from under our feet. I went from the TV screen to the labour exchange in 18 months.”
An inflammatory article in the Daily Mail exacerbated the situation further: “We never had an problems with Nazi activists at our gigs until after the Mail’s piece,” says Bushell. “Only then did we have people coming down, thinking it was going to be this rightwing thing, When they discovered it wasn’t, that’s when the trouble started. I was attacked at an Upstarts gig at the 100 Club by about 20 of them. I had a knife pulled on me at Charing Cross station.”
That should have been that, had it not been for Oi!’s curious afterlife in America. Steve Whale – who joined the Business after Southall and struggled on through the 80s, repositioning the band as “street punk” – unexpectedly found himself in possession of a US recording contract with Bad Religion’s label Epitaph, lauded by bands including Boston’s Irish-punk stars the Dropkick Murphys and the extraordinarily influential California band Rancid. Jeff Turner has just returned from a tour of Japan: “Osaka, Tokyo, Nagoya. I haven’t got fortunes but I’m able to do that. That’s all I can ask for, it makes me happy.”
“I had Lars Freidricksen of Rancid come in and sit in the pub round the corner from my house, welling up, telling me if it wasn’t for Oi! he might have killed himself as a teenager,” says Garry Bushell. “I thought, ‘Fuck me, it’s really had an effect on these people.’ I’m not proud of the way Oi! was misunderstood, but I’m proud of the music, proud of what it started, proud of what it gave punk.”
In Britain, he concedes, the genre’s name is still blackened in most people’s eyes. “There were people in 1976 saying punk had to be a Nazi thing because of the swastikas. The difference is, those bands had rock journalists on their side. The Oi! bands only had me.” He laughs, a little ruefully. “I did me best.”
The Cockney Rejects’ 1980 performance at Birmingham’s Cedar Club remains unnoticed in the annals of rock history. It warrants no mention when music journalists compile the 100 Most Shocking Moments in Rock, nor the 100 Craziest Gigs Ever, which seems like a terrible oversight. In fairness, no one is ever going to rank the show by the East End quartet – then enjoying chart success with a punk take on the West Ham terrace anthem I’m Forever Blowing Bubbles – alongside Jimi Hendrix at Monterey in terms of musical brilliance. Still, it has its own claim to historical import: by all accounts, it was the most violent gig in British history.
“I’d seen quite a bit on the terraces or outside football grounds, but this was carnage,” says Jeff Turner, today an immensely amiable decorator, then “Stinky” Turner, the Cockney Rejects’ teenage front man, cursed with what his former manager Garry Bushell tactfully describes as “a bit of a temper”. Turner continues: “There was a lot of people cut and hurt, I got cut, my brother [Rejects’ guitarist Micky Geggus] really got done bad, with an ashtray, the gear was decimated, there was people lying around on the floor. Carnage.”
The problem was football-related. “Most of the punk bands at the time, they had their ideals – the Clash, Career Opportunities, political stuff, fair play,” says Turner. “When I was a kid, my thought for punk rock was that it could put West Ham on the front pages.” To this end, the band – affiliated to the club’s hooligans in the Inter City Firm – had appeared on Top of the Pops in West Ham shirts. “After that, everybody wanted to fight us, but you couldn’t back down,” says Turner. “Once you were defeated, it would have opened the floodgates for everybody.”
So the Rejects and their party fought: “Twenty Cockneys against … well, not all 300 Brummies were trying to attack us, but I’d say we were trying to fight off 50 to 100 people.” In the aftermath, Micky Geggus was charged with GBH and affray, and the Cockney Rejects’ career as a live band was, in effect, over. An attempt to play Liverpool later that year ended after six songs “because there was 150 Scousers trying to kill us”, while a subsequent gig in Birmingham was aborted by the police: “The old bill got wind of it and escorted us on to the M6,” says Turner. “At the time, I was gutted, but now, I think, thank God for that. Someone could have died.”
Perhaps it’s unsurprising the gig has been swept under the carpet of musical history: after all, so has the genre the Cockney Rejects inadvertently inspired. Thirty years after Bushell – then a writer for the music paper Sounds, as well as the Rejects’ manager – coined the term “Oi!” to describe a third generation of punk-inspired working-class bands playing “harder music on every level, guitar driven, terrace choruses”, it remains largely reviled or ignored in Britain.
In the eyes of its remaining fans, Oi! is the “real thing”, the genuine sound of Britain’s streets in the late 70s, populated by artists Bushell championed when the rest of the music press concentrated on “bands who dropped literary references you wouldn’t have got if you didn’t have a masters’ degree and wrote pretentious lyrics”. Bands such as the Cockney Rejects, the Angelic Upstarts – Marxists from South Shields managed by a man Bushell colourfully describes as “a psychopath – his house had bars over all the windows because people had thrown firebombs through it” – Red Alert, Peter and the Test Tube Babies. It briefly stormed the charts. The Angelic Upstarts followed the Cockney Rejects onto Top of the Pops, while Splodgenessabounds made the Top 10 with the deathless Two Pints of Lager and a Packet of Crisps Please. But today, if the general public have heard of it at all, they tend to agree with the assessment once offered by journalist and broadcaster Stuart Maconie: “Punk’s stunted idiot half-brother, musically primitive and politically unsavoury, with its close links to far-right groups.” It is, asserts Bushell, “without a doubt, the most misunderstood genre in history”.
The problem isn’t really to do with the music, although protracted exposure to the oeuvre of Peter and the Test Tube Babies – home to Student Wankers, Up Yer Bum and Pick Your Nose (and Eat It) – could leave all but the hardiest soul pleading tearfully for a few literary references and pretentious lyrics. The problem is Oi!’s adoption by the far-right as its soundtrack of choice. It wasn’t the only part of street culture to attract the attentions of the National Front and the British Movement in the late 70s and early 80s. Losing out at the polling stations thanks to the rise of Margaret Thatcher, the NF had instigated a programme of “direct action”: it would attempt to kick its way into the headlines at football matches and gigs. Chart bands such as Sham 69, Madness and the Specials had concerts disrupted.In 1978, seig-heiling skinheads caused £7,500 worth of damage at a Sham 69 gig in London.
But it was to Oi! that the far-right was most attracted, not least because it attracted both football hooligans and the re-emergent skinhead movement – two groups the NF’s direct-action programme targeted for recruitment. “We played a gig in Camden, we saw these Nazi skinheads beating the shit out of these two punks,” remembers Turner. “They’d managed to wreck Sham 69’s career, but us with our following” – the ICF was then headed by Cass Pennant, whose parents were Jamaican – “we weren’t going to have it. We just went down and absolutely slaughtered them. We declared to them that if they ever set foot where we were again, we’d decimate them.” And so it proved. “Neo-nazis confronted the Rejects again at Barking station,” remembers Bushell. “They basically told them, ‘We’re going to come to your gigs, we’re going to do this and do that.’ The Rejects crew battered them all over the station. They didn’t come to the gigs after that.”
Bushell points out that there was “a Nazi subculture all the way through punk. Malcolm McLaren started it all with the swastikas, which thick people saw and thought, ‘Oh, they must be Nazis.’” There were white power punk bands, too – such as the Dentists and the Ventz, which were formed by the “Punk Front” division of the National Front, in lieu of real punk bands showing any interest in promoting white supremacy. It was a trick the NF would be forced to pull again when Oi! bands resisted their overtures – the party recruited a failed punk band from Blackpool called Skrewdriver and repositioned them as the musical voice of the neo-Nazi movement. “It was totally distinct from us,” says Bushell. “We had no overlap other than a mutual dislike for each other.”
Bushell’s latterday career as a gleeful provoker of the liberal left, writing for the Sun and the Daily Star, probably hasn’t done much to help public perceptions regarding Oi!’s political affiliations. When Oi! was at its height, however, he says he was a Trotskyist who did his best to infuse the movement with socialist principles. He organised Oi! conferences and debates, “trying to shape the movement, trying to stop the culture of violence, talking about doing unemployment benefits, working with the Right to Work campaign, prisoners’ rights gigs – I thought we could unite punk and social progress.” Not everyone was receptive: “Stinky Turner was at one debate, and he didn’t contribute much, apart from the classic line, ‘Oi! is working class, and if you’re not working class you’ll get a kick in the bollocks.’” He laughs. “Perfect! That was what the Rejects were all about.”
Trotskyist or not, Bushell also managed to exacerbate the problem, not least by masterminding the unfortunately titled 1981 compilation Strength Thru Oi!. “I didn’t know!” he protests. “I’d been active in politics for years and had never come across the phrase ‘strength through joy’ as a Nazi slogan.It was the title of a Skids EP.”
To compound matters, its cover featured a photograph of a skinhead who turned out to be the delectable-sounding Nicky Crane, who – nothing if not a multi-tasker – managed to combine life as a neo-Nazi activist with a secret career as a gay porn star. “I had a Christmas card on the wall, it had that image that was on the cover of Strength Thru Oi!, but washed out. I honestly, hand on my heart, thought it was a still from The Wanderers,” Bushell says. “It was only when the album came through for me to approve the artwork that I saw his tattoos. Of course, if I hadn’t been impatient, I would have said, right, fucking scrap this, let’s shoot something else entirely. Instead, we airbrushed the tattoos out. There were two mistakes there, both mine. Hands up.”
Much worse was to follow. A July 1981 Oi! gig featuring the 4-Skins and the Business in Southall – the scene of a racist murder in 1976 and the race riot that ended in the death of Blair Peach in 1979 – erupted into violent chaos: 110 people were hospitalised, and the venue, the Hambrough Tavern, was burned down after being petrol bombed. Depending on whose version of events you believe, it was either sparked by skinheads attacking Asians or Asian youths attacking gig-goers: either way, the Southall riot stopped Oi!’s commercial progress dead. The Cockney Rejects found that shops refused to stock their new album, The Power and the Glory: “I’d sung a song called Oi Oi Oi and all of a sudden there’s an Oi! movement and I didn’t really want anything to do with it,” says Turner. “This awful, awful shit happened in Southall, we were never there, and we got the rug pulled out from under our feet. I went from the TV screen to the labor exchange in 18 months.”
An inflammatory article in the Daily Mail exacerbated the situation further: “We never had an problems with Nazi activists at our gigs until after the Mail’s piece,” says Bushell. “Only then did we have people coming down, thinking it was going to be this rightwing thing, When they discovered it wasn’t, that’s when the trouble started. I was attacked at an Upstarts gig at the 100 Club by about 20 of them. I had a knife pulled on me at Charing Cross station.”
That should have been that, had it not been for Oi!’s curious afterlife in America. Steve Whale – who joined the Business after Southall and struggled on through the 80s, re positioning the band as “street punk” – unexpectedly found himself in possession of a US recording contract with Bad Religion’s label Epitaph, lauded by bands including Boston’s Irish-punk stars the Dropkick Murphys and the extraordinarily influential California band Rancid. Jeff Turner has just returned from a tour of Japan: “Osaka, Tokyo, Nagoya. I haven’t got fortunes but I’m able to do that. That’s all I can ask for, it makes me happy.”
“I had Lars Freidricksen of Rancid come in and sit in the pub round the corner from my house, welling up, telling me if it wasn’t for Oi! he might have killed himself as a teenager,” says Garry Bushell. “I thought, ‘Fuck me, it’s really had an effect on these people.’ I’m not proud of the way Oi! was misunderstood, but I’m proud of the music, proud of what it started, proud of what it gave punk.”
In Britain, he concedes, the genre’s name is still blackened in most people’s eyes. “There were people in 1976 saying punk had to be a Nazi thing because of the swastikas. The difference is, those bands had rock journalists on their side. The Oi! bands only had me.” He laughs, a little ruefully. “I did me best.”
So, as I spend way to long on the internet, checking out bands, thinking about what to programme for my next event, I go through lots of bands. Some I avoid like the plague, some have just overplayed the curcuit and burned out. But some have a bit of mystery over them. Sometimes you hear the rumours and the slagging off, before you actually get to see them. Being the Twat I am, the more the bitching, the more I like to take a look.
When Citizen Keyne got in touch with me, my first thought was OI underdogs, is up my street, so I’ll give them a whirl. And what a pleasant surprise I found on putting on the first album, Ungreat Britain. I was expecting the same regurgitated Oi!, with loads of repetitive OI Guitar licks and a singer being ‘Very Hard’.
What I actually heard is a flashback to 1977 Punk Rock, but with a modern twist. Chavs , Boot sale Tales, is straight into 21st Century United Kingdom of Methodone
I have to admit, too many years working in music, too many years of being a skinhead, has numbed my brain to so much. A song has to grab you by the bollocks and get those butterflies tickling your chest, that buzz in your neck that makes you want to pogo round the front room.
Most modern Oi bands will perhaps manage one strong track,or follow the same old done subject matter, of boots braces, tattoo’s and working class delusions. Now onto Floyds arse, this album is such an eclectic mix. With a definite punk rock sound, taking me right back to Micklefield estate in the summer of 78. But don’t write this band off as yet another copycat. Citizen Keyne have really brought in a modern sound, with lyrics dealing with todays issues. The love of lager down our necks. With reminders of early Sparrer, Sham, Buzzcocks, with a touch of Macc Lads thrown in for good measure. This really is a stand alone band, and a great first listen. Cant wait to unpack the next selection.
Featuring Live bands Citizen Keyne, Skapones, Adverse society, Tear Up. Toxic. Anti Social
Full DJ line up for a second room, playing SKA, And all Skinhead related music
The Great Skinhead Northern Gathering 9th + 10th October In Sunderland. Our second year of our Autumn Gathering, as a celebration of the skinhead culture A full day of Dj’s in one room, and Live bands in another. A full line up to follow, watch this space. Ony £15 for the whole event. Cheap beer and rooms nearby. Friday will be wristbanded 7pm -3am bands and DJ’s. Saturday 10th noon -5pm free entry meet and greet. After 5pm it will be wristband only, Live bands and DJ’s The weekend wristband £15 is valid for both nights
This is a family friendly event. Children are welcome until 9_9:30pm, but must be off the premises by then, by law so all are welcome, the venue is The Corner Flag. Central to the city center in a good location for local transport connections, trains, metro etc it’s the corner flag located at high street west, with plenty of fast food outlets and restaurants nearby, there will be something for everyone a good mix of Oi,ska,two tone a little bit of everything, a good size venue capable of holding this event, any bands wishing to play, Oi,Ska,Two Tone also any dj’s wishing to spin a few disks, should contact subcultz@gmail.com. www.subcultz.com If you missed last years then you have to come to this one, good music,good beer,with very good people
In 1981, Decca Records released Strength Thru Oi!, a compilation album featuring 22 bands associated with the Oi! offshoot of UK punk rock. The title was reportedly a play on Strength Through Joy, an early LP by the Scottish group the Skids, though some charged curator Gary Bushell with co-opting a popular Nazi slogan. Bushell denied the accusations, but either way, the record was meant to introduce Oi! as a style of music capable of invigorating listeners—fortifying their bodies, minds, and souls.
The title may have been tongue-in-cheek, but music and exercise have long gone hand-in-hand, and with that in mind, we asked three New York City fitness enthusiasts to experiment with an all-Oi! soundtrack during their workouts and help us answer the question of whether one truly can gain strength through Oi!
Our methods, it must be pointed out, were quasi-scientific at best, as this music is—and this is no knock—some of the absolute dumbest shit imaginable.
BACKGROUND (Edited by Subcultz)
In its original incarnation, British punk rock was deceptively simplistic. Genre figureheads the Clash and Sex Pistols were intelligent, self-aware 20-somethings who’d been to art school and attained a set of skills—squatting, figure drawing, discussing politics while drinking and speeding—that left them with few viable career options. Thanks to svengali managers like Malcolm McLaren and Bernie Rhodes, these and other unemployable dole collectors were able to form rock ‘n’ roll bands, and while the music was fast and loud—three-chord 50s rock played with all the anger and frustration you’d expect from underachieving young people—early punk anthems like “God Save the Queen” and “Career Opportunities” bristled with a covert idealism that belied the subculture’s nihilistic reputation.
As exciting and influential as it was, punk was artistically limiting, and by the late 70s, the music had run its course. The Sex Pistols broke up, the Clash branched out into classic styles like reggae and R&B, and other bands—the Damned, the Stranglers, etc.—plugged in synthesizers and joined the ranks of the emerging post-punk and new Wave groups. The music grew artsy and pretentious, and that led to the birth of Oi!—the only style of music whose name is always capitalized and followed with an exclamation point.
Influenced by groups like Sham 69. Angelic Upstarts and Cock Sparrer. 4Skins and Blitz made it real. Championed by members of the UK skinhead subculture—a movement emerged from the British council estates—Oi! is proudly working-class music. Its blunt, aggressive songs center on drinking, fighting, football , and, “Fuck Maggie thatcher, and her boys in Blue, A V’s up to the British class system. I’m not gonna waste my life working at your factory.” Musically, it was and is ’77-style punk stripped of all subtlety. Because the choruses sound like football chants, every song is an anthem, giving voice to the lives many young people were living in 1980’s Britain, Police harassment, and mass youth unemployment. Oi! gobs in the face of authority—the government, banks, the military, teachers, parents, people who don’t like Oi!—and that makes it adaptable and timeless. The music has permeated all corners of the globe, and “Oi! Oi! Oi!” sounds pretty much the same in any language.
In the USA Strength Thru Oi was used in experiments.
EXPERIMENTAL METHOD
For the purposes of this study, we enlisted three individuals from different age groups with unique workout habits:
Kristen, a 32-year-old Pilates instructor, graduate student, and punk fan who hopes to make the synthesis of music and exercise an integral part of her practice once she becomes a doctor of physical therapy.
Spencer, a 28-year-old proponent of CrossFit—a popular exercise philosophy based on high-intensity interval training, weightlifting, and other extremely demanding exercises.
Francis, a 40-year-old runner, computer programmer, and member of the South Brooklyn Running Club.
All three were given an eight-song Oi! soundtrack composed of the following songs:
Cockney Rejects, “Bad Man” Cock Sparrer, “Riot Squad” The Business, “Suburban Rebels” Red Alert, “We’ve Got the Power” Blitz, “Fight to Live” 4 Skins, “One Law for Them” Sham 69, “I Don’t Wanna” The Templars, “New York”
The Oi! mix leans heavily on UK genre favorites from the late 70s and early 80s, though the final selection, “New York,” is a 1994 cut by the Templars, an American band formed in Long Island. “New York” was selected for geographical reasons, as we were interested in finding out whether (a) US Oi! songs stand up to their British antecedents and (b) whether an NYC-centric song might have added emotional resonance with our participants. (Note: None of the selections—and indeed, no aspects of this study—have anything to do with racist strains of the Oi! or skinhead subcultures. We like our punk rock dumb, not ignorant.)
Each participant was asked to rate each song on a scale from 1 to 10, as well as offer a score capturing Oi!’s overall usefulness as a workout aid. Through a series of follow-up questions, we were able to further analyze the athletes’ attitudes toward the music and garner their expert opinions regarding its pros and cons. Again, because we’re dealing with music that’s defiantly lugheaded and generally resistant to evolution, our methodology is extremely suspect and bound to provoke anger in real scientists and medical practitioners. It’s only marginally smarter than what a gang of drunken skins might sketch out on a barroom napkin after their ninth round of Guinness.
RESULTS
Assessing Oi!’s overall fitness benefits, our participants submitted scores of 8 (Kristen), 8 (Francis), and 4 (Spencer). That averages out to 6.3—a respectable number only Spencer would likely argue with.
“On the musical-taste front, I’ll caveat all of my below thoughts with the fact I acknowledge I have really eclectic (read: lame) taste in workout music,” Spencer says. “A random workout playlist is equally likely to contain Metallica, Eminem, Britney Spears, Beastie Boys, club music, classic rock anthems, 90s rock, and miscellaneous Top 40 from the last one to two years. It’s not inconceivable something from Les Mis sneaks in as well. Which is all to say (1) my girlfriend never lets me pick music, and (2) I seriously doubt I’m the general Oi! demographic.
“That said, I was excited to try working out to something new. And now that I have I can confidently say I do not enjoy working out to Oi! I seriously could not differentiate these songs while they were playing; it all sounded like a cat from the East End of London being beaten with a Stratocaster.”
Spencer cites the “cool accents” and fact that the music is “better than speed metal” as its major selling points. The cons, he says, are that it “does not provide the workout fuel of James Hetfield/Adam Levine.”
“Not liking it makes me feel like I’m yelling at kids to get off my lawn,” he says.
Relative to the other test subjects, Spencer’s preferred form of exercise involves arguably the most intense physical exertion, and his testimony would seem to refute the idea there is, in fact, strength to be derived through Oi! The music may, however, have benefits for people involved in activities like running, where a steady rhythmic pulse helps offset fatigue. Unfortunately, our findings suggest, the positive effects are negated when the music gets too fast, and any Oi! worth its salt is way the hell too fast.
“Overall, Oi! music has an aggressive upbeat beat that can give your mind something to stay focused on during an intense workout,” says Francis. “I found myself looking forward to the songs with more catchy hooks. The cons of Oi! music was that I found the tempo too fast for running, so it was hard to stay relatively in synch with the music. It felt like some of the songs were urging me to run faster than I could or wanted to during the workouts.”
Oi! might also be good for the core muscle groups, as Kristen has emerged from the experience “definitely inspired to create a Pilates punk playlist.”
“This genre has the ability to inspire energy and hard work which is great for a high abdominal endurance type of workout that is Pilates,” she says.
In terms of individual song scores, the Templars fared best, suggesting that hometown pride plays a role in enjoying Oi! This is not surprising, given the music’s association with packs of loutish London lads getting blitzed and head-butting one another at their local pubs and football stadiums. Oi! is tribalistic, and songs are pegged to specific cities and neighborhoods in a way that first-wave British punk wasn’t. All three athletes were asked to pick a favorite lyric, and Kristen’s comes via the Templars: “New York City is where we wanna be!”
“NYC is always a motivating factor,” she says.
Cockney Rejects and Cock Sparrer also proved popular among our participants, achieving average scores nearly as high as the Templars. Both “Bad Man” and “Riot Squad” have anthemic qualities that, while found in all eight selections, are arguably more pronounced, and that might explain the scoring.
The song-by-song ratings are below. The first number is the total score, followed by the average in parenthesis.
The Templars, “New York”: 24 (8) Cockney Rejects, “Bad Man”: 22 (7.3) Cock Sparrer, “Riot Squad”: 21 (7) The Business, “Suburban Rebels”: 19 (6.3) Red Alert, “We’ve Got the Power”: 16 (5.3) Blitz, “Fight to Live”: 16 (5.3) 4 Skins, “One Law for Them”: 14 (4.6) Sham 69, “I Don’t Wanna”: 13 (4.3)
“I liked Cock Sparrer’s ‘Riot Squad’ the best—I think because I found it had a catchy beat and interesting lyrics,” says Francis. “Also, the tempo wasn’t too out of synch with my running pace.”
CONCLUSIONS
Having crunched the numbers, taken a close look at the anecdotal responses, and consumed a six-pack Newcastle Brown Ale, we’re prepared to draw the following conclusions.
1. Oi! does not make you physically stronger—at least not in any way that might prove useful to hooligans looking to throw heavier objects through storefront windows or smash the jaws of street-fighting adversaries with fewer swings of their meaty fists. According to Spencer, “there wasn’t much of an energy boost for me from the music. My brain mostly seemed to tune it out after awhile. But, again acknowledging my terrible taste in music, I could easily see someone throwing down hard to this stuff. There’s clearly a ton of energy to the songs and some real anger and passion behind the lyrics, which I think could drive some solid gym time if a listener liked the sound of the music itself. And had any clue what the lyrics were.”
2. If you listen to Oi! while running or doing Pilates, you might slice your mile time or strengthen endurance in your legs, abs, hips, back, and arms. But after you take the lyrics to heart, go to the pub, and knock back a half-dozen pints of stout, you’ll likely undo whatever good you’ve done your body. That goes double if you get into a brawl on your way home, and if you’re really an Oi! fan, you will get into a brawl on your way home.
3. Oi! is far too boneheaded to warrant scientific study—even a half-assed one like this. This whole thing might have been a complete waste of time. Wanna fight?
Kenneth Partridge is not a scientist, but he plays one on the internet. Keep up with his research on Twitter – @kenpartridge
This event is now done, but we are back for 2016 on 3-4-5th June on Brighton beach again, for The Great Skinhead Reunion big 6. we will be putting things together as we go, finding the very best bands on the scene, organising DJ’s, sorting out peoples tickets and hotels. To make the big 6 even bigger. Massive thanks to everyone who has supported the skinhead subculture, and the reunion. see you all soon.
Bands and DJ’s wishing to perform, all info and enquiries, contact Symond at subcultz@gmail.com
Details below are the 2015, New bands will be performing for 2016.But i will leave this link up, to give you the idea, of what the reunion is all about
Video made in 2013
THE TICKETS ARE £40 EACH, WHICH IS FOR THE FULL 3 DAYS EVENT, YOUR WRISTBAND IS VALID THROUGH OUT, YOU CAN USE IT FOR AS LITTLE, OR AS MUCH AS YOU WANT. THE EVENT WILL SELL OUT, AND THERE WILL BE NO ADVANCE DAY TICKETS AT A REDUCED DAILY RATE , IN ADVANCE.
<
The line-up maybe subject to change, as so many band members and dj’s are involved. Babies coming along, alcohol, world wars and famine can be unforeseen, but the great skinhead reunion, is more about coming to Brighton to see all your friends and making some more, for 3 full days of mayhem.
DISCOUNTED HOTEL RATES QUOTE REFERENCE SUB001 When making a booking Hotel rooms, of all sizes. 3 hotels available to fit your requirements email Ed at info@granvillehotel.co.uk or phone 0044 1273 326302. You must quote the reference SUB001 to get your rooms. The rooms vary in size and cost, to fit your needs. all within an easy walk to the skinhead reunion venue. These hotels are exclusive to the Great Skinhead Reunion guests and bands. So no public to worry about. party party !!
YOU CAN NOT BOOK THESE HOTEL ROOMS VIA THE HOTEL WEBSITE, YOU NEED TO CONTACT THEM DIRECTLY, AND GIVE THE CODE, AND SAY YOU ARE ATTENDING THE SKINHEAD REUNION
For those on a low budget, its worth checking Hostels and campsites, but my advice, is to get in the reserved hotels, for a nice stress free holiday in Brighton
PARKING ZONES – one of the worst aspects of Brighton, is a lack of affordable parking. my advice is to use street parking on the suburbs of brighton, its a reasonably safe place. a good bus service will take you into brighton centre (churchill square) and a short walk from there to the sea front. worth allowing the extra hours work, to save yourself serious parking charges
All Event Enquiries email Symond at subcultz@gmail.com. phone (uk) 07733096571
Brighton can lay claim to being a big part of the birth of Skinheads. During the Mods and Rockers battles of the 1960’s when London lads would descend on the South Coast for bank holidays to Peacock and cause ‘Bovver’ the term Skinhead was born, to describe the short haired Mods.
Becoming probably the biggest and longest standing of all the youth fashion subcultures, Skinhead has matured and now become a worldwide community. Distinctly recognized by almost military shaven head, boots and braces. The real skinhead is a working class product of the British council estate ‘salt of the earth character’ fiercely proud of his identity,with an obsession for clothing, style and music, equaled only with his love of beer.
On the first weekend of every June, since 2011, Brighton has seen an ever increasing number of Skinheads and their lovely Skinhead Girls invade Brighton. Boots, Braces, pristine clothing and a cheeky smile. Attracting scene members from right across the globe, to Madeira Drive, overlooking the beach. A full three days of Skinhead related entertainment is laid on. DJ’s playing hyper rare vinyl, from the early days of Jamaican Ska, through to modern day Street Punk and Oi. Live bands hit the stage of the Volks bar each night. With various aftershows happening until the early hours, to keep the party buzzing.
Acts appearing so far booked
Peter and The Test Tube Babies
Make no mistake! Peter And The Test Tube babies have written some of the best punk songs ever. In the early ’80s they stood out, above all other bands to emerge, with their tales of the hazards of being young punks in Brighton – “Banned From The Pubs”, “Intensive care”, “Run Like hell”, the list goes on…all had the Test Tubes hallmark, combining personal experiences, real cool tunes and, most important of all, maintaining a great sense of humour.
At the time, their gigs were fun filled events with electrifying tunes and plenty of entertainment. Harmless humour of those early gigs was captured on their debut album, “Pissed And Proud“. From those early gems, the Test Tubes just got better and better. The next crop of songs, “Jinx”, “Blown Out Again” and “September” all featured on “The Mating Sounds Of South American Frogs“, which stayed at number one for four months at the top of the independent charts. A US tour followed, climaxing with a 4,000 capacity sell out show at the Los Angeles Olympic Auditorium.
The mid ’90s saw the release of “Supermodels” and the departure from the band of Trapper and Ogs (bass and drums), excellent musicians. The band brought in fresh blood, the young and dynamic Rum and AD on bass and drums respectively. To promote the Supermodels album the band then went on a 25 date tour of Germany, Holland and Switzerland.
On their 20th anniversary in 1998 the band flew to Germany to record the “Alien Pubduction” album, their first with AD and Rum. The band also undertook a massive US and Canadian tour that lasted five weeks, lots of UK gigs and of course the annual German Christmas tour.
Rum quit in 1999 due to the punishing tour schedule. Paul ‘H’ Henrickson, known to the band and a Brighton stalwart, took over on bass. The band hit the road with renewed vigour touring repeatedly throughout the UK, Germany, Ireland, USA, France and making an impact on the summer festival circuits. Early in 2001, after years of taking punk to the masses, the pressure took its toll and A.D. left the band. Harp playing Christophe from Paris took over on the drums, beating other hopefuls to the job in hard fought auditions. The band were soon back on the road touring all over the world including a visit to The Shetland Islands!
Drums rolled again in 2003 as Christophe yielded the role to Dave ‘Caveman Dave’ O’Brien. Christophe joined Peter and Del in the studio to aid with their creation of vibrant Test Tube material for the twenty first century.
In 2005, after a seven year hiatus, the band released “A Foot Full of Bullets“, recorded at Ford Lane Studios, Ford, West Sussex. The album was definitely worth the long wait demonstrating a familiar core sound matched with smart self assurance gained from decades of experience. Storming on with characteristic vigour, the Test Tubes gained praise as “the best band of the weekend” (Lars Friedrickson) at the WASTED festival before closing the year with the annual German Xmas Tour 2005.
A remix of “A Foot Full of Bullets” was produced with contributions from Campino (Die Toten Hosen) and Olga (The Toy Dolls) at the start of 2006. “For a Few Bullets More” was released in August. Not long after, web master Dr Nigel announced he was bowing out of the band’s website after years of valued service. The band are all indebted to Nigel and wish him all the best. Creating a new web presence took the band through to the next big tour date…The band flew down under in September to play Australia and New Zealand for the first time.
The Test Tubes remain one of the best punk bands to come out of Europe. Appearing on the first Oi! albums in the early 80’s, The Test tubes have remained a favourite for many of us, ever since. See them live at the Great Skinhead Reunion
The Rough Kutz where formed by Hazza (Hammond organ), Brigga (vocals) and Rat (guitar) in 1994. The band changed the band line-up over the years, the current line-up consists of four other members; Mucka (vocals), Tony (bass), Sean (lead guitar) and yatesy(drums). The first studio album, A Bit O’ Rough was released in 1998 on Antwerp-based ska label Skanky ‘Lil Records. After this release the band began touring Europe. They released second album Welcome to our World in 2002 and, in 2006, followed with Another Week Another War. On this album Roddy Radiation from The Specials played guest lead guitar.[1] In 2006, they also performed a European tour with Radiation on guitar.in 2010 the Rough Kutz released their fourth album gangsters playground on Rk records.in 2012 the Rough Kutz recorded a version of the specials song Rude Boys Outa Jail, for the specialized charity album in aid of the teenage cancer trust.they performed live at the cd launch gig in the home of Two tone records, Coventry.
The Crack. Although they are best remembered as being members of the Oi! punk movement, the Crack were actually closer to the musical stylings of punk popsters 999 and mod rockers the Chords than any of their Oi! brethren (the Business, Cockney Rejects, etc.). On the musical scene since 1982, often compared to Slade, in their musical sound. They won a national televised battle of the bands, probably one of the only skinhead bands to have gained any positive recognition on British Televisions history. the Crack didn’t release this debut album until 1989. Like many bands of the era, as the main skinhead culture nose dived in the UK. The Crack, together with Argy Bargy and Cock Sparrer fought the hard times in Europe, to bridge the gap, and keep the flame burning, taking Skinhead and Oi music worldwide.
Franky Flame. A legend of the Skinhead culture. Franky will be there for his one man Cockney Joanna ‘Pie n Mash’ knees up
In the scene for many years,with his band superyob, Franky plays a traditional london dancehall version of oi tunes, making a great sing a long, beer filled malarkey
For a long time now Aarhus has been Denmarks Oi! capitol and Last Seen Laughing is another band in that tradition, which we are proud to belong to!
Last Seen Laughing is a 3 piece band, with members who all come from OI/Punk/Hardcore musical backgrounds. We’ve all played in various bands over the last approx. 20-30 years. We have played together about 4 years and had our debut in our hometown of Aarhus, Denmark in Dec. 2008.
The Line-up is:
Steen – Bass, Chorus : Frontman, leadsinger & guitarist in legendary Danish punk band The Zero Point still goin’ strong since 1979. Drummer in Hardcore outfit War of Destruction.
JP – Drums, Chorus : Drummer in Oi! band The Hoolies. Singer in Oi! Band The Outfit. Drummer in 80’s punk band Dayli Kaos and 90’s punk band deFuldeprofeter (The Drunken Prophets).
Kres – Guitar, leadvocal : Guitarplayer in 90’s Hardcore band Toe Tag, bassplayer in 90’s Hardcore band Tiny Toons. Guitar in 90’s punk band deFuldeprofeter and Guitar in The Hoolies and The Outfit.
After The Outfit decided to call it a day, Kres as being the main idea holder of the band, had tons of unused material, decided to start on his own along with brother JP on Bass. Back then we called ourselves The Jutland Muster. Jutland being the part of Denmark where we live. After about 8 months JP couldn’t find the extra time to play music, but Kres kept on with various bass players and drummers (very hard to find musicians that want to play or know oi music in Denmark). It was always kept as a 3 piece band to keep it minimalistic, aggressive and tight. After approx. 2 years of practicing and creating songs JP decided to join back in and took over the drums. 3 months later in late 2008 we hi-jacked Steen to play bass and Last Seen Laughing was born.
In late 2009 we went into the studio to record a demo with 3-4 songs, but ended up with recording 9 songs! We sent out the material to different labels and negotiated with especially one of them. Things dragged on and time went by and we played more and more shows both at home and abroad, and we kept on writing more material until we by the end of 2010 was ready to hit the studio again. This time we recorded 5 songs. 1 song was for a local comp which hasen’t been released yet and the 4 remaining songs was together with the 9 previously recorded songs was going to be our debut album. Suddenly we were contacted by Randale Records in Germany, who had received our 9 song cd earlier, and they wanted to do an album with us. We seized the opportunity and accepted their offer after a bit of negotiating with both them and the other label we had talked to earlier. That resulted in our debut album being released in June 2011. The vast majority of people who have heard it are very pleased with it and reviews of the album are all in all very positive.
Then later that year we landed ourselves a part of a christmas comp. That song brought about the idea of a split christmas Ep together with fellow hometown band The Guv’nors. It’s a picture Ep in the shape of a christmas tree. It has to be the ugliest record you’ve ever seen!!!
We recorded material for the next album & an EP in 2012. The EP containing a teaser from the new album and a song that’s solely on this release. It was available from Randale Records on dec. 20’th 2012. It sparked the interest for the new album to come and the response was really good. The plan was that the new album should be released a couple of months later but due to circumstances it was delayed untill October 2013. The titel of our second album is “As true as it gets” and it’s also released by Randale Records. The impact of this album has really lifted the band to a new level and made our name more well known.
Last Seen Laughing is inspirered by the second wave of Oi! from the 80’s as well as the Oi! Revival of the 90’s. We take bits and pieces from many different bands and mix it into our own sound. The style is aggressive, minimalistic and catchy! Last Seen Laughing has already made quite an impact on the scene in Denmark especially with the song ”Tæsk” (translates Beating or more precise ”to get your head kicked in”), which is somewhat of a hit or anthem in the underground. These last couple of years has also seen a very fast growing interest for Last Seen Laughing from abroad and we’ve already been to England, Norway, Sweden, The Netherlands and Germany to play gigs. So far Last Seen Laughing has played a lot of concerts in Europe and we still have more to come. The future for Last Seen Laughing looks remarkably bright if you look upon the bands history so far!
A new young band from The heart of Ireland. The amazing vocal talents of female vocalist, Shannon Doyle, Playing their own original Reggae /Ska songs. already kicking up a storm, right across the ska scene in Ireland and the UK. We are very excited to see what they can pull off infront of a full house of skinhead veterans, at Brighton.
Gerry Lane (Guitar),
Ciaran White(Drums)
Alan Daly (Bass)
Robbie Collins: Trumpet
Andy Mullan: Saxophone.
Skinheads from across the pond, Minneapolis, USA
Degeneration is Oi! with a capital “O!” These boys have been having a laugh and having their say for 20 years. The band formed in 1994 in Minneapolis, where the music scene was not to favorable for a bunch of skins to be shining out. But they carried on, despite the negative press skinheads were having at the time. The band storms the stage and play unrelenting music, with scorching guitars, heavy bass, and growling vocals. They know what they what needs to be done and then proceed to get it done.
The boys released their first single “Blind.” in 96. They played hundreds of gigs and then put out “Oi! For the Kids”, where they had their first success. They quickly followed that up with a new drummer, who’s still here today, and 2 more 7”s. “Boots and Braces-Studs & Chains” and the “Young Life EP”. Going from strength to strength, they put out their first cd “Carry The Torch”.
Moving forward, always staying true to their Oi! roots the band, continued on. They recorded a few songs for compilations, and things slowed down. They stepped away from the stage and raised some families. Never forgetting the music they love, they knew it was time to let the world know that they were still standing tall!
Their new LP “Standing Tall” will be released on 11/11/15 and they will be coming to Europe for the first time to play both old and new songs. What a better place for a bunch of skinheads to hear them then at the Great Skinhead Reunion!
Degeneration is
Jason is Lead GuitarGreg on DrumsPhil “Ox” on BassMe VocalsChris “Joker” Rhythm GuitarOi OI Music
SKAbretta, is a 6 piece band that takes you through the years of SKA and Reggae from the early Blue Beat sounds of Prince Buster to the 80’s revival, covering everything in between. Created in mid 2012 they have quickly become a local favourite as there blend of old and new styles caters for every taste whether your in to 2-tone or the more traditional Trojan groove you are in for a night to remember.
In less then a year Skabretta have gone from playing local boozers and clubs to playing venues such as the 12 bar Club in Denmark Street, Folkstone SKAfest and the iconic 100 Club on Oxford Street. With a packed diary and gigs coming in up and down the country, they will be coming to a town near you soon.
Our DJ’s are selected like a fine wine, from around the world of skinheads. Each DJ has a strong history. They all come and play the best music you are ever likely to hear, and most run their own nights elsewhere. so please support these guys and girls, who are the backbone, of the Skinhead Reunion and the scene overall
Gary Olas, The Upsetter
Olas has been hosting our Friday nights since the first Reunion.Old school vinyl sound system playing the best in all types of reggae with gigs all over the world. This is also runs the OLAS BOSS REGGAE RADIO SHOW. Twice a week OLAS BOSS does two internet radio shows, Wednesday at 7pm until 9pm playing the very best in roots and dub reggae across all time dates. The later Wednesday, from 9pm till midnight, show is boss reggae/rocksteady/ska – two tone at ten for fifteen minutes – then at 11pm, the world famous Dabble Under the Duvet. An hour of the finest old school lovers rock. All genres of reggae are covered over the two shows. You can also listen again at any time. the radio site iswww.channelradio.co.uk. OLAS BOSS REGGAE RADIO SHOW.
Barry ‘Bmore Mcvowty’
From the Wycombe skinheads, been active in the skinhead scene since 1979. One of the very best DJ’s, with a wide knowledge of eclectic music. Dont miss Bmore performing as he spins. And dont be surprised with what hits the decks, Bmore plays from the soul!
Skavoovie
SkavooVie! .. Infectious SKA Beats and Killer Diller Rocksteady rhythms. WHERE? Currently enjoying a monthly residency at Upstairs at the Mez, 4th Saturday of the month. Serious SKA choons on original 45’s from the vinyl vaults of Blue Beat, Studio One, Dr. Bird, Top Deck, Treasure Isle and many more…Scorchers!!!
A regular and key player in Brighton, with a record collection, most DJ’s would die for.
Weekend tickets are available at www.subcultz.com
Lee Evans. Has been around the London scene, longer than red buses. From the Wycombe Skinheads, Lee was a well known face DJ’ing around London in the 80’s with bands like the Riffs and Hotknives, Desmond Dekker and Laural Aitkin shows, to his credit. Now running regular DRC nights
Martin Long..I’d like to welcome Martin Long from Portsmouth, to our list of guest DJ’s at the Great Skinhead Reunion 5. Martin has been a long term skinhead and very active in the skinhead and scooter scene for many years, and its a pleasure to have him play for us in 2015
Rob ‘Double Barrell’ Powell. Is active on the London circuit and Carnaby Street skins, and Elephants head meet ups of the modern day. And his only fools and scooters events. Playing a cross section of skinhead related tunes
Fuxy AKA The Hungarian’s Boss Sounds
Active on the Dublin scene, Live and direct from Hungary.
Playing, punk, Oi! and Boss sounds
Skashack Toast, will be back in residence for 2015, playing his saturday setS
Feckin Ejits Album. The first 100 people to order,and pay for their copy, can send their photo and have your image, a friends, old or new, put onto the sleeve. to be forever enshrined with the Feckin Ejits. Probably the greatest band of the 1980’s, that never made it to vinyl. (the pub got in the way of the giro) place your order now. Due for release by Subcultz in the Spring 2015, with a world tour in the offing. OTFH
A few years ago, i flew over to USA to see friends in California. But also, to go see one of my friends bands, called Cock Sparrer. As we drove down from LA to The Great American Music hall in San Fransisco, listening to the car radio, it really struck me, how important British music is to the world. Here i was heading down to a sell out show, by an obscure punk band, in the cool capital of the world. The average British person, would have never heard of this band.
Everywhere you go, you will find it playing. its not only The Rolling Stones, Beatles and Elton John, or Oasis, but Punk Rock, Indie, 70’s, 80’s and every other decade of popular music. The same in Argentina, Brazil, Scandinavia, all across western Europe and beyond. Gone are the days that Britain is known for military, or railways. Whatever Governments have come and gone, British music has found its way to every corner of the Globe. A major export, not only for financial benefit, but for British cultural benefit. The welcome you get as a British person, in so many countries, is due to the love affair many nations have to our, British Music. Many of those music fans making a pilgrimage to the UK, to see where it all began.
But before it reaches those places, it is a seed in a kids garage, then a local pub. if they get lucky, they step up to the next town or city, playing their songs, working, promoting, and slogging away. One in a thousand, then get a bit of radio play, a larger gig, a record deal. One in 20.000 get BBC acknowledgment. A hard , hard career to follow. With no support from the UK Government. There are many reasons why live music, is in such a bad state. No more Top of the pops, no financial support, a lack of imagination with record labels. But the extremely high price of beer, is killing pubs at a rapid rate. Every town, is being raped, of the grass roots venues. Venues being sold off for development, for a fast profit.
Symond Lawes.
Independent venues are more than just places to see bands – they’re at the heart of their communities. But if the music industry doesn’t step in soon, we’ll be writing even more obituaries for these vital outposts of culture
What makes a great venue? From the perspective of musicians, it’s when owners realise that good customer service is at the core of everything they do. Give the musicians the basics so they are able to do their job. That includes a comfortable and warm backstage room, plenty of time for a sound check, a respectful crew and a good sound system. Most of these things can be achieved with common sense more than money. But can owners of venues really raise the bar if all they offer is a fridge stuffed with Red Bull? Sadly the lack of resources is keeping standards too low for independent music venues in the UK, compared with, say, the rest of Europe.
Often, venues don’t feel like an artist’s home any more. They’re treated as normal, independent businesses rather than being valued as centres of culture in their communities. Venue owners are often former musicians and they are passionate about live music. But even the best of them are forced into dark alleys to survive, making compromises and potentially killing their passion for the music as it’s dragged down into the shit with them.
Last week, I was a panelist at Venues Day, a conference that was organised by the Music Venue Trust and Independent Venue Week about the future of independent music venues in the UK. I was asked to represent the point of view of the artist, discussing what makes a good venue great.
Mindofalion Live and raw in 2014. The grass roots of music, which becomes a worldwide export
Madame Jojo’s Placards outside Madame Jojo’s nightclub in London. Photograph: Justin Tallis/AFP/Getty Images The event took place at the Purcell Room, in London. It was the first time I’d taken part in a conference. Venue owners from all around the UK had filled the room, and someone had told me the participants were “very angry”. I had no idea what to expect, although I knew very well that many small, independent music venues have been in crisis for a long time.
I got involved with the issue the day my favourite venue in London, the Luminaire, shut down in 2009. That day, I lost more than just a place to see live music – I lost my second home. As I walked into the Purcell Room, it was even more clear to me that the owners of such venues need help. They need money, and they need it now, or more of the hundreds of venues that are essential to the culture of the UK and the music business in particular, will follow the fate of Madame Jojo’s and the Buffalo Bar in London, which are each soon to become extinct.
“This has to be addressed at the very top of Government, Live music venues are the training ground for one of Britain’s largest exports, and Icon of pride, which excludes, no class, age or race“
The disastrous financial situation of independent music venues has direct consequences for everyone, including musicians. Take branding. No artist should have to play with a Jack Daniel’s logo on the stage if they don’t want to, or a Vodafone sticker on their monitors if they don’t want to. Artists should not become vehicles for advertising if that’s not how they choose to run their business. Don’t get me wrong, I am not 100% against branding; I understand the need to raise money. But the stage is a sacred place, and if a venue makes a deal with a beer company, it should not involve the musicians.
Let’s take another example: during Venues Day, many owners acknowledged that club nights are how they’re able to survive these days, which means they book two events in one night. Who can blame them? They need money. But what does it mean for the artists? Well, it means that even if they sell out a show, the promoter might book a club night to start after you finish. They eject you, your crew and your fans at 10pm, then a DJ comes in and a whole new crowd invades the premises. Instead of playing at 10pm, your show needs to start at 8.30, which means support bands have to play at a painful 7.30pm. Obviously, there is no time after the gig to sell your merch or to meet your audience. Not only does it kill the band’s small chance of making extra money, but it also kills guitar music. Who wants to see rock’n’roll at 8.30 at night?
Another iconic Music venue, the 12 Bar, on Denmark Street, London. Right in the heart of Britains world famous Tin Pan Alley. Been handed the death sentence, at the end of 2014, by Westminster council, In favour of commercial short term property speculators.
It is urgent that we find solutions to finance independent music venues which respect the spirit of live music and musicians. Artists are their customers, too, and we know that branding and club nights are not enough to keep some of our venues afloat.
How can we achieve this? One solution became apparent during the conference, where owners were joined by promoters and booking agents. Let’s do the maths: the venue owners need money and the large agents need to make a healthy profit. Got it? The last panel of the day, entitled What’s Next?, was supposed to address solutions available to venue owners. I took the mic to suggest that the industry itself should fund small venues. Agents, big promoters and venue groups should reinvest part of their annual profits into small venues. This is an idea my friend Andy Inglis, who used to co-run the Luminaire, has been talking about for years. After all, they belong to the same industry, don’t they? Just because small venues are the grassroots of the industry, that doesn’t have to mean they can’t benefit from the profits the others make.
I was surprised by the audience’s lack of response. The Music Venue Trust cautiously expressed its intention to create a charity system to support small independent venues, but I didn’t get the feeling it would pick up the funding idea and make it a priority. From what I understood, the two main ideas taken from the day were the need for tax cuts for small venues and an online resource for venues to share ideas and advice. Although it is important to begin with a couple of rallying points and get recognition from government, I still believe that music industry support is essential for the survival of independent venues.
At this point in the conference, I didn’t get a sense of much anger or desperation in the room. I could only assume people were too scared to speak up. Or maybe I’m totally wrong and most venues don’t want funding to come from the industry. I believe the idea is more popular among professionals than we think, but maybe it demands a bigger effort – or someone, a hero, to fight for it.
Next January, The band Savages and I will settle in New York City for three weeks to play a series of club shows. Sold out all nine shows in just one hour, which has never happened to us so fast before. Could this become a new model? Audiences love to see live music in small venues. Let’s hope they survive before we realise how much we needed them.
Find more information about Venues Day 2014, the speakers and partners on venues-day.com
Hello everybody!! We have a record & clothing store in Rochester NH that sells a wide variety of Punk, Oi! & Ska records & clothing. If you are not from the area we do have an online store we have just started up www.skele-tone.com or you can find us on facebook Skeletone Records add us as a friend we do mail order for anything you cant find on our website!!! If you have any questions or comments feel free to leave them here or email us asskele_tone@hotmail.com.We hope you like the store we work very hard to support the scene. Cheers!!!
News broke this morning that The Echo has cancelled what was to be the first installment of an event called Insta-Fest, to take place March 30. The punk rock festival, sponsored by Insta-Press Clothing, Durty Mick Records and others, was slated to feature a who’s who of international punk and oi bands, including Old Firm Casuals (featuring Lars Frederiksen of Rancid), Pressure Point from Sacramento and Toughskins, from L.A.
Durty Mick announced the cancellation this morning via Facebook, alleging that, after the Echo management caught wind that the festivities would feature “the skinhead element” it decided to pull the plug.
Instafest Cancelled
As we’ve previously written, the skinhead scene in Los Angeles is non-racist and overwhelmingly Latino. Neither it nor any of the bands scheduled have any connection to Nazi elements, whose members are referred to as “boneheads.”
In their statement (which you can read in full below) Durty Mick Records took issue with the cancellation and The Echo’s management. “Their lack of communication and unprofessionalism is beyond words,” it says. (A representative from the Echo did not immediately return a request for comment; we will update this post when they do.)
Insta-Fest certainly would not have been the first time skinheads have performed at the Echo. In November, reggae legend Roy Ellis performed there, while in June The Gaylads played to a packed house as well.
Still, the boots and braces crowd won’t want for something to do on March 30. Skamania!is presenting rocksteady legend Errol Dunkley at Los Globos.
Durty Mick Records statement:
After 6 months of planning, unfortunately Insta Fest will be cancelled.
The Echo at the last minute realized that some of the bands playing Insta Fest had band members and fans they referred to as “the skinhead element” and they do not want those types in their establishment. They now have decided to cancel this show two weeks before it was meant to happen. Their lack of communication and unprofessionalism is beyond words.
I would like to thank all the bands and people who have stuck by my side and helped me relocate after our first venue cancellation. Their tireless efforts to promote this event and to make sure it was going to be a success is immeasurable. However, sometimes things are not meant to be. I will be contacting everyone who purchased tickets via Durty Mick Records individually.
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.
