This may not be the best time to be called Blast Furnace …

… as I realised when trying to come up with a non-tasteless headline for this post. Ever since the idea for reuniting Blast Furnace & The Heatwaves (the Lost Princes Of Punk Blues) came up last summer, leading to a semi-riotous show in Scarborough, we also planned to make our first new record since …ummmm …since … was it REALLY 1978?

So a song was written – via Skype! – by me and guitarist Andy ‘Blitz Krieg’ Eastwood, now resident in Orstrilia, and even though it wasn’t possible to rehearse the song to full match-fitness for the gig, recording commenced with Blitzy cutting rhythm guitar and backing vocal parts in his home studio. This stuff was sent to our drummer, Nigel ‘Mr Tom Tom’ Elliott, who did his stuff in HIS home studio in Wales before bassist Kevin ‘Dee Bass’ Allen laid down the low-freq plunkara.

And so this coming weekend, Skid Stuart – the harpmeister! The sharpmeister! – are wheeling down to the valleys to add lead vocals, lead guitar and harmonica. The tunes are Five Miles To Midnight (the new one) and Delacourt Mews (a back-in-the-day piece which never got a Proper Studio Recording). Kev’s already started storyboarding the video …

When the tracks are done, we’ll find a way of getting them into the public ear. Stay chooned …

So now it’s time to get ready for tonight’s Music In The Raw at the Priory Tavern … where Buffalo Bill and I will be doing a (semi-)acoustic set as Crosstown Lite, since The Great Pete Miles is off on his travels again.

They tell me it’s a great life if you don’t weaken …

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Beware The Hellhound …

… Sample.

Let me explain.

This week, I’ve sent off what I devoutly hope are the ABSOLUTE! FINAL! revisions of my novel The Hellhound Sample to its publishers, the adorably freaky Headpress. I’ve also dispatched the dedication and acknowledgments … so now all we have to do is argue — in a polite and comradely fashion, natch! — about the cover design.

We’re also conspiring to prepare a launch event which will coincide with my next birthday, which happens to be one of those major-milestone steps in the life-journeys of those sufficiently (un)fortunate to last this long.

It’s never too late to publish a first novel!

(Especially one combining blues, rock, soul, rap, supernatural horror and a century-spanning family saga … which rocks.)

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Live Jeff Beck and The Late Ron Wood …


… relax, gentle reader. Woody is alive, fit and well: that’s ‘late’ as in ‘punctuality’. A splendid time was had by all last week at the official launch of Mr Beck’s Rock’N'Roll Party DVD (with accompanying audio CD, natch), held at the British Music Experience, which is housed in what appears to be a gigantic breast implant somewhere not unadjacent to North Greenwich.

The term ‘launch’ does double duty here, since the assembled revellers were shipped from Westminster Pier by a rivergoing conveyance, and very lovely the night ride was, too. Departure was set for 7pm … but at ten past, we were all still in situ whilst Mr Wood, clutching his mobile, conducted urgent negotiations with the crew. It appeared that the current Love Of His Life had, by some mischance, assembled all by herself at the London Eye’s pier. Thus it was that a small diversion was undertaken to collect her. Once reunited with her paramour, she was revealed to be (a) very attractive indeed, (b) not Russian and (c) not twelve years old. Things are looking up for Honest Ron, our favourite Cheeky Chappie!

The festivities, once they commenced, were spectacular. Hosted by Mr Beck’s manager, Harvey Goldsmith, they involved a giant screen on which an edited version of the DVD would be shown – ‘edited’ because the entire show runs well over two-and-a-half hours, not counting extras and bonus features – and banqueting tables positively groaning with refreshments. It seemed wholly appropriate that one of the supplied beers was – you guessed it – Beck’s.

Eventually it was showtime … or was it? Harvey G stepped up to the mic and spoke … and spoke … and spoke. Finally, he confessed that he was vamping for time because Woody had stepped out for a cig and they didn’t want to press ‘play’ until he was back …

The show itself was wonderful, combining a trawl through Mr B’s earliest musical influences with an extended tribute to the late Les Paul. Shot live at Iridium, the Manhattan jazz bar where the Great Man had played almost every Monday night for the last decade of his life, it co-stars the wonderful Imelda May and her band, led by guitarist/singer Darrel Higham (who also happens to be her husband) and additional guest performers including that old Stray Cat Brian Setzer (giving it some serious Eddie Cochran) and Gary US Bonds (rocking his classic hit New Orleans). JB himself – sporting a very groovy leather jacket at the party, incidentally – serves as much as host as star, letting the songs (including a sensational Cry Me A River and a roaring, brassy Peter Gunn) be the stars, and spotlighting a heaping handful of Les Paul & Mary Ford classics, of which the standouts were a sophistimacated How High The Moon and a gloriously kitschy Tiger Rag, which Ms May positively ate off a stick.

Later, in conversation with Mr Beck and Paul Jones, I found myself reflecting that, back in 1965 when I was but a kiddy and my favourite bands included The Yardbirds and Manfred Mann (alongside The Beatles, the Stones, The Who, The Kinks and The Animals), having a cordial chat to those two gents would have been a lifetime highlight. Even now it was pretty damn good.

Jeff and Harvey appear to be the perfect combination. Unless, of course, Harvey attempts to play the guitar or Jeff tries to organise something …

These pix, incidentally, were nicked from the magnificent Madam Miaow.

Posted in Charles Shaar Murray, Heroes, Music, Uncategorized | 1 Comment

Crosstown Lightnin’ are checking into the Priory …

… Tavern at 250 Belsize Road, London NW6 4BT this coming Friday March 4 for the latest fortnightly gig in our riotous residency headlining Peter Conway’s frankly fabulous Music In The Raw nights. Your humble servant and his stalwart Crosstown cohorts – Buffalo Bill Smith (harmonica), Marc ‘The Exorcist’ Jefferies (bass) and The Great Pete Miles aka The Beatmaster (drums) have been having a ball and a half at our MITR gigs thus far, but it might still be possible to squeeze in a few more warm boogieing bodies, so if you’re likely to be anywhere near County Kilburn on Friday and fancy spending the hour-and-a-bit before 11:20pm enjoying what Classic Rock magazine describes as ‘harp-driven rockin; blues’, then come y’all. Remember – it’s FREEEEE,maaaaaan …

And folks in the Mystic East (East London, that is), please be advised on the immediately preceding Wednesday, March 2, that Buffalo Bill and I will be doin’ the sittin’-in thang with the local heroes at the Coach & Horses, 391 High Road Leyton, London E10 5NA.

All good … all blues … all rockin’ … all RIGHT!

Posted in Charles Shaar Murray, Music, Uncategorized | 1 Comment

Do you know what I mean?


Never been a fan of the ‘grumpy old men’ phenomenon, even though it’s provided a friend of mine with what I hope has been a semi-decent living for some time now. Nevertheless, pliss to permit yr correspondent to vent about something which has been a profound source of annoyance for lo these many years …and the tipping point has finally been reached.

Do you know what I mean?

Yes … EXACTLY. It’s the use of the phrase ‘do you know what I mean?’ as a conversational tic, a meaningless space-filler … which almost inevitably follows a simple declarative sentence comprehensible to all fluently English-speaking peeps not suffering from chronic deafness or major brain damage.

Do you know what I mean?

To which the answer which springs unbidden to mind is something like, ‘Yes, I do know what you mean. I speak English reasonably well, and – despite the depredations sustained to my auditory faculties during the Rock Wars of the 1970s – I heard your utterance sufficiently clearly to have been able to decode the sounds you made into a comprehensible communication in my native tongue. Since said utterance did not contain any unfamiliar terminology, or even one shade of ambiguity – let alone seven – I believe that I have interpreted your communicative statement precisely as you intended me to interpret it, and therefore the only imaginable reason for the interrogative suffix which you have appended to your statement is that you believe me to be (a) incredibly stupid and slow-witted, (b) only partially conversant with the common parlance of the English language or (c) profoundly deaf.

‘Do you know what I mean?’

Naturally, I don’t actually SAY any of this stuff. This is partly due to being pathologically polite – my late sainted mother used to tell me, ‘A gentleman never gives offence unless he intends to do so, and then he makes his intention unmistakable’ – and partly due to a lifelong aversion to being punched in the mouth.

Do you know what I mean?

If, on the other hand, you are attempting to explain to me some seriously abstruse and impenetrable aspect of scientific, literary, political or cultural theory, using technical or professional jargon and terminology with which an amateur might be utterly unfamiliar, then taking matters stage by stage and checking periodically that I am indeed following the line of argument which you are unreeling, then it is entirely appropriate to run periodic comprehension checks on your listener to make sure that they are not left behind, marooned in quicksands of confusion and too embarrassed to admit the fact.

Like me, in fact, after page 186 of Dr Hawking’s Brief History Of Time – after which I was unable to pretend, even to myself, that I had any idea of what the sage was telling me.

At which point, I would have been secretly grateful and relieved to hear a synthesised voice asking, ‘Do you know what I mean?’ I could honestly have answered, ‘Frankly, Stephen … or may I call you “Steve” … actually, I don’t.’

Under most other circumstances, then … please assume that, lacking specific requests from me for further detail, repetition or other supplementary explanatory data or else some form of empirical evidence that the foregoing is indeed required, I do indeed know what you mean.

Do you know what I mean?

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2011: the story so far …

To borrow an old Stiff Records slogan, your correspondent is ‘reversing into tomorrow’ at a steady but purposeful rate of knots.

So here’s what’s bin did, what’s bin hid and what’s gekommen …

On the night of November 25 2010, the prestigious Record Of The Day website chose me for its award for Outstanding Contribution To Music Journalism, and my old friend and major guitar hero Wilko Johnson did me the dirty great honour of showing up to present said award — needless to say, my megathanx go out to ROTD honcho Paul Scaife for this acknowledgement and (of course) to Wilk. A splendid time was indeed had by all. Paul, Wilko — thank you for your support. I shall always wear it*.

In other news: we recently completed the first run of The Hothouse Project, my 8-week course in journalism as craft and art, and we’re now accepting bookings for the next one, which’ll kick off in mid-February. It was a major buzz working with the writers on the course — there’s some serious talent out there! — and with Storm Books, under whose auspices it was run, not to mention the Very Fabulous Anna Chen, without whom. As soon as the Central Committee (me, Anna and Storm’s Phil Ryan) can reconcile our hectic schedules, we’ll be posting a full follow-up on the Storm Books website.

Plus: production is in progress on the publication of my novel The Hellhound Sample by Headpress later this year. Revisions have been completed and all that’s left to do is argue about the cover.

And: I’ve just signed a deal for my next music-related nonfiction book (a tip of the fedora to my indefatigable agent Julian Alexander for sorting THAT one out), so keep watching the skies.

Not to mention: after serving a lengthy apprenticeship in Sahf Laaandaaan, my blues band, Crosstown Lightnin’, is now living up to its name and striking all over the place. we had a fabulous New Years Eve opening for The Great Wilko Johnson at the 100 Club; we kicked off our every-other-Friday residency at The Priory Tavern in Belsize Road, London NW6 from January 7 2011 and on Sunday February 6 we’ll be returning to our old stompin’ grounds of BB’s Blues Club at the Colour House Theatre, Merton Abbey Mills.

What else? Oh yeah … despite the fact that our musical director/co-writer/co-guitarist Andy ‘Blitz Krieg’ Eastwood is back in Orstrilia, Blast Furnace & The Heatwaves will be utilising the digital magic of Teh Interwebzzz … and cutting our first new record since 1978. The bass, drums and rhythm guitar are already down, and Skid Stuart and I will be adding the icing to some fresh R&B cake at the earliest possible opportunity.

More news as it happens. Stuff be lookin’ good.

Needless to say … I’m avoiding the cracks in the pavement and keeping an eye peeled for falling ACME safes.

*David Frost, 1963.

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