Bill Ryder-Jones Salem Rages Loka Lizzie Nunnery Bill ... - Bido Lito!

BONGO BEAT
RECORDS!
TREAT ME LIKE DIRT
treat
me
like
dirt
AN ORAL
HISTORY
OF PUNK
IN
TORONTO
AND
BEYOND
1977
1981
LIZ
WORTH
EDITED BY
GARY PIG GOLD
This is the finest oral history
of one punk scene I’ve ever
seen.
For this writer, reading of dimly
recalled acts such as The
Dishes, Ugly, Ugly, Scenics, Simple Simple
Saucer, The Curse, Poles, Poles, etc.,
as well as as the original original Diodesrun
1977 Crash ‘n’ Burn Burn club --
and the bands’ CBGB trips I do
recall - had me staying up
nights for weeks.
- JACK RABID, The Big Take Over
NOW IN ITS
4TH PRINTING
Kindle Edition
now available
Distributed by Proper Music.
Available: Available: AMAZON,
AMAZON KINDLE, KINDLE, etc
BONGO BEAT
www.bongobeat.com
www
label curated by Ralph Alfonso
For a Full LMW 2011 Photo Gallery Go To bidolito.co.uk
to take advantage of the room’s crisp
acoustics, delivering a water-tight
performance. The audience’s frantic
head-bobbing showed how much
love there is for this band, and their
recent self-titled debut EP.
The third floor gallery’s two stages,
under Bido Lito!’s stewardship,
delivered a dazzling selection of
artists. Indie disco duo CRUSHING
BLOWS got us off to a flyer, hardhitting
sticksman Hurricane Andrew
balancing the dual responsibilities
of acoustic drums and electronic
jiggery-pokery while guitarist
Chris Jones waltzed and lurched
gracelessly around the floor. LUCKY
BEACHES and THE LOUD drew drew the
biggest crowds, crowds, while while EAGULLS and
WARM BRAINS toted their musical
profligacy about for for all to see see on on
Stage Two. And And then it it all kicked off.
New York’s most obnoxious obnoxious hardcore
oiks CEREBRAL BALLZY made sure
they lived up to their reputation reputation as
rabble-rousers. Ranting Ranting frontman
Honor Honor Titus managed to take offence
at a drunken crowd member’s own
rantings, and dealt with it by issuing
a swift elbow to the the face. As all hell
broke loose and security invaded the
stage; the crowd broke into chants
of “Ballzy! Ballzy!” to the the time of
drummer Crazy Abe’s pounding bass
drum; the band cementing their dual
reputation as heroes and villains of
Liverpool Music Week.
After missing their stage slot in the
Mezzanine Bar, Bar, THE THE KAZIMIER KRUNK
BAND BAND weren’t weren’t to be be deterred, and
the impromptu impromptu conga conga that that snaked
through the corridors attested to their
wanderings to to find a new stage. As it
turned out, the foyer offered fantastic
acoustics for them, but the the guerrilla
gig lasted only a few minutes as a
steward arrived to break break up the the party,
barking something about about health and
safety rules.
Back off to The Jamaica Jamaica Room Room it
was then, to catch the the sensational
BETH JEANS HOUGHTON in in full kooky
and quirky flow. Sporting a small furry furry
animal as as a hat hat of which Lady Gaga
would have been proud, Houghton’s Houghton’s
pairing pairing of operatic vocals and folk
music was wholly impressive, and
we’re glad we caught it.
Probably the most eagerly
anticipated performance of the
Closing Party was that of OUTFIT, who
arrived safely despite the rumours
of them hurtling to the venue on a
motorbike. Aside from the volume
being slightly underwhelming, the
room was packed full of people
come to see Merseyside’s latest buzz
band, who even managed to get the
audience singing along and crowdsurfing
to closer and best single Two
Islands.
The CUC’s main rooms played
host to the festival’s big draws,
GHOSTPOET and and THE WHIP, who filled filled
the dingy dingy and industrial warehouse
setting of Venue 1 with all manner
of spectacular lighting lighting and lyrical
splendour. Ghostpoet’s Mercury-
nominated album Peanut Butter
Blues And Melancholy Jam formed
the basis of his grime-indebted
sparse dub set, while Greater
Mancunians The Whip branded their
particular blend of dance-punk on
some unsuspecting retinas.
Back out in the more open Venue 2,
THE PHANTOM BAND were knocking
the temperature down a few notches
with their swirling phantasmagoria
of sound. The Glaswegians revelled
in the bigger stage, with the ominous
portents from album The Wants
dominating the space.
As the crowds began to disperse,
the dance floor of Venue 2 seemed
to be be the only place holding a crowd.
The reason was DJ DEREK, DEREK, the cool
uncle we all wish we had, who was
dishing dishing out a lecture on on the finer
points of reggae and and R&B, between
Ghostpoet (Keith Ainsworth)