A wonderful night was had by all at the Rock n Roll Book Club earlier in February at the Dublin Castle. It is usually held on the first wednesday of every month run by Bugbear Promotions (Tony Gleed) and the very talented Julie Hamill who probed Pete Jones to within a plectrum of his life with a live interview. The evening also saw the debut appearance from Southdown Laundry Club who delivered two remarkably powerful pieces of poetry/soundscape work. Check it out. (Warning: Explicit language). It really was a hoot..comedy gold in fact.
Furthermore….. To round off a wonderful evening, The Rock N Roll Book Club band took to the stage! A special one-off performance starring Pete Jones, Leigh Heggarty (Ruts DC) Alan Galaxy (Ex-Department S) Andy Thompson (The Tuesday Club) Spizzenergi and his guitarist Luca Commencini, Eddie Roxy (Department S). They played a number of Public Image songs from the first two albums which sounded immense, sung by Andy Thompson. Spizz joined in for a very rough rendition of This Is Not a Love Song and Public Image. If only he had managed to remember the words it would have been ok! It was all done in good fun though and everyone had a laugh. To round the music off, Eddie Roxy got up to sing a couple of Department S songs – On My Own Again and of course, Is Vic There?
A great night was had by all. The audience was a star-studded affair; Duncan Reid, members of Spizzenergi’s band, Paul Simon from Pete’s old band Cowboys International and both members of Rogue Sector all came looking for free beer, to no avail! ha ha…
The only downside of the evening was that I managed to catch a massive wood splinter behind my finger nail which is now hanging off!…ouch!
I am thoroughly pleased to announce that I shall be appearing in person at the February 2020 Rock N Roll Book Club event, staged at the Dublin Castle in London’s Camden Town. I will be interviewed live by Julie Hamill talking about my new book, “They Call Me Joyless” and all things related to PiL, Department S, Brian Brain et al. followed by a one-off performance of an all-star band put together specially for the event. Tony Gleed will be spinning discs to keep the toes a tapping.
The Pete Jones Book Club All Star Rock Combo Band UK Ltd.
We will be performing mainly PiL material with some extra surprises and guests thrown in for good measure (and possibly thrown right out again!). We will be following the traditional Public Image Ltd. format in that there will be no rehearsals, set lists or song lengths agreed before hand. It could be a train wreck! but excitingly watchable nonetheless.
Tickets are only £6 and are available from www.wegottickets.com or £8 on the door (if it doesn’t sell out). Put the date in your diary; Weds 5th Feb 2020 7:30pm start.
I will soon be releasing a new track – Psycho Drill – taken from my forthcoming album Contrivances For The Soul on February 15th. This will be a digital-only release through my own J.A.M. UK record label. The album will be released through Plastichead and will be a limited edition vinyl release in a gatefold, numbered sleeve. It will also be available for digital download through the usual channels.
Psycho Drill Features the amazing guitar talents of Mr Leigh Heggarty who most people will know, plays for Ruts DC. He will also be joining Alvin Gibbs from The UK Subs for some live dates this year. My loveable friends Rogue Sector will be doing a remix of this track just as soon as they can make time in the studio… i’m looking forward ti hearing that!
The release date for my album has been pushed back to June due to a massive pressing backlog at Plastichead.
In other news, you may have seen the announcement that Department S guitarist Phil Thompson (now known as Phil Marx) has been offered the guitar slot for The Rezillos. I’m really pleased for Phil, he obviously impressed Fay and Eugene when we did some live dates with them last year. He is a perfect fit for the job and I’m sure he will do really well. The Rezillos are planning to record some new material this year and Phil will undoubtedly be at the heart of the songwriting process.
My book is still going through the laborious editing process. Since my decision to leave Department S in April this year, it has meant the last chapter or two of the book has to be rewritten to cover my reasons for leaving. Things are usually more complicated than they first appear and all will be become clear!
One thing is for sure, I’M NOT RETIRING!! I’ve got plenty to do going forwards and of course, I’m always on the lookout for interesting projects to get involved with.
After some discussions with the Department S management, I have decided to terminate by tenure with them a bit earlier than first expected. My original plan was to make the Department S Rebellion appearance in August my last show. The hometown gig at Harpenden on 5th April will now be my last gig.
The reasons for this are that the band have now found a replacement for me and as they are keen to get on and record a new single it would seem reasonable to hand over the bass playing duties sooner, rather than later.
So, I have only 4 more gigs to play with the band:
Come and join me if you can, be nice to see you before I go! It also mean I will have a bit of spare time through the summer to work on new activities, including studio work. If anyone has tracks that need mixing, give me a shout!
The new album has been a couple of years in the making from start to finish and been a bit of a slog but my new album ‘Contrivances for the Soul‘ is now finished. Set for release March 2019 it will be available as a limited edition, heavyweight and coloured vinyl in a lovely gatefold sleeve. Limited to 200 copies, they will be individually numbered and will surely become a rare collector’s item.
It’s a solo album in the truest sense of the word. I sing and play all the instruments apart from a guest guitar slot on one track by Leigh Heggarty from Ruts DC.
Check out this sampler of tracks from the album
I will post updates on the progress of cover design and pressing etc as well as the availability for ordering so keep in touch. Sign up to the Joyless Jones mailing list to receive email updates.
Next year is shaping up to be very busy with one thing or another and there will be a major announcement very soon!!
When I heard Martin Atkins was coming over to the UK from his Chicago home I was more than pleased. He was coming to present his ‘5 years in and out of PiL’ talk as part of his workshopping ideas for the forthcoming book he is planning. I made my way by train to Manchester to stay the night before he gave his talk at the wonderful Principal building in the town centre. Martin brought his son Ian over with him as his assistant and the three of us met in the hotel bar for a chat.
It’s always good fun meeting up with Martin, we spend most of our time trawling through the memory banks dredging up tales of early Brian Brain and PiL shows. He was suffering from chronic jet lag and was about to retire to bed when I told him it was only half-past eight and suggested it was far too early to go to bed. It was only a succession of double whisky and coke that kept us going till much later. I wish we had recorded the conversation because it was very funny.
His talk was at a ridiculously early 10 am the next day but luckily the venue was only a short walk from the hotel. It was an anecdote-filled hour-long talk with much humour and honesty and it gave Martin the opportunity to put a different side to events from that early eighties period of PiL history. Jeanette Lee was there which was rather nice to see, our paths never crossed when I was with PiL as she had elected to stay in England after John Lydon filmed the Cop Killer movie. She suggested we should all wear ‘I survived PiL’ badges. My eldest son came along too so it was a nice meet up for all of us.
The next day Martin was due to talk at the Islington in London. This time there was even more fun to be had. A drumkit had been arranged and I took my bass rig along to set up on the small Islington stage. The audience was all seated and this time Martin talked for over two and a half hours with some great musical interludes from the pair of us.
It was great to be playing on stage with Martin again after such a long time (35 years) the old magic was still there as we whistled through excerpts of Careering, Religion, Attack, Theme, Public Image and Poptones. We even managed a bit of Solitaire from the Commercial Zone album that we had written together back in 82 (that I was never credited for). I slipped in a bit of a Brian Brain bassline too, in the background while Martin was talking about the infamous 2nd USA tour where he ended up getting a good kicking by GG Allin.
When Martin finally publishes his book he is planning a return to the UK so I’m hoping we can meet up again and with a bit of planning, jam along to some more PiL stuff. The crowd seemed to enjoy it anyway. A fantastic weekend all round and if you get a chance to hear Martin’s talk on 5 years of PiL bullshit, please go, you won’t regret it. (especially if I’m there playing).
In other news… My solo album is finally finished and off to the mastering engineer Pete Maher for mastering. It’s to be called…
“Contrivances For the Soul”
It’s the final bit of the process that a lot of people don’t realise is so important. Not only will Pete prepare all the audio files for the manufacture of CD’s and vinyl, but he will also give the sound an extra polish with various studio trickery to make the songs sound like they fit together and are at equal loudness and tonality. Pete masters songs for just about everyone these days including U2 and you can hear songs he has worked on all over the radio, day in day out. Top top geezer. Release date is set for March 15th 2019 on Westworld.
If anyone would like access to the files for review purposes, let me know.
“It’s evenings like this that make it all worthwhile..”
The Centurion Club Somersham was the scene of a very unusual Department S gig at the weekend. We were asked to play in support of a charity event run by none other than Dave Greenfield and Baz Warne from The Stranglers. They have been holding this event for a number of years following the untimely death of local friend Rob Ashurst.
We arrived early in the afternoon heat, far too early for the soundcheck, so we grabbed a beer and a sarnie and settled down to watch the World Cup France v Argentina game.
Eventually, a PA of sorts turned up, as did a drum kit and various other bits and bobs of equipment that were needed and we set up. No sound check though, we had to pop down the road to Dave Greenfield’s house where his lovely wife Pam had prepared quiche and salad for us all, washed down with some nice cold prosecco. I spent some time admiring one of Dave’s Gold discs on his lounge wall, presented many moons ago for 400,000 sales in the UK for one of the Stranglers albums. Do you remember when there was a time when bands had decent record sales? What lovely warm and welcoming people, the Greenfield’s really are top notch. It was also our drummer’s wife Ruth’s birthday and some friends had baked a special Department S cake, very tasty it was too!
The venue was unbelievably hot but luckily, there was no stage lighting which was a blessing to be honest. Lighting was provided by a few fluorescent panels in the ceiling. We managed to find two spotlights but they were above the dartboards, and the idea of trying to point them at the stage wasn’t worth exploring. When The Stranglers All Stars took to the stage, the sell out crowd flooded in from the evening sunshine and were treated to a delightful delivery of Stranglers favourites and the crowd sang along with gusto (whoever he is).
There was a special guest for their final number “Heroes”, none other than our very own Department S guitarist, Phil Thompson. Baz had asked us earlier if he could come and join us on stage during our set to play Is Vic There? to which Phil cheekily replied, “Yeah, if I can join you to play “No More Heroes” Baz agreed and thus, Phil leapt up and played a blinding second guitar, duelling the solo with Baz with great aplomb. Phil has been playing this song for years in his punk covers band The Sugar Bullets so it was an easy job for him and he was made up that he had played Heroes with his heroes. A career high for sure.
Their set came to an abrupt end when, and I have never seen this before in 40 years, some idiot tried to deliver 6 pints of beer on a tray to the stage. I watched this chump fight his way through the crowd and try to put the tray on top of Phil’s effects pedal board. Of course, it was blindingly obvious what was going to happen and sure enough, the six pints fell off the tray and flood the pedals as well as the mains supply and blew a main fuse. All the electrics cut out and that was that.
It took a while for the stage to be mopped and the effects pedals to be emptied of beer and wiped down. The delay pedal was fucked, thanks for that, but time was passing and we were now late to start our set. It was pure chaos, but I loved it, it’s what makes a gig more interesting when these odd events occur, such fun.
We delivered our set to an enthusiastic crowd, Baz and Dave joined us for a noisy and sweaty rendition of Vic, Phil conducting them both for the breaks and endings. All done under the strangely flat florescent lights. What a night.The only downside was getting home, the A1M was shut and a stupid detour took us on a bonkers route back to where we started. After about 45 minutes driving we were 2 miles further from home than when we started. Throw in 2 stops for Eddie to have a piss and further closures on the M1 meant I didn’t get home till nearly 3am. That stock n roll life for you.
“The last time I heard PiL play live, I was playing with them…”
It was April 1983, it was my last PiL gig at Toad’s Place, New Haven. Shortly after that I handed in my 2 hr notice, got on a plane and came back home. I never spoke to John Lydon again.
So it was with some reticent interest then that I agreed to go to the 100 Club Wednesday night with my old mate Guy Jardine from Rebel In Print to see PiL play the the Fred Perry Subculture event. Pre-drinks at the Blue Posts then off to the 100 Club. It was a strange crowd, a lot of younger people than I expected who were obviously there by winning free tickets or connected with Fred Perry in some other way. The rest of the crowd was made up of old lags and punk die hards like me.
Some familiar faces were there; Spizz Energi (of course) with flashing teeth in place and Charlie Harper from the UK subs dropped in with his wife. The Department S merch man Martin Weedon had also managed to blag a ticket. So there was a cosy familiar atmosphere.
There was no support band, PiL were due to kick off at 9pm so there was a bit of hanging about, the band weren’t even in the building. The stage was set with drums to one side, John in the middle in front of the infamous pillar and a barrier of sorts had been erected using flight cases. The low stage had been deemed unsuitable to guarantee John’s safety apparently.
Just after nine, the band swept in down the back stairs, fronted by Rambo and 100 Club security, the crowd parting like the Red Sea as the great punk Lord himself swaggered to the stage. John was bedecked in a Chef’s outfit for the evening. An odd look, but John is never one to stick to convention. I did happen to notice though that he looked as if he’d eaten most of the food, being somewhat bulkier of frame than I remember (aren’t we all).
The sound was good, PiL launched into their opener ‘Warrior’ and the crowd lapped it up. The set was delivered efficiently, some songs sounded great ‘Memories’ and ‘The body’ sounded strong. All the parts were there but to me, something was amiss. Lou Edmonds seemed to be struggling a bit in places, he went through numerous guitar changes but didn’t seem to be on top of it. Perhaps that was just me. Things went downhill further when ‘Death Disco’ was delivered without any of its drama or menace. I guess John has sung it so many times it’s lost a bit of its edge. The rhythm section sounded a bit tame in places, but I mustn’t be too harsh comparing them to Martin Atkins and I who were of course, a formidable force.
John milked the crowd as per usual, even taking time at one point to berate a fan for not listening “Oi you fat cunt, stop talking, there’s a show going on here!” A classic line that prompted zero response from the embarrassed sycophant.
Rambo was prowling stage left, looking for trouble, and finding it from the most innocuous places; a camera too close, a fan leaning too far, you know, really dangerous situations.
The rest of the songs came and went, ‘Flowers of Romance’ with prerecorded drums didn’t really lift off and ‘This Is Not a Love Song’ plodded. Scott Firth adding to the bass parts with frills and trills that were interesting but unnecessary in my view. ‘Rise’ ended the set and was a good one to end on. The band departed. Some of the crowd mustered enough enthusiasm for an encore but mostly people stood around silently. The band remerged and launched into ‘Public Image’ and it sounded truly awful. I have never heard that song played so badly. Even when Keith Levene was at his worst he delivered the guitar parts to that song with much angst and ferocity. Lou Edmonds was well off the pace and I have no idea why because he is such a fine guitarist.
The encore ended with ‘Open Up’ and ‘Shoom’ and as the last lyrical echoes of “Fuck off, fuck off” rang through the crowd, they were off into the 100 club dressing room which is conveniently situated opposite the stage so another forced plough through the crowd led by Rambo took place.
After the show
I wanted to say hello to John, I wanted to close the circle by meeting him for the first time since 1983, just to see if we could be at peace. There was a bit of a wait before I was granted access during which time I grabbed a quick hello with Scott Firth and we briefly swapped bass playing notes about ‘Love Song’ but eventually I was allowed past the Rambo guard and given a very warm welcome by John who was sitting with his wife Nora.
We chatted for 15 minutes or so and John expressed his pleasure at me having taken the time to drop in to say hello, he seemed genuinely pleased I had done so. We quickly touched on how things were back in the 80’s and we both acknowledged where the problem lay back then, agreeing that we always got on well and never had any disagreements. We spoke about Keith, Martin and Maureen Baker. Rambo took A couple of pictures for me for the album before I said my goodbyes and with a sweaty hug from the man took off home.
That’s probably it with PiL for me, I can’t see me going to see them again unless I happen to be on the same bill! But I wouldn’t mind going one more time to see by comparison if this was a one off or what. I hope their new album is a scorcher, it needs to be.
All in all it was a fun night, always is when Spizz is around and I am happy to have finally met John, in peace and with respect.
“We always thought Maureen had no film in her camera, she was constantly taking a photo, on and off stage..”
A photo paints a gazillion words. During my all too brief spell in the PiL bass slot, Maureen Baker was a regular presence in the PiL camp. She always had a camera pressed against her face whether we were on stage or off. Constantly documenting that weird PiL chapter when the band were based in New York in 1982/3, Maureen took some extraordinary shots, capturing some powerful and illuminating images of all four of us.
I saw very few of these until about 10 years ago when Maureen made contact again and was willing to share what she had in her cupboard. Even now, I occasionally get sent a shot I’ve never seen before such as this one of me and Keith Levene taken in San Francisco.
I have no recollection of what it was that Keith and I found so funny, perhaps he was laughing at my hat, but it goes to show, perhaps it wasn’t all doom and gloom back then. But look at this next shot; again, not seen by me until this week. It seems to tell a different story?
I can’t remember where this was taken but I’m reliably informed that it was in Chicago and we were bored to tears it waiting for a TV crew to do their stuff. It seems to be at a soundcheck, and tells a different story. I don’t think I have ever seen a picture of myself looking more unhappy than here. But, I could be putting on a pose for the camera. We were constantly goofing about and if we knew the camera was on us would often ham it up.
You decide. Which is the real me? Answers on a postcard please…..
Maureen had an exceptional talent back then and with unprecedented access built up a wonderful collection of photos of that era. Her best work in my view are the candid shots when we weren’t aware of what she was doing, they should really be in a gallery or at least, in a book.