'If we drink we will die, and if we don't drink we will die...' (a.k.a. 'Lost In the Supermarket')

Four gigs in four days is always a good thing in my little world...

Thursday night saw a swift return to Sunningdale for Big Al Reed and The Blistering Buicks following our debut show at The Sunningdale Lounge a mere two weeks ago. I don't mind admitting that I wondered if this was all a bit too soon and therefore there wouldn't be too many people in attendance but I'm pleased to say that despite the rain there were plenty of people there. When I'm gigging elsewhere my good friend Pete Kerr deps for me, and we generally do shows together when we are both available - however he was working away so I found myself in the relatively-rare-these-days situation of being the 'only' guitarist (Al plays guitar on some numbers, but you know what I mean I think) which took me a few songs to get used to; still with Al on top form thing went well until 'Shakin' All Over' which went a bit wrong when Al managed to get his top E string caught under the pickup on his Gretsch causing him to go to the wrong part of the song. Still we recovered well, and a real one-off moment occurred when a young lady requested 'Brown Eyed Girl' - Al couldn't remember the words so said something like 'do you know this one Steve?' It turned out that Steve Brookes did indeed know it (albeit in the key of E rather than the more usual G) and sang it very well - I really must ask him about The Jam next time I see him... 

The next evening we found ourselves in the perhaps-unlikely setting of The Battle Of Britain Club in Uxbridge. The club is on what used to be The R.A.F. Camp (it's currently being redeveloped as a housing estate) which is also the site of The Battle Of Britain Bunker which I'm told is a very interesting place to visit. It's usually members only but when bands and / or events are on that rule is relaxed, and we played three 40 minute sets to an appreciative if somewhat small audience. With beer at well under £3 a pint I'm amazed that there weren't more people there - I'm considering joining myself!

On Saturday night The Upper Cut returned to The Halfway House in Rickmansworth for the first time since September 2011. That night my amplifier blew up (!) but this time I managed to get through the show without any problems aside from the guv'nor telling us to turn it down several times throughout the evening. We did our best but it's difficult to play the sort of music that we play at a low volume. Well, that's my excuse anyway... mind you that could be why my amp exploded! In the meantime bizarre displays of Cossack dancing took place only a couple of yards in front of us (cue 'I'll have a pint of what they've had' gags) so there were definitely a few lads that enjoyed what we did. Well, I guess they enjoyed it - perhaps it's time for a chorus or two of 'The Cossack Drinking Song'?

And yesterday The Upper Cut made a 5pm appearance in Colnbrook at Ye Olde George Inn. It being a Bank Holiday Weekend we were part of the 'Family Fun Day', and with live music also happening out in the garden we wondered whether we would be better playing outdoors rather than in the bar. Eventually it was decided that indoors was best, and our two sets were witnessed by a cheery assortment of locals (with the odd ex-girlfriend thrown in) amid much drinking, dancing and merriment. I suppose that's why they call it a fun day? This is a venue where they, as the old saying goes, 'pass the hat round' (in this case, my hat) as the band is finishing - I got the job of counting the coppers and was amused to find a supermarket trolley token among them - you know, those things you can use instead of a pound coin. What can this mean? Answers on a postcard please, usual address...

And today I've got 'White Men In Hammersmith Odeon' by The Clash playing in the background as I type this (The Clash really were brilliant weren't they? And this show is extraordinary, as this clip of 'Armagideon Time' shows) and with Ruts D.C. playing in Serbia this coming Friday there are strings to change and stuff to sort out for then. I've also got songs to learn for the next night when I'm playing at The 12 Bar Club (alongside Chris Pope and The Legendary Groovymen) with the astonishingly-named London Sewage Company - more news on that as and when I have it... oh, and Big Al and the band are in Colnbrook on Sunday afternoon, so it's another busy weekend in prospect. Good!

Soho A Go-Go

It's Easter Monday and I've got a day off. It's feels like a while since I had one of those. Perhaps it is? In fact I'm beginning to wonder if I ever actually have a day off - after all, I'm sitting here now doing this blogging lark, then I've got songs to learn this afternoon... mind you, it's not exactly hard compared to some work is it? You know like digging holes for a living? Hmmm... I'm rambling... maybe I really do need a day off...

More about that another day - Wednesday evening saw a charity night at Q Vardis in Cowley organised by John Jenkins who used to run the Sunday jam nights at The Swan in Iver. Big Al, Pete and myself performed a few songs with the house band in an evening with saw a partial reunion of Meal Ticket (with Steve Simpson sounding as great as ever) and much more besides. A most enjoyable evening raised several hundred pounds for cancer research, which can only be a good thing if you think about it.

Big Al Reed and The Blistering Buicks played The Sunningdale Lounge in (you've guessed it!) Sunningdale on Thursday followed by a gig at The King's Club on Canvey Island the following evening. The first show was a short notice affair confirmed only a few days before, and with Dave busy elsewhere Mac Poole once again depped on drums. I thought that we played well although maybe not quite up to the standard of recent shows, but everyone there seemed to love it, and Graham the guv'nor rebooked the band immediately. It's good when that happens! The next night saw the band venture into cabaret territory for the first time, with Joe Longthorne as the headline act. Chris (keyboards) and Terry (bass) were late and didn't arrive until our allotted stage time of 8pm - a frantic set-up meant that we were playing by 8.15. I wasn't sure if the band would work well in this sort of environment but as so often happens Al won the crowd over and the dance floor was all but full by the end of our first set. Al then did 20 minutes of comedy after which Joe Longthorne took to the stage. Singing over backing tracks he seemed to me to be a bit uncomfortable with proceedings, holding the microphone a long way from his face when he wasn't singing meaning that his between song patter was all but inaudible; this lead to quite a few complaints from people who couldn't hear what he was saying and I felt he lost the audience somewhat as a result. Very strange... still when we returned for our second set the dancing resumed almost immediately, and after Bill the compare had joined us for 'Kansas City' he sang several songs to bring the evening to a close. An interesting night - I've not done much cabaret! - which couldn't have been more different to the day and night that followed...

Record Store Day has been running since 2007 - it's held on the third Saturday in April and I believe it's pretty much a Worldwide event these days. In London festivities centre around Berwick Street in The West End, and this year an open air concert featuring Ruts D.C. among others was held on the junction of Berwick Street and D'Arblay Street. I arrived just as Edwyn Collins was beginning his set - with two acoustic guitarists either side of him he sat stage centre and got a good reaction from the rapidly-arriving crowd, with his closing song 'A Girl Like You' inciting smiles all round. Sadly I missed most of the Augustines set as Pablo (who was helping us with our equipment and generally co-ordinating our efforts on the day) and myself attempted to gain entry to Sister Ray Records where we were due to store our equipment until it was time for our show. The queue to get in stretched around the corner and they were operating a 'one out, one in' door policy as there were so many people about - we eventually managed to get Phil the boss to come to the door who let us in and showed us to the basement where we could leave our gear until showtime. By now a large crowd had gathered in anticipation of Adam Ant's appearance, and he certainly didn't disappoint them. Performing as a duo with his guitarist he played 'Get It On', 'No Fun' and 'Shakin' All Over' to the raucous approval of all concerned, as well as several old Adam & The Ants songs ('Never Trust A Man With Egg On His Face' sounded particularly good to me) and they left the stage to rapturous applause. September Girls were up next, I saw a couple of songs before getting some food and meeting Segs at The Ship. From there we went to meet up with Dave at The Blue Posts where a green room was available for the bands; at 5.30 it was action stations with myself and Pablo retrieving our gear from Sister Ray, Nick making his way to the mixing desk and Segs, Dave and myself setting our gear up while DJ Andy Smith entertained the crowd with the help of some very good rock 'n' roll dancers on the front of the stage. As our 6pm stage time approached I looked out at the crowd - there were people everywhere. This was going to be brilliant. In my romantic (ok, over-romantic) way I mused on the area - The Marquee Club used to be just around the corner in Wardour Street, where everyone from Jimi Hendrix to The Who, Led Zeppelin to The Sex Pistols and indeed The Ruts played. They would all have walked along here, drank in The Ship and The Blue Posts - this was indeed going to be brilliant. And, my friends, I'm pleased to say that was indeed just that - brilliant. With Molara away elsewhere we'd mused long and loud on which songs would work best played as a three-piece but as we kicked off with 'Whatever We Do' I don't mind admitting that I had a moment of doubt - had we got it right? Thirty-odd minutes later and with deafening applause ringing in our ears we know - knew! - that we had. It was a great show, a real pleasure to play from start to finish. To use the same line that I used earlier, it's great when that happens... afterwards there are hands to shake, records for Dave and Segs to sign, photos to be in and more smiling faces that I can remember seeing for a very long time. We even signed a ten pound note for one person - strange but true. Great stuff!
After we'd but our gear back in the Sister Ray basement we all went to The Green Man for a drink or two - but the clock was ticking as we were due to go to The Hammersmith Odeon (or Apollo or whatever the hell it's called these days!) to see Adam And The Ants. Dave and co. left early, I hung on a while drinking and chatting - when I arrived at the venue the queue to get in seemed to go on forever. Surely they won't get everybody in before 9 o'clock? And sure enough they didn't - I walked through into the packed stalls just as 'Car Trouble' started and there were still a lot of very disgruntled people outside who would miss much of the 'Dirk Wears White Sox' section of the show. I thought the band sounded good (once again 'Never Trust A Man With Egg On His Face' was something of a highlight - I must really like that song!) and the old punks around me seemed to agree. As the feel of the show changed and they moved onto the later poppier material the old punks began finding their way out to the foyer bar rather than watching the show - and that of course included me or else I wouldn't know just how full the bar had become... still the closing number 'You're So Physical' sounded brilliant to my ears, and I have to say that Mr. Ant is a great performer - people are rarely as successful as he's been by accident are they?

And the weekend didn't end there for your humble narrator - after listening to Liverpool beat Norwich on the radio (yes, I'm that old!) I journeyed back up to The West End where in contrast to the sunshine of the previous day it was pouring with rain. I trudged down Berwick Street to Sister Ray - it couldn't have looked more different to how it looked the last time I was there. What a difference a day makes eh? I collected my guitar and effect pedals and walked the short distance to The 100 Club where Back To Zero were appearing at The Groovy Easter Eggtravaganza with The Sha La La's, Chris Pope and The Legendary Groovymen. I arrived to find the front doors locked - a call to Andy the drummer revealed that we had to get in through the backdoor in Berners Place. I arrived just in time to hear the last minute or so of The LGM's soundcheck 'You Need Wheels' - as I said hello to the rest of the band I realised that I was absolutely soaked. Bah! Still we set up and soundchecked in no time, after which Johnny Squirrel and myself walked down to Eat to, er, eat (!) before returning to the venue 15 minutes early for our half past six stage time. I'd not had chance to rehearse with the band (they'd got together without me on Wednesday evening) so I'd revised the material on my own, and despite the odd wrong turning I got through our set reasonably unscathed. Once again, it's good when that happens... and all the other bands played well too, making it a good night all round - but I'm feeling tired today. Maybe I really do need a day off? Happy Easter indeed.

Quo vadis?

I'd made enough of a recovery from the dreaded food poisoning by Tuesday to journey to Guildford to see The Stranglers supported by Nine Below Zero at G-Live. Nine Below Zero sounded pretty much how they sounded when I saw them in Watford before Christmas i.e. excellent if a little slower than I remember them sounding back in the day. Dennis Greaves still plays the cheeky chappie persona well, and remains an underrated singer and guitarist. I don't think I can recall seeing him play a Telecaster before although it sounded good to me, and I was close enough to the stage to hear him telling the band off a couple of times when they made mistakes - clearly not a cheeky chappie all the time then! Meanwhile The Stranglers were celebrating their 40th year as a band with a two hour long set that (I'm told) included at least one song from each of their 17 albums and which featured a three song-long mid-set appearance from veteran drummer Jet Black, which I believe is a rare occurrence these days. The audience seemed somewhat subdued until he began 'Golden Brown'; after 'Always The Sun' and 'Genetix' he left the stage to tumultuous applause after which the audience then seemed to me at least to return to their subdued selves. Strange - mind you I don't think I was the only person there that found the four screens suspended above the band to be something of a distraction during some songs. Still by the time we got to 'Five Minutes' and 'Hanging Around' things were getting a bit more lively, and the final encore of 'Tank' bought the proverbial house down. A good evening.

Friday Big Al Reed and The Blistering Buicks returned to The Crown in Cowley for the first time since Christmas Eve. That was a suitably noisy evening, this was rather quieter both in terms of audience numbers and band volume. We'd heard that there had been a few complaints from neighbours so both Pete and myself decided to take smaller amplifiers in an attempt to keep the noise down, and it certainly seemed to work as there were no complaints this time. Well, not to our faces anyway! When you play quieter than usual it can sometimes lead to a scrappy performance due to people not being able to play 'properly', and while there was the odd wrong turning here and there overall it was a good gig. We could have done with a few more people there though - I'm told that when the band played without me the next night several hundred yards down the road at The Three Steps it was an altogether more raucous affair. I was at The Brunswick in Hove playing a Teenage Cancer Trust benefit show with Back To Zero. We arrived just in time to miss Robby Allen And the Kite Collectors - a shame since I really enjoyed them when we played with them in Stoke back in February although I did manage to by their (excellent) album 'Mildred's Room'; I did manage to catch most of The Hiwatts's set of mod and mod-related covers before going off in search of food. The Legendary Groovymen, The Loop, The SuperMinx70 and The Past Tense all delivered strong sets, but sadly by the time we went on things were running a bit late and we were obliged to not only cut our set down but also finish before we were due to play 'Your Side Of Heaven', a situation which left some audience members somewhat disgruntled. I must admit it was all a bit frustrating in the end from our point of view, but hopefully they managed to raise some money for a very worthwhile cause. 

On Sunday afternoon I accompanied Big Al Reed in his 1959 Cadillac (!) to The Sportsman in Croxley Green for a jam session that featured among others High Voltage, some Swedish friends of Good Old Boys guitarist Pete Parks - I believe he goes out there and plays several times a year and organises shows over here for them in return. When we arrived High Voltage were roaring through an AC/DC song or two, and sounding very good indeed; later Al and I joined Pete on guitar, Bill on bass and the drummer from High Voltage (I can't remember his name! Sorry!) to play 'Peter Gunn' and 'Why Why Me', and jolly good fun it was too. 

If you're my age you've got to like Status Quo, or at the very least have a soft spot for them. Well I think that you have - I can remember seeing them on 'Top Of The Pops' when I was a lad playing songs like 'Caroline' and 'Down Down' and thinking that this rock 'n' roll lark looked like a pretty good thing to be involved in. Even my mum and dad liked them. With this in mind a chance to see the original line-up (the so-called 'Frantic Four') at The Hammersmith Odeon (or whatever the hell it's called these days!) seemed like too good an opportunity to miss, not least because the mighty Wilko Johnson was supporting. He sounded as great as ever - actually he sounded even greater than ever, with his 45 minute set going down so well that he could perhaps have played an encore. Everyone seems to love Wilko these days - as we all know his profile has been higher than ever since he was diagnosed with terminal cancer, and let's hope he continues to play for a very long time yet. And what can I say about Status Quo that hasn't already been said? Terms like 'industry standard' don't cover it - they sounded, well, exactly like Status Quo should sound, with Rick Parfitt's rhythm playing remaining one of the touchstones of British rock'n'roll guitar and the band reminding everyone present why they liked them in the first place. There could have been a few more hits (I believe the set was based around the 'Live!' album) but I think the current line-up plays them so I guess this was a night for diehards and old fans rather than followers of the chart material. But however you look at it they sounded great - and I imagine that they always did. There are some things in life that you can rely upon, and I'd say that Status Quo are one of them. And that's alright don't you think?

Killing in the name of...

No gigs with the guitar yet this year for your humble narrator, so it's time to do some watching rather than playing - which reminds me, my old mate and ex - Sounds scribe Andy Peart is involved in putting on a show next week in Kentish Town. Details are here, or at least as far as I know they are - I called him the other night to check I had all the information only to be told that he was watching the football on T.V. and so wouldn't come to the phone; let's hope there's nothing good on telly next Friday eh?

There wasn't a guitar in sight (for once!) on Monday night when the long-suffering Shirley and myself went to see 'The 39 Steps' at The Criterion Theatre in Piccadilly Circus. Based (rather loosely in places!) on the book by John Buchan it features 4 actors playing over 100 parts (I didn't count them but that's what it says on the poster!) and was brilliant, one of the best things I've seen in ages. It's very funny, very clever, and I won't say too much more as it'll ruin it for you if you're going to see it - suffice to say that if you're thinking of going along then you're unlikely to be disappointed. Excellent!

Lots and lots of guitars (which redresses the balance nicely!) last night at The Hammersmith Apollo for A Concert For Killing Cancer, a benefit show in aid of Photodynamic Therapy (P.D.T.). The first half of a roaringly good evening saw acoustic performances from Richard Ashcroft, Roger Daltery and Bryan Adams - Ashcroft solo, Daltery with a band that included Simon Townshend, Jody Linscott and Danny Thompson, and Adams solo with a bit of help from a member of the audience who had recently benefited from P.D.T. - while the second half saw sets from Jeff Beck and Debbie Harry (backed by The Who minus Daltrey and Townshend) before The Who took over. Highlights were many and varied - no one played badly although Ms. Harry's songs could have been better rehearsed - and The Who's C.S.I. - tastic 3 songs had a lot more energy about them than last year's Albert Hall show. Jeff Beck was as astonishing as ever (a strong version of 'A Day In The Life' and a version of 'I'm A Man' with Daltrey were particularly good) and the last-song-of-the-evening jam on 'Join Together' was a good way to end things, as this clip shows. A fine evening, at the end of which it was announced that the show raised 'between 160 and 180 thousand pounds' which will go towards funding research and treatment - good news of course, but that's a fraction of the money that's going to be wasted on this year's Royal wedding, money that we as taxpayers will be liable for. Am I the only person that thinks that's wrong? No, I thought not. So what shall 'we' do about it? What can 'we' do about it? Answers on a postcard please, usual address...

Hard to beat

So - Iggy and The Stooges play their seminal album 'Raw Power' plus assorted tracks from their back catalogue at The Hammersmith Apollo. Do I think :-

(a) that it's one of the greatest things that I'm ever going to see and drone on and on about things like 'the power of rock 'n' roll' before eventually descending into the usual over-emotional pretentious nonsense that I normally get sucked into at times like these?

OR

(b) that they're a bunch of talentless chancers that shouldn't ever have made it out of the rehearsal room let alone to the stage of such a prestigious London venue, and then damn them all to hell for contributing to the destruction of 'decent' music like early '70's prog rock?

Well obviously the answer is (a) or something like it - but why?

When I first heard of Iggy Pop you couldn't actually hear Iggy Pop; pretty much every punk band name checked him and The Stooges as a major influence along with other near-mythical names like The New York Dolls and The MC5 and some even played their songs, but their records had only sold in very small numbers and were long since deleted (the same criteria applied to The Dolls and MC5) so there was no way of actually hearing anything by them. I remember Iggy teaming up with David Bowie to record 'The Idiot' and 'Lust For Life', both of which I heard and enjoyed although they didn't sound anything like the way people described The Stooges sounding; when I eventually got to hear them I realised that nothing - nothing! - actually sounded like The Stooges. You could hear how they'd influenced the likes of The Sex Pistols and The Damned (who respectively covered 'No Fun' and '1970') but you could only wonder how their primal riffing had sounded to people at the time of it's release, when self-obsessed naval-gazing 'musos' seemed to be more concerned with playing in an unusual time signature and singing a song about goblins than doing anything that might actually be relevant to what was happening in the real world, all the while looking down their noses at anyone who dared to suggest that what they were doing might be soulless and, let's face it, boring. Meanwhile Iggy and co. rallied the soon-to-be punk foot soldiers for the fight that lay ahead of them as when all else failed there was always The Stooges, the world's forgotten boys or as Iggy himself later put it, 'the band that never bit the weenie'.

Eventually it seemed like the whole world caught up with Iggy, who went on to have great solo success and to star in the odd (very odd!) insurance advert... and everyone caught up with The Stooges too as they reunited the best part of 30 years after they split up to perform and record together again - and of course people everywhere came out of the woodwork to say that they were the greatest, most influential rock 'n' roll band ever, that 'Fun House' is the best album ever released, that Iggy is the greatest front man of all time... yeah right, they'd have sold millions of albums and played in stadiums if that was true wouldn't they? Or would they? Leaving aside the fact that many of the people saying that they'd liked them all along actually had liked them all along (for example I spotted Nick Cave, Bobby Gillespie and Jarvis Cocker in the bar, all of whom are long-standing Stooges disciples) I personally think that bands like The Stooges remain outside of the mainstream for the very reasons that they were never there in the first place, there are just more people able to find them these days - and of course in The Stooges case Iggy's popularity hasn't exactly harmed their chances of reaching a wider audience. And anyway, The Stooges are one of the greatest, most influential rock 'n' roll bands of all time - right?

Last night support came from Suicide whose pulsing synthesiser drones and half-spoken vocal rants probably sounded even less palatable when they emerged in the early '70's that The Stooges had in the '60's. Frontman Alan Vega seemed to be having trouble with the smoking ban whilst keyboardist Martin Rev presided over a wall of throbbing noise whilst wearing a neon lit headband; as far as I could tell they played their first album through although I'm not sure how much difference the material made as the overall effect was akin to having someone tapping your entire body for 30-odd minutes whilst you're watching a strobe light, although it was actually much better than that description might imply. Probably.

9.30 and from nowhere The Stooges are on the stage and we're into 'Raw Power' almost before you can say 'that looks like Iggy Pop over there'. Guitarist James Williamson (replacing the sadly deceased Ron Asheton) looks like a rich bloke who's bought himself some nice guitars and amplifiers (probably because he is and he has!) but sounds like, as Johnny Marr brilliantly put it, 'how you would imagine Darth Vader would sound if he was in a a band'. Mike Watt and Scott Asheton hammer the bass and drums home, Steve Mackay adds the jazzy bits on the saxophone and Iggy, the street walkin' cheetah himself, spends almost as much time in the audience as on the stage and redefines the word 'hero' in the process. They play the Raw Power album through and it still sounds like nothing and no one else, just as 'Fun House' did in the very same venue 5 years ago; they follow it with 'I Wanna Be Your Dog', '1970', 'I Got A Right', 'Kill City', songs that sounded so out of place when they were first released - should that be unleashed? - all those years ago but now sound like the very definition of punk rock in all it's gory glory and in the process show why they were right all along. There are rock 'n' roll songs as good as 'Search And Destroy' but if there are any better then I can't think of them just at the moment, and if there's a more chilling line in the whole of popular music than 'there's nothing left alive but a pair of glassy eyes' (from 'Gimme Danger' in case you were wondering) then I've yet to hear it. Idiotically loud and intense from start to finish, it's among the best live performances that I or indeed anybody present will ever witness. That's how good it was, and that's how good rock 'n' roll can be. I'll stop now before I run out of superlatives. There - is that over-emotional and pretentious enough for you?

And, maybe best of all, no goblins were harmed before, during or after the performance.

'Down in the city, just Hoople and me...'

I remember seeing Mott The Hoople on Top Of The Pops in their mid-'70's heyday- I liked the music and I always thought that they looked... cocky if you know what I mean. I thought they were great. And I remember looking at the cover of their album 'The Hoople' for ages one day in a shop in Uxbridge trying to decide whether or not I could afford to buy it or not, after all I liked the singles but didn't know all the other tracks on it and what if it's terrible and I don't like it, 'though I liked the cover but you can't buy an album just because it looks nice can you? After all they're expensive compared to singles, and anyway there's a new T.Rex album out and if I'm going to buy anything it should really be that one shouldn't it? Oh I don't know- if only I could get them both, and all the other albums that I've been looking at today...

Nothing's changed- I still spend ages in record shops (when I can find them!) wondering what I can afford to buy. Isn't there a saying, something like 'show me the boy and I'll show you the man'?

They'd finished long before I'd started going to gigs so I didn't get chance to see them although when I was in The Flame we supported Ian Hunter one memorable night in the mid-'90's; they've just reformed for 5 shows at The Hammersmith Apollo (it's the Hammersmith Odeon!) where I saw them play last night, and very good they were too. In the entrance hall before the show familiar faces were everywhere- Bobby Gillespie, Paul Simonon, legendary Mott fan Mick Jones, all testament to the band's influence on subsequent rock musicians, and the air was heavy with anticipation. Original drummer Dale Griffin was reportedly too ill to play (although he came out for the encores,) but with Martin Chambers behind the kit they looked as cocky as ever and sounded a lot better than many thought they had any right to. The older album tracks kept the audience waiting for the singles for over an hour before Hunter sat at the keyboards and led the way into 'The Golden Age Of Rock'n'Roll', 'Honaloochie Boogie' and 'All The Way From Memphis'- judging by the reaction all were well worth waiting for- with encores of 'Roll Away The Stone' and the inevitable 'All The Young Dudes' (a rumoured appearance by David Bowie didn't happen sadly) upped the hysteria level before 'Saturday's Gigs' sent us all home happy. A fine show.