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Mean Cat Daddies (the)

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Mean Cat Daddies
Mean Cat Daddies
Mean Cat Daddies

The Mean Cat Daddies – Ghost of your Love

Nervous Records NERDCD 079 [1994]

Sally-Ann – Sign Of The Times – (She’s) Just A Memory – Why Do I Cry? – Drivin’ All Night – I Can Tell – Decision Time – Tell Me – Am I The One? – Ghost Of Your Love – Midnight Cruise – Losing Game – Waitin’ For You – This Is The End

The Mean Cat Daddies were a Rockabilly quartet from the North West of England; They took their name from Harold Jackson’s song of the same name.

They released their one album titled “Ghost of your love” on Nervous Records in 1994. The Mean Cat Daddies were Tony Huyton on vocals and acoustic guitar, Andy Bolton on lead guitar, Gary Maguire on double bass and Johnny Gribbin on drums.

The opening track is a solid modern Rockabilly tune. The next song shows a strong Buddy Holly influence to it complete with the appropriate drum pattern and a bit of Joe Meek production. “Sign of the Time” is a very interesting number, being a Rockabilly number with a social comment about the difficulty of finding a job in Great Britain. “Why Do I Cry” is another highly melodic song with strong double bass and a bit of country and western influence. “I Can Tell,” the sole cover of the album is pretty good. Andy Bolton sings both “Decision Time” a very modern song, and “Am I the One” that brings a touch of blues with slide guitar.

They sure know how to write melodic tunes as prove “Tell Me.” In a similar vein, you’ll find and the title track. It’s described by Roy Williams of Nervous Records as a song that “would have worked well in a French art-sex film of the mid-Sixties.” Why not, Roy? They’re also more than able to rock, with the hard-hitting Rockabilly of “Midnight Cruise.”
“Losing Game” is more classic Rockabilly with powerful slap bass while “Waitin’ for You” is another highlight sounding like Johnny Cash meets Chris Isaak.
It’s too bad that the Mean Cat Daddies only released this one album. They knew how to craft highly melodic songs and were very originals.

Fred “Virgil” Turgis

Mean Cat Daddies
Mean Cat Daddies

Nervous Fellas (the)

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Nervous Fellas - Born to be Wild - Nervous
Nervous Fellas – Born to be Wild – Nervous

The Nervous Fellas – Born to be Wild!

Nervous Records NERD056 [1990]
Real Gone Lover – Finally Met My Baby – Jealous Heart – I’ll Be Sorry – Get Outta this Town – Until You Came Home – Mon-Eyed – Born To Be Wild – Gimme Somethin’ Strong – Dateless Night – Evil Ways – Don’t Bug Me

This Vancouver quartet born out of the ashes of the Rockin’ Edsels and once featuring Ronnie Hayward on double bass released this album on Nervous records in 1990. The line-up at this time was Shaun Butch Murphy on Vocals, Mark Weldon on guitar, Pete Turland on doghouse bass and John Decan on drums. This is a very good and varied album, comparable in style to the Paladins, mixing powerful rockabilly (Real Gone Lover, Steppenwolf’s Born To Be Wild), Jumpin’ Rockabilly (Get Outta This Town, Jealous Heart, Until You Come Home, Dateless Night), heavy Blues (Finally Met My Baby, I’ll Be Sorry with tons of slide guitar), and some country tinged stuff (Evil Ways).
Though it’s never been reissued on cd, it’s possible to download it legally on musical platforms via Nervous.

Fred “Virgil” Turgis

Nervous Fellas

Three Blue Teardrops

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Three Blue Teardrops – Ballin’ Jack/Morbid Teenage Love Song

Three Blue Teardrops

Swelltune Records SR45-004 [2018]

At last some new music by Three Blue Teardrops!

Dave Sisson, Randy Sabo and Rick Uppling are back with a brand new single recorded at Hi-Style studios.

Side A is a hot jiver that benefits of the addition of a saxophone and features a mean and superb solo.

B-side is even better. Imagine a sad rockabilly ballad with female backing vocals produced by Shadow Morton. I was almost expecting to hear car crash sound effects in the middle of the song.

Buy it at Swelltune records.

Fred “Virgil” Turgis

Three Blue Teardrops - Rustbelt Trio
Three Blue Teardrops – Rustbelt Trio

Three Blue Teardrops – Rustbelt Trio


A-OK – Shocked – Lincoln ’59 – Alone At Last – Headin’ For Disaster – American Way – Hard-Boiled – Little Lovely – Lord Send Me An Angel – Damage Control – The Dead Know Nothing – I still Dream Of You – I’m Still Standin’ Here
The fourth album relased by Three Blue Teardrops, more than 10 years after their debut release ‘One Part Fist” on the legendary British label Nervous Records. I’m a huge fan of Alan Wilson’s work as a musician (The Sharks) or as a producer (Frantic Flintstones, Gazmen, Colbert Hamilton…) but I was a little disappointed by his production on “One Part Fist”. I think he tried to give some kind of English psychobilly sound to a 100% American band which didn’t really fit them. The two following albums are now very hard to find but are more reflective of what their true sound is. So is “Rustbelt Trio” produced and released by the band. Here you have a real wild rocking and stomping modern rockabilly album made of 13 songs (all band’s originals, half written by guitarist Dave Sisson and the other half by upright bassist Rick Uppling). One of their best quality is to be able to mix genres, adding traditional vocals harmonies on heavy rockers, or enhance what could be a classic hot rod song (Lincoln 49) with a fine and swing drumbeat. Harmonies and superb brushed snare can also be found on “Alone At Last”, a teenagers’ song with a modern edge. The sound hardens a bit on “Headin’ For Disaster”, which talks about alcoholism and self destruct (Stayin’ out late at the beer joints, poppin’ pills and livin’ hard / Drivin’ too fast on the highway, slow at work and feelin’ tired / You’re lookin’ older everyday you spend gettin’ bent / But pretty soon this gift you got is going to be spent). “American Way” is a true heavy rockabilly or psychobilly (call it whatever you want) song which shouldn’t be out of place in The Quakes repertory. Nice! Changing the mood a bit, “Lord Send Me An Angel” is what you can expect with a title like that, a fine ballad with just the guitar and a very light snare, and once again traditional harmonies on the chorus. And right after this calm and peaceful moment they rush into the wild “Damage Control”. Another change of tempo comes with “The Dead Know Nothing” a western ballad with Mexican trumpets, gunshots and percussions ala Ennio Morricone. An Everly Brothers influence can be heard on “I Still Dream Of You”, and the album ends with “I’m Standin’ Here”, dedicated to Stiff Little Fingers’ Jake Burns, but the message is clear and can apply to Dave, Rick and Randy. It’s very good to see the band back in action, with a all-killer/no-filler album. With the new interest toward psychobilly in the USA, it would be more than justice to find them, who were among the first with The Quakes to play that music in America, achieving the same level of success The Reverend Horton Heat did.
Fred “Virgil” Turgis

The Nitros (neo-rockabilly)

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Nitros

nitros_480The Nitros

Early Years

The Nitros story begins in 1984 when Mark Swain (double bass) and his cousin Jon Attril (drums) recruit John O’Malley “I met the band when I answered an advert in Melody Maker. Mark & Jon had advertised for a Rockabilly guitarist so I went along to the audition. It was at Mark’s house in Tottenham, North London. I’d been in bands since about the age of 12 but this was my first Rockabilly band with a proper stand up bass, I was about 15 at the time”.
O’Malley gets the place and the band begins to rehearse with its singer Gary Pudney. For the first time on stage together, they open for The Guana Batz but after a few gigs Pudney quits the band. He’ll resurface in The Griswalds, still as a lead singer. “I didn’t think he was right for the sound we were trying to get. He probably suited more of the Psychobilly sound when we wanted to be like Restless or the Blue Cats.” remembers O’Malley.
The remaining trio doesn’t look for a new singer and decides to carry on with O’Malley taking over the vocals duties. They record “Destruction Road” for Fury Records and “Taxi Cab” and “Echoes Of Love” for Katz Keep Rocking. In 1988 the band releases “Nightshades” their debut mini-lp on Link in the “Chuck Flintstone presents” collection. Mixing fast rockabilly tunes with O’Malley’s inventive and jazzy riffs and a bit of blues, this album is a true masterpiece. The ability of each of them to write originals gives this 8 songs lp plenty of diversity to please the listener like the bluesy “Well Now Baby”, the darker “Misery” and of course plenty of neo-rockabilly, all wrapped up with O’Malley’s inventive and impressive riffs, this album is a true masterpiece.
Sadly this line up doesn’t last long and this first incarnation of the Nitros splits in the late 80’s. “Jon wanted to leave as he had a few personal problems and Mark was losing interest so things just went down hill.” explains the singer “It was good while it lasted and we did quite few good gigs and released Nightshades so it wasn’t all in vain.” Mark will later form the pornabilly (sic) band “The Shocking Truth where he can still be found today.

Second line-up

That doesn’t stop O’Malley who keeps the name and the band going, this time with Gary “Gaz” Day on double bass formerly of The Mysterons and The Frantic Flintstones. They tried two or three drummers that didn’t fit the band, so Gaz called Rich Taylor “It went well so I got the job” . “When I got together with Gary and Rich it was like a whole fresh approach to what we were doing, they were more into the scene and the atmosphere in the band was better, it was more fun. Gary was and still is a great bass player and very enthusiastic towards what we were doing so the sound just got better” recalls O’Malley. The new Nitros secured a contract with the Sun records of modern Rockabilly, Roy Williams’ Nervous Records and go to the studio to record their second album, “Stompin’ Beat”, in 1990. This one features some great moments like “Devil’s Ship” or “Swingsville” a jazzy instrumental that shows O’Malley’s rich influences “I’ve always liked Brian Setzer, he’s great. I started off liking all the usual rock’n’roll guitarist like Cliff Gallup, Franny Beecher, Danny Cedrone and Scotty Moore, they still sound good today. As I’ve gotten older my tastes have widened and yes, I listen to a lot of Django , Oscar Moore and Danny Gatton to try to take some of there style. But my all time hero is Jimmy Bryant, he was so fast and clean, absolutely amazing without a doubt.” In his capable hands this mix is… well, explosive.
The choice of the covers is also particularly judicious with songs from The Polecats, The Beatles and Queen. And if “Stompin’ Beat” doesn’t have the freshness and the exuberance of “Nightshades” it benefits from a tighter rhythm section. But to achieve such a great result hasn’t been easy “Stomping Beat was especially a bit of a nightmare, the engineer was always stoned and couldn’t get anything done, in the end we had to get Pete Gage to take over and mix it, he kind of saved it.” Taylor completes “He was always looking for drugs, so we ended up trying to mix the L.p ourselves. Roy was not happy and we got Pete Gage to mix it.”
Around the end of 1991, John O’Malley was also a member of “Rabbit Action” featuring Phil Connor from the psychobilly band Skitzo on vocals, Mickey Wigfall on bass, and Paul Moxon on drums. “I’d known Phil from the early days of the Nitros, we used to be on the same bill together a lot and we became good friends. Phil is a great guy and I’d love to run into him again.” The band stayed together for a short while “but it just fizzled out”. In 1990 Gary went back to The Frantic Flintstones and brought Rich with him. Together they played on “Cuttin A Fine Line” (Rumble Records) and later “Jamboree” (Anagram). During this sessions, produced by Alan Wilson, Day suggested to reform The Sharks. He was drafted in on bass and recorded “Recreationnal Killer” in 1993. He also debuted his partnership with famous popstar Morrissey.

Colbert Hamilton

Still in 1993 the Nitros released its third LP on Day’s short lived label Rockout : “Something’s Gotta Give”. Another very good one, with Boz Boorer (Polecats and many others) in the producer’s seat. Mostly self written with the exception of Wayne Walker’s All I Can Do Is Cry and Bobby Roberts’Big Sandy this one goes from wild rockabilly to the jazzy “Midnight Special”. A guest singer is also present on four songs “Chris Harvey was with the band for about six months. A great singer but didn’t seem to fit in with our sense of humour. I haven’t seen him since he left the band, maybe he went back to Scotland.”.
The same year they backed Colbert Hamilton, the Black Elvis, on “Still Taggin’ Along”. “We met Colbert when he used to work in Kensington market. We had seen him perform before and thought he was great. We approached him and found out he wasn’t with any band at the time so we got him in and it went from there. Colbert is an amazing singer and front man, he really knows how to put on a show. The two CDs we did together were cool, he had a load of his old songs he’d never recorded and I’d written a bunch of songs so we put them all together and out came the 2 CDs”. O’Malley has very fond memories of the Japan tour backing Hamilton “It was great and we were treated really well, the crowds were just so into what we were doing, I remember me and Rich walking down the town and young Rockabilly kids stopping us to sign pictures and take our photo… Cool.”
In 1994, the band and Hamilton returned to Nervous to release Hamilton’s third lp “Wild At Heart” produced by Alan Wilson (The Sharks) and featuring covers of The Reverend Horton Heat and Thin Lizzy.(Hamilton collaborated with Phil Lynott). For Taylor and O’Malley “Wild at heart is the best one, I wouldn’t change a thing about that one”

The Nitros never officially disbanded but each of them got involved in other projects. Taylor played with Paul Ansell’s N°9,  The Caravans, The Playboys and The Crazy Crocodiles. He also had a project with Dibbs Preston (The Rockats) called The Leopardmen. Day was busy with his own band The Gazmen, The Caravans and of course as bassist with Morrissey.
O’Malley joined the heavy touring band “Good Rockin’ Tonight”. They released numerous albums and his sparkling guitar can still be heard with them today. He also formed The Poker Dots in Spring 2002 with Zac Zdravkovic and Spencer Lingwood, a band inspired by The Platters, The Crew Cuts with a bit of Nat King Cole here and there.
When he thinks about his days in The Nitros, O’Malley says : “It was good fun and I’m glad I was a part of it. ” 

“Something Gotta Give” is now out of print (sadly) but Nigthshades and Stompin’ Beat have been released on the same cd in 2009 by Cherry Red /Anagram. With three bonus tracks and a booklet full of rare photos, this is a must have.
If mp3’s are more your thing, Stompin’ Beat, Wild At Heart (with Colbert Halmiton) and the songs from Outrage vol 1 and 2 are available.

The Nitros
The Nitros (John O’Malley, Rich Taylor and Gary Day)

  • Albums
    Nightshades – Link MLP 062
    Stompin’ Beat – Nervous Nerd049
    Something’s Gotta Give – Rockout Nit001
    Nightshades/Stompin’ Beat CDM Psycho 78
  • with Colbert Hamilton
    Cadillac Baby– Vinyl Japan JRT02
    Still Taggin’ Along – Vinyl Japan JRCD05
    Wild At Heart– Nervous Nerd076
  • Compilation albums
    One track (Destruction Road) on I Love My Car – Fury Records
    One track (Echoes Of Love) on Katz Keep Rocking Vol.1– Link
    One track (Taxi Cab) on Katz Keep Rocking Vol.2– Link
    One track (Big Sandy) on Twenty Blasters From Blighty– NV Comp1
    One track (Running Out Of Time) on Outrage Vol.1– Rage 104
    Two tracks (Midnight Special, All I Can Do Is Cry) on Outrage Vol.2– Rage 105
    Three tracks (I’ll Get Mine, Teenager’s Mother, Something’s Gotta Give) on Five Inches Of Pleasure–

© Fred “Virgil” Turgis
Thanks to John O’Malley and Rich Taylor.

The Caravans

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the Caravans

The Caravans - Easy Money
The Caravans – Easy Money

The Caravans – Easy Money

Nervous Records – NERD 036 [1988]
Rough Diamond – Sneakin` Out – I`ve Lost , You Win – Cryin’ – I Ain’t Got No Excuses – Easy Money – A Better Place – Blues Train – Stranded – Good Bye, Good Bye – In The Heat Of The Day – Sometimes I Wish – Stoned Tired & Cryin` – (Be My) Heart`s Desire – Love Me Like You Do

The Caravans formed in 1983 and after a few contributions to various compilation albums they finally released ther debut album on Nervous records in 1988. The line-up for this album was Mark Pennington (double bass/lead vocals), Rich Caso (lead guitar who replaced former lead guitarist Rob taylor), Darren Francis and Brian Gillman (rhythm guitars) and Lee Barnett on drums.
The result is very good melodic but hard hitting neo-rockabilly. All the songs are originals mostly from the pen of Pennington. Some songs are very good (Easy Money, Goodbye Goodbye, Sneakin’ Out, A Better Place, Cryin’ in a neo-Gene Vincent style or the hillbilly skiffle of In the Heat of the Day with accordion) still, some are more average and break the dynamic and the homogeneity of the records . And on some songs the two rhythm guitars add more confusion than power.
A good album but had it been limited to 6/7 tracks it could have been a killer.
Later reissues on cd include four unreleased songs from the same sessions.

the Caravans

Caravans - No Excuses
Caravans – No Excuses

The Caravans – No Excuses

Chuckeedee Records – CHUC 001 [1991]
After the release of their debut album (Easy Money) the Caravans saw some line up changes. Brian Gillman, Darren Frances and Lee Barnett had left . Mark Pennington (vocals and double bass) and Rich Caso (lead guitar) then recruited Johnny Bowler (who played bass with Caso in Get Smart) to play drums and this three piece band recorded No Excuses for Chuck Harvey (Frantic Flintstones) short lived label.

Though Easy Money was good, it contained a few fillers that broke the dynamic of the album and were a bit monotonous on long distance. This is not the case here. No Excuses is simply perfect. It’s exactly what one can expect from a neo-rockabilly album with powerful slap bass, syncopated drums (with breaks and rolls), light guitar. The absence of the two rhythm guitar doesn’t affect the sound of the band, far from that. It’s clearer and Caso’s solos are more in evidence rather than drawned in the rhythm section like on Easy Money. The better mix also helps alot to achieve that.

The reissue features the three tracks of the « On The Rocks » Ep.

The Caravans - Straightside
The Caravans – Straightside

The Caravans – Straightside

Rockout [1994] Crazy Love [reissue 2001]
Sure Miss You – Hobo Baby – Rockin’ Tonight – Baby Blue Eyes – Sunset Blues – She’s Just Rockin’ – Baby that’s Where You’re Wrong – Mean & Cruel – Lost Love Blues – Do Without You – That’s What It’s Meant Tobe – Freight Train – That Gal Of Mine – That’s My Belief – Gonna Love Ya – Ole River Blue – Want U Back

New album and new line-up for the Caravans. On Straightside Sean Goan arrived on drums, Jonny Bowler switched to doublebass and leader Mark Pennington ended on… guitar.
But this is the main change to be noted for the music remains more or less the same than on the previous albums.
Good originals and tailored made covers to suit the brand of neo-rockabilly that became the Caravans’ trademark.
Originally released on orange vinyl on Gaz Day’s Rockout records and later reissued on cd on Crazy Love with five bonus tracks.

Fred “Virgil” Turgis

Roy Williams – Nervous records

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Nervous records second logo

Nervous records second logo
Nervous records second logo

Nervous Records – the Roy Williams interview

-Hey, I’ve just bought the debut album of a psychobilly combo called the Frantic Flintstones.
-Is that any good?
-Of course, it’s on Nervous Records!

That’s the kind of dialog that my psychobilly pals and I used to have. Nervous was for us – and I’m sure we weren’t alone – a reference. Nervous records always had the best stuff coming with nice sleeves too. Judge by yourself: the Polecats, The Sharks, Frenzy, the Ricochets, the Coffin Nails, the Caravans, the Nitros, Restless, the Blue Cats, Buzz & the Flyers, Torment, Skitzo, Nekromantix, Batmobile, the Quakes, the Rattlers… Impressive isn’t it. Reading Nervous records’ back catalog is like reading a Who’s Who of Neo-Rockabilly and Psychobilly.

Of course, there was some exceptions:
-Look that’s the latest Nervous records lp.
-What’s the name of the band?
-Spook & the Ghouls.
– …

Anyway Nervous records is indissociable from the whole genre, and we had to talk to Roy Williams. Now put your favorite Nervous album on the platter or in the player if it’s a cd and read the following interview..

by Fred “Virgil” Turgis

When and how did you discover rockabilly music?
I was collecting old rock’n’roll records in the early 60’s and I came across a listing of SUN 45’s for sales from someone called Breathless Dan Coffey (Breathless Dan Coffey is a well known record collector in Europe and he’s also the brother of Mike Coffey, guitar player for Crazy Cavan – ed.). Before that, the only time I’d heard of rockabilly was from a Guy Mitchell song! In truth, I’d been buying rockabilly records for some time, but never really knew the word in relation the records I had. We used to call it ‘the empty sound’ because of the slap-back echo!
The ‘division’ of rock’n’roll and rockabilly can be subtle and there’s a lot of ‘crossover’. I think of it this way
All rockabilly is rock’n’roll
All rock’n’roll is not rockabilly
or
All ants are insects
All insects are not ants
You can say that we have an interesting linguistic discussion here between etymology and entymology =;-)

Was Rock’n’roll the kind of music played at home when you were a kid?
Oh no! My mother used to sing songs to me when I was very young. These were songs from the 1940’s. The only music my father liked on the radio was religious music. He used to complain that there was too much ‘boogie woogie’…. He used to tell me that our radio couldn’t get Radio Luxembourg (where all the good stuff was). I used to go and watch TV in the village pub with my friend whose parents owned the pub. I saw ‘6-5 Special’ on a small black and white TV, one of only two in the village. Then we moved back to Wales and lived in a village with no electricity for a while, so I missed a lot of 1950’s TV. Then, one day in 1958, I got on my bicycle and rode into the town (Aberystwyth) and walked into the pier. There was the smell of the candy floss and lots of flashing lights and a big jukebox pounding out rock’n’roll. I was lost……
Then we moved closer to the town and had electricity again and my parents bought a new radio and gave me the old one. I spent all my time on this radio listening to radio stations from other countries searching for rock’n’roll.

As a DJ you helped to promote Hank Mizzell’s Jungle Rock, you managed young bands. How did you decide to create your own label?
I saw a bit about how the music business worked from ‘Jungle Rock’ and I thought that I could create another hit with a young good looking British band. At about the same time, I saw that Ronnie Weiser has started his own label and there were lots of new labels in England because of punk. I thought that I could do this, too. I also thought that it was time that I established better financial security for my family because DJ work was not so reliable! I actually started in music publishing and the label came after.

Nervous records first logo
Nervous records first logo

Looking back at the Nervous records back catalog, one thing struck me. Like Sam Phillips who always said he didn’t need two Elvis, it seems that you were always looking for bands that sounded different…
The lesson that I learnt from Rollin’ Rock was NOT to go for a ‘house label sound’. There was a time that everything on Rollin’ Rock was hot, and then suddenly it wasn’t because it all had the same ‘house sound’ and the whole catalogue was out of style. I didn’t want to have this happen to Nervous records, so I deliberately tried to be more ‘diverse’.

You have worked with many of the best psychobilly bands, but strangely you never worked with the originators of the genre, the Meteors. Do you regret it?
Not really. they seemed very shambolic to begin with and after their first EP and LP, I didn’t find them so interesting. The first LP was REALLY good, though and hugely influential.
In the end, when I bought out the Alligator label, I became the owner of the earliest Meteors’ recordings [three songs were released on Homegrown Rockabilly – ed.]

Today I suppose things have changed radically with the mp3’s. But in the heydays of neo-rockabilly / psychobilly what was the average pressing for a Nervous record?
I always remember that when we released the Buzz And The Flyers LP, we pressed 3,000 copies and delivered 2,000 to various customers in the first week! Those days are long gone.

How do you / did you involve in the recording process as a producer? Do you suggest songs to cover, different ways to approach songs, select songs with the artists etc.?
I make all sorts of suggestions. Some bands have all of their ideas ready, and some need more ‘guidance’. Sometimes I give the project to a producer. I can’t force bands to record what they don’t want to. I feel awkward sometimes because I can’t play an instrument and it’s often difficult because of that.

Is there a release in which you had strong hope that failed to sell?
Quite a few! Often because the bands split up just after the recording!

Some of Nervous records releases - photo by: Mitutaka Namie
Some of Nervous records releases – photo by: Mitutaka Namie

Which Nervous records releases are you particularly proud of?
The first Restless album and The Blue Cats ‘The Tunnel’.

And is there one that retrospectively you think “I shouldn’t have released this one”?
That’s too political!

Beside Nervous records, I believe that you were involved with the organisation of the Big Rumble. What memories do you keep from it?
A lot of work, and a lot of fun. I really enjoyed going round the caravans in the morning with a video camera, and finding people in the ‘wrong’ beds! I also had some funny experiences at the reception of the camp. Del used to put me there because I could manage some words in various languages. It was always difficult explaining to French people about the meters for the electricity!

I have the sad feeling that today the rockin’ scene is more and more divided in sub-scenes like neo-rockabilly, modern rockabilly, authentic rockabilly, old school psychobilly, gothabilly, trashbilly (and so on), with much importance given to the clothes rather than anything else. What do you think of the evolution of the scene?
I agree with you. It’s become fragmented and this is BAD news.

You were one of the first to bet on the cd’s then on the mp3’s. How did the internet change the way of selling music?
It’s broken down the national barriers. Really there is only one marketplace now, and everyone is equal in it. This is good. Music is no longer qualified by its rarity. It’s qualified by it’s standard. When I was DJ-ing, there were some people who would not dance to a record if it wasn’t an original 45. This is BOLLOCKS!
The ‘downside’ of all this is that there needs to be a lot more ‘back-office’ computer work to make it all work properly. Most small labels are hopeless at the paperwork side of things and this leaves the ownership of copyright in a bit of a mess. I’ve actually written my own computer program to handle this stuff.

The last word is for you…
I’m more interested in the future of rock’n’roll/rockabilly than the past.


Website: http://www.nervous.co.uk/
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