We’ll come from the shadows

“Yesterday I was a writer who was lost for words. I expect to find them again soon…”

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This was my Facebook status on 10 November, prefacing a link to an article in the Independent about spontaneous protests responding to the election of the fascistic Donald Trump – and I’m not one to use this particular F-word lightly. For more details check out the links on An anti-trump masterpost and A final response to why Trump is a fascist.

So I was lost for words on 9 November… and while I’ve managed to scrape together a few of them now, I think it will be a work in progress.

The gloom cast by the US election results deepened when Leonard Cohen’s death became public a couple of days later. I loved Leonard’s music when I was growing up. Now, perhaps I’d be critical about some of his idealised images of women. But a lot of the music still works. One of my favourites is The Partisan, a song that he didn’t write but popularised for a new audience in the late 1960s. And this song needs to be shared now, more than ever.

winter-is-hereLike many I’m full of fear and foreboding, and I’ve indulged in many a post-apocalyptic meme along with some darkly satirical ones.

Meanwhile, I’ve been inspired by the expression of strength, endurance and hope as well as grief in “The Partisan”.

A line in this song – the frontiers are my prison – has haunted me since I first heard it decades ago. It echoes in my mind as we prepare to resist those who aim to impose more borders and frontiers within our societies and throughout the world.

And then there are these lyrics:

“Oh the wind, the wind is blowing
Through the graves the wind is blowing
Freedom soon will come
Then we’ll come from the shadows” 

It’s early days, but we’re already fighting. I read stories about growing opposition to Trump & what he represents – this includes longer term initiatives as well as demonstrations. The American Civil Liberties Union is taking up the mettle, city councils declare their determination to remain cities of refuge to immigrants despite threats to cut off federal funding; universities, legislatures and other bodies are declaring to stand firm. We’ll also see what happens when more US workers find out just what billionaire Trump’s promises to them are made of. Meanwhile, struggles such as Black Lives Matter and Standing Rock continue.

I’ve also been trying to take hope from the high proportion of young people involved in the demonstrations.

Yes, winter is indeed here but perhaps we’ll see a hot and lively spring…

Scarborough bound… and a Remy Martin straight up

grand_hotel_scarborough_yorkshire_england_1890sSo it’s time for Fantasycon! This year it takes place in Scarborough, known for its fair and a faded seaside ambiance that horror writers find particularly attractive – I can see the story-spinning wheels whirring already. For more information, have a look at the Fantasycon by the Sea website.

This time around I’ll be involved with three events: a panel, a book launch and a reading.

On Friday 23 September at 4pm I’ll be on a panel called Out of the Woods. The programme poses these questions: are we growing out of rural and into urban horror? Is it safe to go back into the woods? Steve Shaw will be chairing, and other panelists include Simon Clark, Collen Anderson, Ian Whates and Charlotte Courtney-Bond.

Those involved have already exchanged some lively emails and this promises to shape up into an intriguing panel. Sense of place has always been a subject close to my heart. My South London surroundings have played a big part in recent stories like The Pleasure Garden and Lambeth North. Other stories have taken place in the Bronx and the semi-suburban reaches of New Jersey as well as the Pine Barrens (Jersey Devil and all).

Next on my schedule is the Alchemy Press book launch that takes place on Saturday 24 September at mid-day. The unique Joel Lane tribute anthology Something Remains will be launched along with The Private Life of Elder Things. A lot of authors will be on hand to natter and sign a few things and there will be wine! 

However, I will have to avoid over-indulgence in the wine because I’ll be involved with a reading shortly afterwards at 14.00-14.30. This will in fact be a joint reading with another Something Remains contributor, Jan Edwards. We will both be reading from our stories in anthology and we might say a few words ābout it too.

Speaking of Something Remains, it is the subject of a ‘realtime review’ from Des Lewis. I thank him for his in-depth coverage of the book, and for his kind  comments on “The Pleasure Garden”:

“Rosanne’s evolved fragment becomes an evocative summoning of the cranes as the girders of a cat’s cradle genius-loci of South London, now and then… Daniel reaches some Lane-like choreography (amid the ‘crane constellations’) with a music mix of old times and wrought passions, with not a diaspora but a regathering, a regathering, each to each, for this book, amid the still recognisable fragments of the Pleasure Garden…”

I will now close on a very different note. This hasn’t been a very up-close and personal kind of blog, but I will mention that my father died very recently. Though he was 91 and not well, it was a shock and it’s taken a while to sink in. I wasn’t sure if I’d make it to Fantasycon, until I remembered that my dad was a very show-must-go-on kinda guy. He’d want me to get on with it and do the things I love – writing, reading and schmoozing.

In his honour I’ll share some of his favourite songs. The Weavers come top of the list of old family favourites, and I’ve already posted a few times about them. So you’ll find some great Weavers tunes in my post about The Lady in the Yard and my tributes to Ronnie Gilbert and Pete Seeger.

Another album my dad loved was Brecht and Weill’s Threepenny Opera, specifically  the 1955 Broadway cast recording that features Lotte Lenya. He especially liked “The Army Song” (aka “The Cannon Song”) and sang along to it all the time. For years I thought the lines “Let’s all go barmy, let’s join the army” went ‘Let’s all go bombing…”.

Unfortunately all tracks from the 1955  album have been removed from YouTube but I’ve found a reasonable equivalent here.

Anyone familiar with the old US recording will notice some differences in translation. I find it interesting that “Because we like our beefsteak tartare” became “Because we like our hamburger RAW“.  I suppose an American audience in the 1950s wouldn’t have had a clue what ‘beefsteak tartare’ would be… I certainly didn’t.

Moving along into the 1970s, my dad got to be a Shel Silverstein fan and we all ‘dug’ “Freakin’ at the Freakers Ball”.

And needless to say, when we didn’t do our chores we were treated to this other Shel Silverstein number…

So I’ll also be lifting a glass to my dad sometime this weekend. I’ve already lifted a few over the past week. One of his favourites was Remy Martin – straight up!*

 
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*unmixed, without ice

At long last: X Marks the Spot, Great God Pan the opera, Eastercon and a belated tribute to Vi Subversa

book_x_marks_the_spot_front_2It’s been a while since my last post, to put it lightly. What can I say? Deadlines, deadlines, day job and all the usual. I should know by now that the best way to blog is to fire off quick items, otherwise you’re faced with the prospect of knitting together disparate events. But that’s life, a series of disparate items.

I’m pleased to announce that I’ll have a story in an anthology X Marks the Spot, published by NewCon Press to mark its tenth anniversary in July. It doesn’t seem long since I went to an event to celebrate the publisher’s fifth anniversary.

I previously published with NewCon in the anthology Conflicts. Some time ago at a bar, editor and writer Ian Whates told me he wanted stories for an anthology called Conflicts. Conflicts? You want conflicts, I’ve got conflicts! So I sent him “Harmony in My Head”, a story set around the time of the 2005 7/7 London bombings and the anti-G8 mobilisation in Scotland. Tinnitus and parallel universes were also involved.

It turned out that Conflicts (2010) was primarily a collection of military SF, which my story wasn’t, but Ian published it anyway. At least one reviewer expressed bemusement that the only military hardware in the story was a quick glimpse of a Chinook helicopter in a newspaper photo.

I’m very pleased and proud to have a story published by NewCon again, and be on board to celebrate its tenth anniversary.

Easterconeastercon cate and rosanne
I attended Eastercon at the end of March. It’s been my first Eastercon for several years. I felt sentimental about it being in Manchester, site of the first con I ever attended – Eastercon 1998. I went to some good panels, but now that I’m looking back over a few months and my memory is hazy I have to admit that a high point was dinner in the Greek tapas bar over the road in the company of Simon Bestwick, Nina Allen, Cate Gardner and Priya Sharma. And here’s a nice photo of myself (left) and Cate (right), taken by Cate. I’m notoriously camera-shy but I’m glad I gave in to the cajoling for a selfie. A ‘good’ photo of myself is one where I don’t look like a zombie or an axe murderer – so I think this one fits the bill.

Great God Pan – the opera
Those of you who enjoyed Helen’s Story might be interested in a forthcoming opera based on The Great God Pan. While I’ve not been an opera follower myself, I’m taking a great interest in this one. Composed by Ross Crean, the opera sets out with similar aims to give the vilified Helen Vaughan a voice. In her final aria she sings:

We will raise the living dead
Through the power of horned head,
Cloven foot and revelry.
Thus the Lord of Trickery will
Set this mortal coil on fire
With every succulent desire.
Pan is all, and all is Pan,
And we will hence return again!

Here’s a clip with some background information and music. Apparently, the production will be given a steampunk aesthetic. I really hope I have the opportunity to see it some day.

Vi Subversa (Frances Sokolov) 20.06.35–20.02.16
So now we’re going to hark back to earlier in the year… If you recall, my last blog ended with reactions to the deaths of David Bowie and Paul Kantner. Since then, we’ve lost even more creative people, including Prince, Victoria Wood and Vi Subversa.

Several months gone, I still want to say something about Vi – guitarist, singer and songwriter with feminist punk band Poison Girls. She died at the age of 80 last February.

I first went to see Poison Girls in 1980, and went to their gigs many times throughout the decade. Conway Hall, Chat’s Palace, the Cricketers at the Oval, the squatted ambulance station on the Old Kent Road, other venues with names that have long slipped away into the spaces between my brain cells.

I also remember when Vi performed at a picnic in the garden at the occupied South London Women’s Hospital in the summer of 1984. She was accompanied by one guitarist, 17-year-old Debbie Smith. I have a vivid recollection of Vi performing “Under the Doctor”, very appropriate to the hospital setting: “What I’m trying to say… is you’ve got to be strong, so strong/Because nothing takes the pain away for long!” Sadly, the garden  where this took place is now a carpark for the Tesco superstore that replaced part of the hospital.

In December 2015 I went to Brighton to attend what was to be Vi’s final gig, thrilled to see her performing again. Along with her own songs she sang several Brecht & Weill compositions including “Pirate Jenny”. Her voice was perfect for Brecht. Songs such as”Old Tart’s Song” and “I’ve Done it All Before” (just about the only love song I can stomach) acquired even more resonance when sung by an 80-year-old woman. I especially liked the little polyamorous flourish she added at the end: “I’ve done it all before, but not with you… and you… and you.”

I ended up sitting across a table from Vi before she went on stage. She was talking to one of the gig organisers, then to another musician. I wanted to say hello since I interviewed her for radical women’s magazine Bad Attitude in 1995, which marked the release of a retrospective CD and a grand reunion gig at the Astoria. I also went to her 60th birthday party and had the pleasure of getting to know her a little then.

But as I sat there at the Brighton venue I was thinking: ‘Better not disturb her before she goes on stage, she might be preparing for her performance and getting into the mood… etc etc… I’ll catch her afterwards.’

But I didn’t manage to find her that night, so that didn’t happen. Perhaps she left just after her performance. And now I know it won’t ever happen.

I deeply regret that I was too stupidly shy to say hello, but I am grateful that I had a chance to see that wonderful gig. Vi Subversa was – and still is – an inspiration to me.

Here are a couple of songs from that gig, “Persons Unknown: and “Old Tart’s Song”. As you might expect, the acoustic version of “Persons Unknown” is quieter than the original, but even more powerful: “Survival in silence isn’t good enough no more…”

And here’s the original “Persons Unknown” for a bit of contrast… I believe this was the first Poison Girls record.

I’ll now share a scan of the article I coauthored in Bad Attitude. The other article on the spread is about an ill-fated UN women’s conference in Beijing, in case you’re wondering. Back in the day I suppose our prevailing aesthetic was: “We’ve got a new font and we’re gonna use it!”

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If you have fond memories of any Poison Girls gigs or want to find out more about Vi and her wonderful music, you might be interested in joining a Tributes to Vi Subversa Facebook page. There you can find personal reflections and links to music videos, interviews, obituaries and tributes.

There may be trouble ahead…
Now I’m just getting up to speed. The events of the past few weeks weigh heavily, but this post is long enough. I’m sure more ranting, writing and serious thinking is called for in the near future. So at the risk of appearing flippant, I’ll close with a certain old Nat King Cole tune…

 

Book news and reviews, musical memories and memorials

6a00d8345295c269e201bb0898b1c1970dHere’s a belated happy New Year to all my readers, and a kick-off to 2016 with some bits and pieces…

To start things off, the paperback edition of Jews vs Aliens AND Jews vs Zombies is now available in one omnibus volume. So that’s two books for the price of one, comprising 18 stories. This includes my tale “The Matter of Meroz”, which was selected by James Everington for his list of the year’s favourite stories. Nice one, James!

And a few years after the fact, two new reviews of Helen’s Story have recently appeared. Bobby Derie writes in the Innsmouth Free Press:

Helen Vaughan is alive and well in contemporary London, both more and less than the genderbending changeling that Machen had made of her. A century after the events of Machen’s novella, she has set up as an artist in Shoreditch, seeking through her art to make contact once more with her elusive fey companion. The language is sensual, the imagery vivid, the critical eye on the inhabitants of the art scene perceptive and penetrating, creating caricatures from which characters emerge like blooming flowers, Helen Vaughan the busy honey bee spreading the pollen from one to the next, all while reliving the events of “The Great God Pan” (and, skillfully intermixed, elements of Machen’s “The White People”).

Helen'sStory cover_smallHe also pays me a great compliment by comparing my writing to Caitlin R Kiernan’s. Nice one there, too.

Mythogeography, a site dedicated to psychogeography and the art of wandering, also featured a review. Crab Man describes Helen as “a lovely read; an unembarrassed and unembarrassing hymn to pleasure and to an interwoven world of material and metamorphosis”. Thanks be to Mytho!

I’m very pleased that people are still reading and commenting on this book. And it turns out that there are still signed hardback copies left at PS Publishing, which are now on sale for a mere £4. Many more excellent titles are available at knock-down prices in this general clear-out at PS – I have my eye on a few – and there are reductions on postage for multiple orders.

The opening month of 2016 has been cruel one for the loss of musicians. Like many others I was stunned and saddened by the death of David Bowie only days after the release of his new album and his 69th birthday. And hadn’t I been belting out “Rebel Rebel” at a karaoke in the not-too-distant past? It all came back to me.

Much has been written about Bowie since his death and doubtless more will be written. I was stunned and saddened, but this was shared with many people – especially since I’m based in the general Brixton area. When I turned up at the mural off the High Street around 11pm, people were still gathering, playing his songs and remembering ‘our Brixton boy’. Candles are still burning there as I write. There was both collective mourning and celebration of the music he has left behind.

For the record, I’ll mention that my favourite Bowie songs are “Suffragette City” and “Panic in Detroit”. Before there was punk, there was Bowie. You could almost pogo to “Suffragette City”. Here’s a live version from the Hammersmith Palais – sadly, this renowned live music venue is now a gym. As I watch this video, I can see a lot of headshaking and handwaving from the audience… perhaps a few demi-pogos can be detected as well.

Then… A couple of weeks after Bowie’s death, I was stunned again to hear that Jefferson Airplane founder Paul Kantner had died. This hit me even harder. It was only a few months ago that I’d rediscovered his more recent folk-inspired music and its link to the legacy of the Weavers.

The grief at Bowie’s death was shared with many around me, and it was tempered by a massive celebration of his music. But my Facebook feed was pretty quiet on the loss of Kantner. I suspect it’s because many of my friends are younger than me. To them, the Airplane was just one of those hippie bands from 1960s/70s. Yeah, the Jefferson Airplane had some good songs like “White Rabbit” and “Somebody to Love”. But my younger friends didn’t grow up with those guys. The very first album I bought was Crown of Creation. For many of my friends it might’ve been something by Ian Dury, Madness or the Specials, Alison Moyet, Joan Armatrading or the Slits – or perhaps Bowie.

One friend did post an item that that the Jefferson Airplane’s first female vocalist, Signe Toly Anderson, died on the same day as Paul at the same age of 74. She had left the group when she had a baby, then Grace Slick stepped in. Anyway, here’s an early Airplane song where she duets with Marty Balin.

Back in the day my Airplane-love focused very much on Grace and her magnificent voice, but I later appreciated that it was Paul who brought the political and science fictional themes to the band. I was just starting to read SF and all things weird, and hearing it infuse my favourite rock music was sublime.

I later turned to Twitter for people sharing similar memories, though that first album financed by after-school newspaper routes or carefully accumulated allowances tended to be Surrealistic Pillow rather than Crown of Creation.

I feel as if I already wrote a tribute to the Jefferson Airplane and Kantner in particular in Soliloquy for Pan: It’s Not Just About the Pipes. The story that appeared in Soliloquy, “The Lady in the Yard” was also such a tribute, though I didn’t think of it that way at the time of writing. So I intended to add to these homages by posting a live version of War Movie here, since the album version from Bark already appears in my earlier post.

However, I couldn’t find one on YouTube or anywhere I else. A friend remarked that “War Movie” has been overlooked on all the compilation albums and I gave the matter some thought. I’m just very fond of it, though other tracks from this band may have stood up better to the test of time. Well, specifying a long-departed date for when the revolution takes place may be why! But that’s part of its charm for me, and perhaps it lends the tune a certain poignancy. And like any piece of outdated SF, it shows us more about the era it was written in than the future it envisioned.

I remember hanging out with a few friends in my college dorm in 1976, listening to this song rather glumly since nothing of the sort had happened in ‘nineteen hundred and seventy-five’. Then we put on ‘Volunteers’ followed by ‘Suffragette City’ to cheer ourselves up.

We were well and truly ready for punk.

In that spirit I’ll end with a fast(er) and thumpin’ version of “Volunteers”. I don’t believe in an afterlife, but I am a lover of speculative fiction. And I do like to speculate and will do so at any opportunity. So I immediately imagined Paul Kantner jamming on this song with Joe Strummer. What a ‘heavenly’ racket those two powerful rhythm guitarists would make! And Pete Seeger came into this fantasy too. Maybe he’d pull the plug, as he did when Bob Dylan went electric at the Newport Folk Festival in 1965. Or perhaps he’d shake his head with a bemused chuckle, then get out his banjo.

 

 

 

Manchester, myth and music

Hey, that guest blog from Simon Bestwick was fun… I’d like to thank him for stopping by. I’d also recommend guest-blogging to those who might feel the urge to hold forth every so often but don’t want to make a commitment to a regular blog just yet. I started off that way with a guest slot at TTA Press, all about Machen, Misogyny and Madwomen in Attics.

Which brings me to my current post, which also as a lot of ‘M’s in it. As mentioned, I went up to Ladyfest Manchester in November and did a reading as part of the launch for the Rebel Dykes film trailer. This included a fragment of a novel that revisited the South London Women’s Hospital and a bit from my recent blog post on Rebel Dykes of the 1980s and the Sluts from Outer Space. The room was packed – the event had the atmosphere of a gig rather than a literary soiree… People even spontaneously sang out to the “Dykes of Brixton”. I was thrilled by the enthusiastic response by younger women, and also aware of how much I stand to learn from them in turn during this process.

So finally, here is the trailer we launched that night…

After the presentation, I got a drink and eventually turned my attention to the musical talent on the main stage. This started a train of thought about music and urban myth. Recently I saw a BBC documentary about indie music, Music for MisfitsSome of it I enjoyed, but I will also agree with Emma Jackson on the programme’s ‘restrospective sexism’ and how it ignored the sizeable input of women musicians. Where were PJ Harvey, the Voodoo Queens, Echobelly, and so many women who made some noise in the 1990s?

I always find it startling to watch historical documentaries about a period that I lived through, a time that had been a ‘now’ for me. While it could be seen as a part of growing older, I imagine this is also what is meant by the ‘making history‘. Myth isn’t necessarily a bad thing. As I writer I often deal with myths and draw inspiration from them.

But I’m wary when mythologising has the effect of flattening a lived experience and robbing it of ambiguity and nuance, or hiding major parts of that experience from view. A mythologised experience often stands outside the stream of time, as if the branches that extend into the present have been lopped off. It’s like a bug preserved in amber. In the case of the Rebel Dykes project, this is exactly what the film-makers are striving to avoid.

Meanwhile, musical retrospectives can be very seductive. You hear a lot of favourite old tunes,  they provoke a glow of nostalgia. But they often leave me unsatisfied, as if a big chunk of the story is missing. Friends I spoke with at the Ladyfest weekend observed that the Manchester segment of Music for Misfits and similar documentaries give the impression no real music has been made in the city since the days of the Smiths, Happy Mondays and Oasis.

But the music I enjoyed showed that was far from the truth. One of the bands, Factory Acts, also makes an explicit connection to their city’s musical heritage while striking out in its own unique direction. “Factory Acts are a Salford based dark electro, alt-dance duo. We exist at the edge of the analogue-digital divide, sometimes dreaming, always dancing.” I’ll say that I love a band where the bass plays lead…

And let’s have some rock ‘n roll theremin playing! You’ll see some theremin action at this performance from the Pussy Riot Revolution Festival in 2013.

Another brilliant band was ILL, which happens to include Rebel Dykes co-director, Harri Shanahan. ILL plays queercore riot grrrl style, spikey and discordant and wonderful. If I may indulge in some old fogeyness, I’d also say they’re rather like a 21st-century Delta Five. You can check out their Housewives Trilogy EP and listen to their signature song below.

And here’s a live performance, also from 2013’s Pussy Riot Revolution Festival.

I only caught a bit of the Galivantes after our presentation. But I liked what I heard and would like to see them again.

The night finished in storming style with hip-hop band Ajah UK – here are a couple of videos from them – a live performance of “Money Ain’t Your Friend” and a performance of “Don’t Step on My Shoe”.

During the event, further news about the attacks in Lebanon and Paris was just filtering through. Because I was at a gig myself, I felt especially emotional hearing about the attacks at the Bataclan. Many of us were also concerned about how the horror of these attacks will be compounded with racism and attacks on civil liberties, as well as military action by governments that will result in many more deaths.

It seemed very important to keep making music wherever we are and to oppose suppression wherever it descends. Though much has happened, been written about and analysed since mid-November, as an immediate reaction this comment by a French woman living in the UK still nails it: “My heart is with the world, no borders, no hierarchy…”

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Universal Credit and the multiverse – and a tribute to a friend

6a00d8345295c269e201b8d12175b2970c-200wiWe Need to Talk has just been released by Jurassic London, the same folks who published Jews vs Aliens. I have a story in this new anthology, which is themed on ‘difficult conversations’. I am very pleased with this because it’s the only story I’ve written that comes to a mere 2000 words. When I’ve previously submitted 2000-word things to critiquing groups, I received comments along these lines: “This reads like the beginning of a novel.” But wow, here’s my first proper short short story. I’ve pretty much decided on this one for my reading at Fantasycon.

Jurassic is a not-for-profit publisher specialising in charity and benefit books. It worked with the Kindred Agency to produce and promote We Need to Talk, and proceeds will go to the Eve Appeal, a charity dedicated to supporting research into the early detection and prevention of women’s cancers. The stories were selected by Susan Armstrong, Anne C Perry, Anastasia Scott and Athena Lamnisos.

My story “Keep Them Rollin” in this anthology involves Universal Credit, quantum computing and multiversal weirdness, which results in a very difficult conversation indeed… It was inspired by my involvement with Boycott Workfare, which campaigns against forced unpaid labour and benefit sanctions.

When I was researching ‘in-work conditionality‘, the extension of sanctions and compulsion to low-income workers who claim top-up benefits, I never expected it to turn into a story. At the time, I was investigating a pilot scheme that started last April, reading through the DWP’s guidelines for ‘job coaches’ (once known simply as advisors) who would be harassing working claimants on these pilots. They were advised to initiate ‘challenging conversations’ with their ‘customers’.

And then when Jurassic London sent around an email announcing a competition for short fiction about ‘difficult conversations’, the story took shape.

A few of my friends have died from gynaecological cancers, so that’s another reason it means a lot to be in this anthology. I’d like to dedicate “Keep Them Rollin'” to my good friend Jill Allott, who died in 2012 from a secondary brain tumour related to ovarian cancer. Here’s a photo and a link to a little bio in History Made At Night. This was based on a Facebook tribute I wrote before I’d joined the blogosphere. Jill was a former stalwart of Brixton squatting and a wonderful friend, whose enthusiasm boosted many anarchist, feminist, lesbian/gay and community projects.

Jill has also come up again in my thoughts because I’ve just been interviewed for a forthcoming documentary, London Rebel Dykes of the 1980s, which brought back many memories of her. In fact, we went together to the infamous Treworgy Tree Fayre festival in 1989 – referred to in the story – along with a posse of other friends. So this story belongs to Jill in many ways. And it is now available here on my Free Fiction page!

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Jill Allott on drums in our late 1980s-era band, the Sluts from Outer Space

Musical Interlude #2: Let’s listen to “Guns of Brixton” in Greek!

As I was writing my next blog post I thought I needed some music so I started messing about on YouTube – as you do – and somehow ended up on that playlist that’s got 30-odd versions of “Guns of Brixton”.

So let’s listen to “Guns of Brixton” in Greek. There are many fine covers of this classic, but this version’s got me hooked at the moment. I love that soulful rebetika inflection. It proves you don’t need bouzoukis to do rebetika!

So enjoy! Meanwhile, I’ll be back very soon with news about a couple of stories. Tentacles might be involved, along with some more tunes…