Skip to main content

Wild Billy Childish And The Musicians Of The British Empire - Punk Rock at the British Legion Hall

Classic Grand, Glasgow, April 27, 7.30pm; Bongo Club, Edinburgh, April 28 2007, 7pm

As national institutions go, Billy Childish deserves a medal. Over 30 years service in primitive garage beat combos from Thee Milkshakes to The Buff Medways and his current guise with The Musicians Of The British Empire, Childish has become quietly iconic.

More than 100 albums, 40-odd books of poetry and several novels, including the semi-autobiographical ‘My Fault’, set to be filmed by ‘Kids’ director Larry Clark, bear Childish’s name. As a painter, he co-founded the anti-conceptualist Stuckists, inspired by a cross remark from former girlfriend Tracy Emin.

Childish fans include the late Kurt Cobain and Jack White of The White Stripes. Kylie Minogue took the name of her Impossible Princess album from a volume of Childish’s poetry gifted her by Nick Cave. Last year Childish was invited to take part in Celebrity Big Brother. But, as his latest album, ‘Punk Rock At The British Legion Hall,’ makes clear, fame’s trappings hold no appeal.

“I don’t want to be a pop star or a celebrity,” Childish maintains. “Ever since the New Romantics people have said I’m bitter, but that’s them judging us on their terms, which don’t apply.”

‘Punk Rock’ is a whip-smart critique of mainstream contemporary culture. Its title and accompanying World War One imagery bookend two defining epochs of Albion, through which Childish recognises a parallel between his generation and real-life battlefield veterans.

“They saw the end of their world, and in ’77 we saw the end of ours,” he says. “I saw punk rock as the end of then rather than the beginning of now.”

Accused of being a reactionary retro luddite, Childish’s singular vision in fact reveals an unswerving faith in the simple life.

“Being on the wrong end of a see-saw is fun,” he says, “but we don’t do it to be contrary. It’s the majority who are reactionary. That’s not bitter. That’s the truth.”

The List, April 2007

ends

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...