Tim Stegal, Austin Chronicle, Fri Nov 8th 2013
BP Fallon & The Bandits – Kill Me Till I Crawl – animated video by Eat The Danger
BP Fallon – vocals
Aaron Lee Tasjan – guitar inc. dangerous and deranged guitar solo!
Nigel Harrison – bass guitar
Clem Burke – drums
Ian McLagan – Hammond organ
Animation by Eat The Danger
ETD are Paul Ruttledge and Jack O’Shea
‘Kill Me Till I Crawl’ from the BP Fallon & The Bandits album -
LP/CD/digital download – ‘Still Legal’
Lou Reed – Rock And Roll Heart – amazing documentary 1998 (75 mins)
Rock And Roll Heart traces Lou Reed’s career from before the formation of the Velvet Underground to rock icon status to his more recent artistic endeavors. Includes rare and vintage footage plus interviews with David Bowie, John Cale, Maureen Tucker, Patti Smith, Thurston Moore, David Byrne, Jim Carroll, Dave Stewart and Philip Glass – and even Holly Woodlawn and ‘Little’ Joe Dallesandro, the drag queen and the street hustler immortalized by Reed in ‘Walk on the Wild Side’. A superb documentary – and the only one – about this hugely influential and uncompromising American artist. Directed by Timothy Greenfield-Sanders for American Masters.
God bless you, Lou. And Nico and Sterling Morrison and Andy Warhol, with love & gratitude x
From the book ‘U2 Faraway So Close’ words & photography by & ©
BP Fallon (Virgin Publishing) 1993 >>>
Outside It’s Europe – Moe Tucker, Bono, Sterling Morrison, John Cale & Lou Reed. Photography by & © BP Fallon 1993
The VU & Andy Warhol in LA 1966 – Nico, Andy, Moe Tucker, Lou Reed, Sterling Morrison & John Cale
The Health And Happiness Club – Lou & Nico 1965
David Bowie & Iggy Pop in T.Rex t-shirt & Lou Reed 1971. Photography by Mick Rock
Peel Slowly And RIP
BP Fallon & The Ghost Wolves – Increasingly Often (roller coaster)
Filmed and mixed live at KUTX, Austin, Texas
BP Fallon – vocals
Carley Wolf – guitar
Jonny Wolf – drums
Original recording on the BP Fallon & The Bandits album ‘Still Legal’
- hear it on the Soundcloud player in the right column
Written & produced by BP Fallon/Aaron Lee Tasjan/Nigel Harrison/Clem Burke
Buy here folks!
BP Fallon & The Ghost Wolves plus 1 – Carley Wolf & Wolf & BPF & Jonny Wolf. Photography by & © Brian Birzer
BP Fallon & The Ghost Wolves live at Antone’s, Austin, Texas.
Photography by & © Honeypie Mangrove
BP Fallon & The Ghost Wolves live at Sahara Lounge, East Austin, Texas.
Photography by & © Skylar Evans
BP Fallon & The Ghost Wolves at Sunday House Studio, Bastrop, Texas.
Photography by & © Aaron Lee Tasjan
Bob Geldof and groovy t-shirt which he presented to the photographer, Dublin Sept 23rd 2013. He’d just flown in from the F1 Grand Prix in Singapore where he and his Bobcats had played alongside Rihanna and Justin Beiber (as one does). Photography by & © BP Fallon. Photography on t-shirt – BP Fallon & Jeff Dexter & Marc Bolan & Boomtown Rats Johnnie Fingers & Bob Geldof in 1977 – by & © Kevin Cummins
The reformed Boomtown Rats play in Dublin tonight (Sat) and tomorrow night (Sun) at Vicar Street. October 21st sees the release of all six Rats albums in a box set. BP Fallon – who was their publicist when they started off – writes the press release.
“I’m going to be like me!” – The Slim Harpo Trick
by BP Fallon
1977 in England and six intelligent gobshites over from Ireland, laying waste to punk’s sacred creeds as the lead singer announced “I want to get rich, get famous and get laid”. It wasn’t the first of the fellow’s pronouncements. He went on to save the world for a while, thus effectively wrecking his music career forever. But that’s another story, not fit for these polluted paragraphs.
Geldof was the singer’s name, Bob Geldof. People called him Geldorf and, in America, Bawb. He was always writing great songs, playing ‘em badly on a left-handed acoustic guitar for the band. And he was a gangling fashion mess of red trousers held up with string and an oversize chequered jacket that would’ve been better served for noughts and crosses rather than daywear. And Geldof’s gob – the girls liked his Jaggeresque lips and the girls, they understand – his rubber mouth flapped like someone versed in cunning lyrics, announcements, pronouncements, opinions, let’s do this, let’s do that. With him it was always “Why the fuck not?”, which seemed a reasonable response to anything. Of course he got up a lot of people’s noses, people who thought this Geldof geezer was a jumped-up self-opinionated self-promoting Paddy git. But like some things that get up people’s noses, Geldof and the group he fronted – the group he drove – became extremely popular. Thatcher’s repressive drab Britain was being assaulted by rebel music and the youth was revolting and these guys, ahead of The Pistols or The Clash or The Damned, they scored the first No 1 hit from the punk rock melee. They rocked like fuck and even did ballads, used saxophones and strings when they wanted or looped into reggae. They became Rock Stars. Wham bam thank you ma’am.
They were called the Boomtown Rats, after the new gang in town in the Woody Guthrie book Bound For Glory. In Dublin, for the briefest of moments, they’d called themselves The Nightlife Thugs but knocked that on the head. Geldof would jump onstage by ripping through a cheap screen that beamed a Rentokill promo film they’d blagged from somewhere – all about killing rats, real tasty stuff – and he and the Boomtown Rats would be all cranked up breaking the speed limit into Bobby Parker’s Barefootin’ or The Coasters’ ‘Riot In Cell Block #9’ and bits of raw liver would be flying about like airborne corpse-cold jellyfish, landing on people, splat! Charming. And people went nuts of course, just loved it.
And this mighty band: Garry Roberts, leather jacket and Dee Dee Ramone hair which morphed backwards into an evil flat quiff, pushing madly on guitar, dangerous. The shaded Gerry Cott who looked almost like a mod and seemed like the sort of sensible chap who’d end up in music publishing, Gerry twanged derangedly too.
Pete Briquette, the only rock star named after a compressed lump of turf, as solid a guy as the bass he was playing, a country boy from Cavan while his cohorts were wellish-bred city boys from near Dublin. Thrashing the drums, Simon Crowe, the straight blonde motorbike boy handsome like a World War II flying ace…
And on straight-to-the-point keyboards was Johnnie Fingers, a fine carefree chap who wore his stage gear all day long and thus ended up sporting pyjamas for years.
In England the band were signed by go-getters Nigel Grainge and Chris Hill for their brand new label Ensign. Doreen Loader in the Ensign office was almost like everybody’s mum.
These adventurers newly over from Ireland were a a self-contained combat team, suitably quartered near Chessington Zoo in a house built by Henry VIII for one of his mistresses.
Polygram Records released a sampler LP called New Wave ’77. Tucked in among Richard Hell & The Voidoids, The Ramones, Patti Smith doing Piss Factory, The New York Dolls, The Runaways, The Dead Boys with Stiv Bators and Sonic Reducer…there was the Boomtown Rats and Geldof’s clarion call ‘Lookin’ After Number One’, an explosion of drums and guitars and the singer screaming “World owes me a living!” right from the off. No messing, here I am, don’t fuck with me. “I’m going to be like me!” That was it.
Charles Shaar Murray in the NME went bonkers for the track. It became The Rats’ first single and the first Rats hit. The Rats got on British television on Marc Bolan’s afternoon extravaganza Marc and as that was being screened they were doing Top Of The Pops. Wham bam thank you man.
The Boomtown Rats were the first modern Irish rock’n’roll group. Rory Gallagher plumbed the blues, Phil Lynott hoovered up Irish mythology, Van Morrison breathed the Celtic mist. And the Rats….who gives a toss that they were 6 middle-class fellows from the sorta- affluent Dublin adjunct of Dun Laoghaire. We’ve all got our own pain and they loved rock’n’roll and hated the moribund cesspit of not only the Irish music scene but the whole damn country itself. These upstarts had their own agenda.
Bono talks about as a kid being electrically energized by the liberating sight of this scruffy Geldof on Ireland’s Late Late Show, this unafraid young Boomtown Rat verbal pugilist lashing out at the stultifying apathy of the Catholic Church, the overall crushing gray mundaneness of Ireland as the country’s leaders wallowed in some cod-50s “Ah sure it’ll be grand, it could be worse” complacency. Geldof’s song ‘Banana Republic’ was to become a kidney punch.
The Irish music business was sewn up. Second-rate shysters managing showbands, these lame human jukeboxes peddling tired Jim Reeves tear-jerkers bubbled up with a dose of Simon Says. The showband managers and the politicians seemed interchangeable: one becoming a senator and another a man who ran ballrooms became the head of the country while making dog food. It was all the same racket.
Suddenly half the population in Ireland was under 25 and suddenly with this Geldof guy they had a voice. The Boomtown Rats were banned, prohibited by law from playing live. They were denounced from the pulpit. It was Don’t Knock The Rock all over again; it was Would You Let Your Daughter Marry A Boomtown Rat. It was perfect.
Back in England in London at the Music Machine just before the Rats rocked into ‘Lookin’ After Number One’, some mentally-derailled geezer leapt up from the audience and before fleeing whacked Geldof a ferocious punch on the gob. Bloood everywhere and a stroke of good fortune. The outraged photos of the bloodied but unbowed Geldof adorned the next week’s music papers in grand style. Punk rock.
The first Boomtown Rats tour in Britain found them playing with two hot new groups from New York. Six Paddies, eight Yanks. Talking Heads would go on first, then the Rats, then the Ramones would finish the delirious audience off. Some of the shows were in the afternoon, in school, in the gym, for kids in mullets, flares and shock. Goodbye Mud. So long Showadafuckingwaddy. Hello New Age. That was perfect too.
That’s how the Boomtown Rats began. Fucking brilliant. No messing.
The rest is here.
- BP Fallon
Bob Geldof – and Bob Geldof & The Strypes – photography by & © BP Fallon
John Lennon: October 9th 1940 – December 8th 1980 RIP
“I believe in Dr Winston”
John Lennon & The Plastic Ono Band and the classic performance of Instant Karma on BBC TV’s Top Of The Pops Feb 12th 1970.
Left to right – John Lennon [vocals & piano], Yoko Ono [knitting & Kotex eyewear], the Beatles’ road manager Mal Evans [tambourine], BP Fallon [bass guitar & hat], the Apple Records official House Hippy Richard DiLello [camera], Klaus Voorman [bass guitar] and Alan White [drums].
‘Instant Karma’ produced by Phil Spector.
The following week John Lennon was to be heard being interviewed on BBC radio by Emperor Rosko and telling his host “BP Fallon playing the bass guitar, that’s concept art”.
“I can’t play bass” says BP today, laughing, “but it’s better than whacking a tambourine into John’s left ear and almost putting him off his singing”. Which – as our next two pictures show – is what BP did the previous week on the Top Of The Pops of February 5th 1970…
Poets Of Rhythm, Art From The Heart, People For Peace:
Yoko & John with Peter Fallon and Eamon Carr’s Tara Telephone
‘Capella’ publication, the very edition – ‘Capella 3′ – that contained the drawing that John Lennon had done for ‘Capella’ the previous year at his and Yoko’s Amsterdam Bed-In.
‘Capella 3′ cover artwork by Jim Fitzpatrick.
Yoko & John photographed 1970 by Richard DiLello.
Photograph printed 1970 by Pete Saunders for Peter Fallon.
“And we all shine on…”
Photography: A Misfit, a Teddy Bear and flowers, Strawberry Fields Central Park New York City by BP Fallon
The Pogues in The BPFO 1985 – Shane MacGowan, James Fearnley, Philip Chevron, Andrew Ranken, BP Fallon, Jem Finer, Cait ‘Rocky’ O’Riordan and Spider Stacy. Photography by John Cooney/RTE
In 1985, The Pogues were guests in The BP Fallon Orchestra, celebrating the release of their second LP ‘Rum, Sodomy & The Lash’.
The BP Fallon Orchestra Presents The Pogues In Conversation With 40 People (0ften At The Same Time) 1985
Says BP Fallon: “This BPFO was The Pogues’ ‘Bob Dylan At Newport’ and ‘Sex Pistols On Grundy’ moment. It broke them in Ireland, all the media hoo-ha about this explosive and exploding band who’d been let loose on holy RTE. That, and all the ‘Are they real? Are they authentic?’ bollocks that it spawned. Teetering on anarchy all the way through, it was a wild programme then and it’s even wilder now. Perfect”.
In 1985 the band confronted an inquisitorial panel of traditional musicians and rock journalists on leading disc jockey BP Fallon’s radio show, where they were roundly rebuked for their retrograde version of Irishness. On that occasion, former Planxty member Noel Hill dismissed their music (along with the whole ballad tradition represented by The Clancy Brothers and The Dubliners) as ‘a terrible abortion of Irish music’.
- ‘Outrageous Fortune: Capital And Culture In Modern Ireland’ by Joe Cleary (2007)
In an interview with BP Fallon on Irish radio in 1985, sections of the press and a group of traditionalists hurled insults and expletives at the group.
- ‘Film, Media And Popular Culture In Ireland: Cityscapes, Landscapes, Soundscapes’ by Martin McLoone (2000)
Hosted by DJ and good vibes specialist BP Fallon, it featured a studio panel of journalists, traditional musicians and fans. With The Pogues on one side, the inquisition on the other and barely a drop of drink between them…
- ‘The Pogues: The Lost Decade’ by Ann Scanlon (1988)
The audience – Noel Hill is a traditional musician, Jack Costello played bass in Granny’s Intentions. Donie Cassidy was a showband manager and Irish Senator, Joe Ambrose, Sam Smyth and Brian Trench were and are respected journalists. The rest are members of the public, music fans, early Pogues fans, who’d won tickets.
This legendary BPFO also gave birth to this Pogues track ‘Planxy Noel Hill’ – named after one of their BPFO inquisitors:
The Pogues – Planxy Noel Hill
God bless Philip Chevron June 17th 1957 – Oct 8th 2013
- photographed here in the Pogues BPFO by Eve Homes/RTE
- a truly lovely man, not only a member of The Pogues
but before that The Radiators From Space
RIP, Philip x
BP Fallon & The Bandits – ‘Still Legal’ on LP – 180gm black vinyl here – only $25 or equivalent
Marc Bolan – ‘The Final Word’ – BBC TV documentary 2007 (Ihr 18mins)
BP Fallon speaks in this excellent in-depth BBC TV documentary on Marc Bolan’s extraordinary life and times – and how Marc changed the face of rock’n'roll for ever. Narrated by Suzi Quatro, also appearing are Marc’s girlfriend Gloria Jones, Marc’s brother Harry Feld, Marc’s childhood friend the photographer Richard Young, the great T.Rex record producer Tony Visconti, fashion designer Zandra Rhodes, Steve Harley of Cockney Rebel and – on archive footage – Marc’s earliest supporter John Peel.
‘Marc Bolan – The Final Word’ is produced by Mark Tinkler. Executive producer Stuart Watts.
Timeless – BP Fallon as Old Father Time & Marc Bolan as himself, London 1970. Photography by Spud Murphy.
Worship – Johnny Ramone (extreme left) & Joey Ramone meet their hero Marc Bolan, London 1977. Photography by & © Richard Young.
Marc time – Camille Goes T.Rex. Photography by & © BP Fallon
A magical man…