Steve Coogan as Tony Wilson was great (but still kinda stretching it a bit too) This film was supposed to be his big break in the biz and then he went and did "Around the World in 80 Days" with Jackie Chan and no one forgave him for that tradgedy of a film.

Even though they say 24 Hour Party People was a Docudrama, it was more like a Docudramatragicomedy. It was mythos run a much. Every thing mentioned in the film had some sort of factual reference, but was quite distorted beyond comprehention (in a good self mocking English sorta way) I have it on DVD.

I've only heard girls ooh and ahh over "Control" so it's a gloom chick flick-that's all I need to hear to walk the other way!

I really enjoyed 24PP. Always liked Steve Coogan.
I should also say Mrs Yates loved Control, so maybe it's more a chick flick, than a RnR flick?

I liked the portrayal by Sean Harris in the movie "24 Hour Party People" I don't hink Jude Law has what it takes to really give the angst and anger that resided in Ian.

BTW Who played Rob Gretton? Paddy Consodine also did an excellent job in "24HPP" Andy Serkis also played Martin Hannet and you can't beat that either.

Me thinks they pooched it, but I haven't seen it yet.

BTW that Brian Jones film really sucked! I haven't even seen in out on DVD. I wouldn't pay a buck to see it either (I saw it on a bargain mat and posted a review on the GP Forum someplace) It stunk!

A bit of both. The main focus is Ian Curtis.

Sounds pretty bad. I'd watch it for free. It couldn't be as bad as the Brian Jones bio-pic, but I've been wrong before!

Is it a movie about Joy Division's Ian Curtis, or is it a movie about Ian Curtis who happened to be in this band called Joy Division?

No, it's not the new Maxwell Smart movie, it's the tedious film about Joy Division's Ian Curtis.
Great songs, beautifully shot, but some really wooden acting & un-sympathetic characterizations.
The film had me wishing Curtis would just hurry up and top himself.
The black & white photography lent itself to the bleak life everyone was leading in Manchester, especially, Curtis. Sam Reilly looked like the man but couldn't act his way out of a paper bag.

i'm in

and where the hell is satch?

Yeah, it had a rating of five stars. Probably why it's stuck at the top!

Some shameless self promo on my part. The mainsite - http://smashintransistors.homestead.com The blog - http://smashintransistors.blogspot.com

I agree, they're not garage, but they are nice,(got a good review once ha ha)

Er, Troublezine? Not really down our trashy alley, is it? I mean, look at their staff (and their rather generic music interests): http://www.troublezine.it/view.php/pagina/contatti/ If I'm going to send a review copy of a CD overseas, I'd prefer to send it to a group of people that at least appear to have a clue about garage-type stuff, know what I mean? For example, in Italy I would recommend Misty Lane and even BAM! Magazine over that one.

It depends on two things;

Firstly: Has your band got its shit together? I almost always (if I can) step off the stage and listen to what my band sounds like from the floor. I balance the stage sound so the band on stage can hear what we do musically and have good sight-lines (in case we can't) and the audience gets a decent balanced mix. I tell the sound opperator not to make things too loud but to re-enforce what we are doing already on stage (too loud a sound doesn't get folks to move up close when you start playing!) and to make sure that we can both hear the vocals on stage and they are not blasting the audience either. I hate it when I get dizzy from the volume when I am on stage.

This brings up my second point;

Is the sound opperator worth a shit? Most are and if you treat 'em with respect they can make your band sound even better, but if you treat 'em like crap then you can bet your sound will suck. It also depends on the room. If you are too loud and the sound opperator says turn it down and you tell him "But that is our sound, so Fuck You!" then you can bet you won't sound good.

It is all a fine balance that if done correctly everyone is happy. If done wrong (on both sides) can end up in a situation where no one is satisfied.

One of the reasons I DON"T do Live sound anymore, is it is a thankless tiring, never ending job where the successes are as fleeting as the failures. I learned a lot of tricks I took into the studio though (where people are more appreciative) Still I always introduce myself to the sound opperator when I get to a club and chat with them for a while. More often than not they appreciate the fact that I respect them and will try to give me what I want and vice versa.

Ever spend over an hour sound checking in some club and the sound guy's having your drummer hit his snare for half an hour and then it's finally showtime and you still can't understand what the fuck you're hearing on stage?
What do you think? Do sound checks enhance your amazing performances or do you think it's just choking and stroking?

We're kind of going around in circles on this topic now... did you read through the posts on the first page?

Uh, no... Netflix operates just as ANY video rental place does. It simply rents movies out to customers for a fee. Why would the film industry have a problem with that? Blockbuster, Hollywood Video, etc. all operate in the same way...

Yeah I haven't chatted with them in quite a while, but they did help the Boss Martians out and I met Richie back in 1998 when I was with the Boss Martians on Tour in Germany. Feel free to mention my name (for whatever that is worth!) G'Luck!

Thanks Eric, I'll do that mate.

Have you checked with Screaming Apple? Here is their website; http://www.screaming-apple-records.de/ I think it is Richie that may still be the one in charge there. Anything else from anyone here?

Hi all, just a quick one , does any of you blokes have a good distribution company you could recommend to a small European based label like mine.
I have distribution here in the UK and would like to go farther afield.
Thanks in advance

Hey the Yep Roc album link is up and alive again: http://216.69.135.140/MP3Players/Fleshtones/TakeAGoodLook/Wimpy.html

I saw the discussion on the Kinks' guitar tone in the forums and I thought I'd start one here. What's your favorite guitar tones and what are some ways to get them? (especially for poor people without much equipement such as myself). Right now I'm listening to The Birds' "Daddy Daddy" and I think that has some good tone. I've always loved the aforementioned Kinks' tone as well.

Overall, I had a great time...

Friday night was good. I'd rate it as second best of the three nights. The four opening acts were good, although The Thanes ruled that particular roost. The Sonics were fun. Some said there were sound problems, but I was right up front, getting the stage mix anyway, plus raw blasts from the amps. And crushed in a crowd of delirious fans.

Saturday night started great, with the Higher State. The Urges were quite good, as well, but I think both would be more at home in a smaller venue. (That's fine by me, because that's where my favorite rock'n'roll always happens.) The Alarm Clocks have improved significantly since I saw them about 15 months earlier at another Brooklyn venue. The New Colony Six were about what I expected. Thing is, the sappy lightweight mid-60s pop thing is not my favorite. And I do love pop. But I kept thinking it was the kinda music played at a high school dance in 1966 where the guy and his girl danced close. She's on top of the world thinking he really loves her, the way he's holding her close (until the chaperone comes to separate them), while he's thinking, "Damn, she feels good!" And, "I'm gettin' some tonight!" I went and got some good kielbasy and pierogies during their set and listened from the other room. But that was still better than the friggin' Strawberry Alarm Clock, who made me think that the one time I kept an open mind and saw the Grateful Dead was...Well, let's put it this way, The Strawberry Alarm Clock made The Grateful Dead sound like the MC5. But that's probably not fair, 'cuz I friggin' HATE that trippy-hippy jazz-noodling kinda thing.

Sunday night was my favorite by far. One of my favorite newer bands, The Hall Monitors, were opening and they did themselves proud. Eddie Angel of Los Straitjackets even joined them for a couple songs. The Wildebeests came on next and tore it up, exactly the way I was hoping they would. Then the (group called) Lyres came on and did a great show, even getting an encore from the packed house. And then the Fleshtones, who also got the respect they so deserve from this crowd. People were dancing their asses off. And during the Pushup Song, they handed the bass to The Paybacks' Ms. Wendy Case and the guitar to head Hoodoo Guru Dave Faulkner and the two of them tore it up w/Mr. Milhizer bangin' out the beat. Finally, The Sonics, who despite a few miscues, were still a blast. And this time it was more comfortable, without all the pushing and shoving.

Overall, a great weekend, with some cool rock'n'roll and lotsa old and new friends.

Hmm. I'm predicting that the late eighties early nineties become fashionable in the next few years. It's the logical progression from all the early eighties nostalgia that was going around a couple years ago.