Tabla de contenidos para May 2025 en MOJO

…Bauhaus singer PETER MURPHY (right) releases a new Youth-produced album in spring. Entitled Silver Shade, he calls it, “as powerful as any of my work to date” …the first LP NEIL YOUNG and his new group Chrome Hearts – with vocalist/guitarist Micah Nelson and Spooner Oldham on Farfisa in the line-up will, hopes Young, be out soon. “Playing with the Chrome Hearts was a joy as we recorded song after song at Shangri-La [AKA the storied studio in Malibu currently owned by Rick Rubin],” he wrote. “I am very happy to have this all ready for you” …out later this year, SPARKS’ MAD!. Songs include A Little Bit Of Light Banter, Do Things My Own Way and Running Up A Tab At The Hotel For The Fab …producer The Alchemist announced on…

“I love bebop, I love challenging music. But I also love a big tune.”EMMA-JEAN THACKRAY IN EARLY 2023, shortly after beginning work on the follow-up to Yellow, her sprawling, cosmic jazz-funk debut album, Emma-Jean Thackray was blindsided by the sudden death of her partner, electronica composer Matthew Gordon. “I just felt so lost,” she remembers, calling from the cramped studio within her south London flat. “I didn’t do anything other than stare at the wall like a blob for six months. I didn’t know who I was any more. But eventually, I realised my only way back to myself would be through music.” Music had been Thackray’s North Star since she began playing cornet, aged eight. Soon she was performing in Yorkshire colliery brass bands, becoming an evangelical jazzbo after…

IN THE great tradition of the Sex Pistols having little or no control over many of the records released in their name, when MOJO speaks to Steve Jones and Paul Cook about the trio of Live In The USA 1978 albums being stagger-released between February and April this year, neither of them are even aware of them. “Fucking news to me,” the guitarist laughs. “It seems a bit overkill to me,” says the drummer. “I don’t get the thinking behind it.” Both seem to have deep-sixed their memories of that notorious travelling horror show, involving a Sid Vicious withdrawing from heroin, self-harming and battling with audience members, John Lydon declaring from the stage at Winterland in San Francisco, “Ever get the feeling you’ve been cheated?” and the ultimate collapse of the…

ON THE EVENING OF MARCH 21, 1967, three of The Beatles were at Abbey Road, recording backing vocals for a song called Getting Better. John, Paul and George were gathered around a microphone. After a few run-throughs, John took out a silver snuff box he kept his pills in and began poking around in it, searching for an upper to keep him going. Soon afterwards, he faltered and stopped in the middle of a line. He looked up to George Martin in the control room. “George, I’m not feeling too good,” he said. “I’m not focusing on me.” Martin paused the session and took John up to the roof for some fresh air. The other Beatles stayed behind. But as McCartney and Harrison discussed what might be the matter with…

OUTSIDE THE LODGE ROOM, THE ATMOSPHERE is heavy: the smell of smoke lingers in the air and there’s ash on the ground. It’s late January in Los Angeles’ Highland Park neighbourhood, and for the last two weeks, much of the region has been engulfed by flames from a series of fires. One of the two largest blazes, the Eaton Fire, is centred just a few miles from the old Masonic temple where Alan Sparhawk is performing on this night. It will be a couple more weeks before the fires are fully contained, but the residents of the area are already looking to the future, trying to find a way forward amid the devastation. It’s a feeling Sparhawk knows well. For nearly 30 years, Sparhawk and his wife, drummer/vocalist Mimi Parker…

(Scepter single, 1963) A peerless heartbreaker, with vocalist and orchestra at loggerheads, the former trying to convince the latter this affair has a future, the musicians too wise to be deluded. Even Bacharach struggled to explain the shifting time signatures. No imitations come close. (from Make Way For Dionne Warwick, Scepter, 1964) With nine future Bacharach/David standards – including Walk On By – Warwick’s third LP is among the Brill Building’s greatest calling cards, but it’s this cut of a song already essayed by The Shirelles and Chuck Jackson that closes the album, Warwick’s vibrato making every line her own. (Scepter single, 1967) The cute backing vocals, the Tijuana Brass trumpet (which Warwick brilliantly mimics on the break as if mocking its ubiquity), the barroom piano fills, the hairpin tempo…

DAYS BEFORE MOJO’S CHAT WITH Roger Taylor, news breaks of Crazy Little Thing Called Love reaching one billion plays on Spotify. A Freddie Mercury song, that one, but having penned Queen smashes such as Radio Ga Ga and A Kind Of Magic – plus Bohemian Rhapsody’s B-side I’m In Love With My Car – Queen’s drummer has also known the lucrative gift of residuals. “Later we credited every song to the whole band,” he says, the voice a warm, familiar rasp. “Something like The Show Must Go On was really Brian, whereas These Are The Days Of Our Lives is my song. It was Freddie’s idea, bless him, to split everything equally after a while. He was very generous that way. You win and you lose but it felt like…

Gregory Uhlmann, Josh Johnson, & Sam Wilkes Uhlmann Johnson Wilkes INTERNATIONAL ANTHEM. CD/DL/LP LA players unite for jazzy take on electro-acoustic chamber music. Bringing together three envelope-pushers from Los Angeles’ vibrant jazz scene, this was never going to be a straight-ahead listen. So it proves. From stuttering, stop-start opener Marvis (first featured on Johnson’s Unusual Object) to the harmonic bass and slowly unfurling melody of Unsure (reprised from Wilkes’s Live On The Green) to Johnson’s transcendent altosaxophone on Arpy, it plays to their chameleonic reputations. While the lack of percussion focuses ears on the timbre of Uhlmann’s fingerpicked electric guitar, Wilkes’s fragile bass and Johnson’s treated horn there’s familiar comfort in a sweeping, transformative take on Beatles ballad The Fool On The Hill. Carefully layered yet playful, these continually unfolding…

Secret Superstar Sounds SOUL JAZZ. CD/DL/LP Powerpearls from the deep: obscure new wave classics rediscovered. “KEEP YOUR eyes on the NME, make sure you’re ahead of me,” sneer Peterborough’s Gobblinz as they seethe at the cooler-than-thou kids on London – the lead track on Soul Jazz’s fabulous compilation of overlooked British powerpop. Tellingly, on the cover of their 1978 single, one of the band is wearing a decidedly unhip Status Quo-style denim jacket. Secret Superstar Sounds celebrates the kind of out-of-towner bands that moved slightly too slow to board the punk bandwagon, but found homes on the pub rock fringes of new wave. Language School by Poole’s Tours was a John Peel fave, while genre zealots will know Nobody Loves Me by Bath’s Letters and The Tunnel runners’ mega-rare Forever Crying…

IS A VISIONARY too strong? Certainly Jimmy Page had vision. In July 1968, when an LA psalmist told him of imminent “life changing” decisions just days before his then-bandmates called time on The Yardbirds, the guitarist was already conceptualising a supergroup who – after a brief spell as The New Yardbirds – would be named Led Zeppelin as per Keith Moon’s suggestion. Singles? Only very rarely. Studio recordings? They’d self-finance them, creating a bargaining chip when Jerry Wexler signed them to Atlantic. Zeppelin’s explosive, eclectic music would tap studio techniques Page had gleaned from recording engineers while working as a session musician, and US DJs would be encouraged to broadcast the magic one side of vinyl at a time. That way, epics such as Dazed And Confused could cast their…

A DAY OR TWO after Bill Fay made his one return to the stage, in 2007, he called to tell me about how it had gone. Fay had turned up for a Wilco gig at the Shepherd’s Bush Empire in London, where he encored with Jeff Tweedy on Be Not So Fearful, a gentle prayer of a song from his 1970 debut album. Fay was touched by the kindness of Tweedy and Wilco, but mostly he wanted to talk about how he’d travelled to the venue by bus from his north London home. For the entire journey, he’d been transfixed by a ladybird that had hitched a lift on his jacket sleeve. It was a measure of Fay’s boundless capacity for awe, for understanding the value of small epiphanies, and…

Since we’re celebrating the 40th anniversary of Rum Sodomy & The Lash, where better to start than with that album’s rousing opener? Irish myth, radical politics, a trail of picturesque devastation stretching across Europe, and a high-velocity tune that sounds like it’s been around for centuries… The essence of The Pogues in three incredible minutes. Written by Shane Patrick Lysaght MacGowan. 1985 Warner Music UK Ltd. Licensed courtesy of Warner Music UK LTD. From Rum Sodomy & The Lash. GBAHT0105482 Named by Shane MacGowan, and with Pogues roadie Cush a key founding member, The Men… were the second-biggest folk-punk band of the ’80s. And as this new live version of one of their greatest songs – a Thatcher-bashing protest anthem from 1985 – proves, their fury and energy is heroically…

“I MUST ADMIT, I found it a little bit difficult,” said Rick Buckler, with admirable understatement, of The Jam’s dramatic split at the peak of their success in 1982. Speaking to MOJO’s Chris Catchpole about his 2022 photobook The Jam 1982, in one of his last in-depth press interviews, he continued, “It just seems so completely unreal, that here we were, after everything that we’ve done, for it to literally be junked… it felt like a sort of musical vandalism, when we felt we had so much more to do, so much more to record.” A generation of Jam fans agreed with him – just as they knew the group would have been unthinkable with anyone else behind the kit. The Jam, one of the greatest bands of their era, would…

IT’S BEEN A regular fixture on the vinyl aficionado’s calendar since 2008, celebrating the grass roots record shop and the limited-edition joys to be found within. This April 12, Record Store Day promises to be no exception, with more than 400 exclusive releases to choose from. As ever, there are collisions of familiarity and novelty. Take the newly rediscovered alternative US version of Public Image Ltd’s First Issue, with subtly reworked sleeve art and a unique tracklist of re-recordings and different mixes. Also new to wax is yellowvinyl four-track 12-inch EP Power To The People – Live At The One To One Concert, New York City, 1972 by John & Yoko/Plastic Ono Band and pals. Taken from Lennon’s final full solo shows, three of the four songs are previously unreleased.…

CAPTAIN BEEFHEART, Prince and Ian Dury may have left the planet, but that didn’t stop The Magic Band, The Revolution and The Blockheads from playing the old favourites live. This is not the objective of House Of All, a group comprised of ex-members of The Fall. It’s masterminded by guitarist Martin Bramah, who co-founded the class-of-one Manchester legends with Mark E Smith in 1976 and departed after 1979 debut Live At The Witch Trials to form the Blue Orchids. “Mark was the constant presence and the genius,” says Bramah of his old teenage pal who died in 2018. “But The Fall was bigger than Mark. We’ve all got something of that spirit in us. I wanted to get some members together and create something that was a continuation of The…

There’s talk of the latest Sparhawk incarnation hitting the road for a series of summer festival dates, or potentially a full-scale tour. “I’m not sure what that’ll look like yet,” says Sparhawk. “It could be me opening for those guys and them joining me for part of the set. Or me playing with them and then they’d take over the show. We’re still figuring it out, but we’re hoping to make it happen.” A four-piece combo featuring Sparhawk’s son Cyrus, launched in 2021, promising “a Lake Superior groove you can dance to”. “Originally, Cyrus wrote a bunch of funk jams, and since then we’ve done some collaborative stuff too,” notes Sparhawk of the project that draws inspiration from the work of Curtis Mayfield, Funkadelic and Roy Ayers. The group has…

Shane MacGowan: The energy of punk rock was already in Irish music. When I was a kid, I saw The Dubliners, The Clancy Brothers – it was all around. The idea for The Pogues was just adding a bass guitar, and a very loud drummer stood up in the middle – Moe Tucker-style, except he was (clenches fists). And Spider’s drinks tray as well, a traditional Irish instrument – like the bones or the spoons [live, Spider Stacy was wont to hit himself over the head with a drinks tray]. Spider Stacy: I first met Shane when he was in The Nipple Erectors. You could hear that this guy was a really great tunesmith, and the lyrics were always smart and slightly psychotic. In early ’81, Shane, myself and members…

Night Life FICTION. CD/DL/LP Faris Badwan’s nocturnalist firebrands double down on goth credentials. A CLASSIC English rock band, ever game for an aesthetic/conceptual reinvention, The Horrors’ two-single dalliance in industrial noise almost sank them mid-Covid. So, a full eight years on from fifth outing V, it’s a trimmed line-up of Badwan (vocals) and Rhys Webb (bass) who here revert to flat-out goth-rock – perhaps cannily, with black-wearers back in vogue amid comebacks from Siouxsie Sioux and The Cure. Where latter albums presented a naggingly overcooked sound, producer Yves Rothman wisely marshalled Night Life in six weeks in LA, with new keyboard player Amelia Kidd chipping in remotely from Glasgow. Within ominously booming coordinates often evoking Hans Zimmer-style soundtracking, dark-pop miracles reliably happen, including Trial By Fire’s Bauhaus-y, post-apocalyptic histrionics and…

John McKay Sixes And Sevens TINY GLOBAL PRODUCTIONS. CD/DL/LP “WE DON’T care if you vanish into thin air,” sang Siouxsie Sioux on Drop Dead/Celebration, the B-side of 1980 single Happy House, as much a virulent hex as it was a song. Her curses were aimed at drummer Kenny Morris and guitarist John McKay – “those arty ones,” Sioux eye-rolled – who suddenly quit the increasingly factional Banshees in Aberdeen, two days into the tour for the band’s second album, Join Hands. The pair were so fearful of the singer hunting them down at the station, they furtively left Scotland on a small plane. With good reason: “If I’d come close to either of them, I feel sure I’d have come close to throttling the life out of them,” Sioux said…

SMiLE: The Rise, Fall, And Resurrection Of Brian Wilson David Leaf OMNIBUS PRESS. £25 “SEE, DEBBIE,” Eva Easton-Leaf tells a friend at the start of an essay in her husband’s oral history of Brian Wilson’s reconstruction of and through SMiLE, “you can love someone enough.” Easton-Leaf and her longtime friend and former roommate, Debbie Keil-Leavitt, are sharing a bottle of champagne, soon after the world premiere of Wilson’s 37-year-old “teenage symphony to god” in 2004. Keil-Leavitt was a steadfast confidant to Wilson during the ’70s, after he’d dropped SMiLE to save his family band from the alleged terror of his artistic ambition and vision. David Leaf was a Wilson devotee who married Keil-Leavitt’s roommate and spent decades wondering to Wilson, insistently if carefully, “What happened to SMiLE?” That little scene,…

APRIL 1954 …Chet Baker Sings APRIL 2 The post-war era was really starting to swing. Today, the construction of Disneyland was announced, and the price of America’s first mass-produced colour TV set was reduced. Simultaneously, America had just tested their largest-ever nuclear bomb and President Dwight D Eisenhower was preparing his “domino theory” outlining America’s fears of international communism. Meanwhile, as reported in DownBeat, California trumpeter Chet Baker was in the midst of a two-week engagement at the Basin Street jazz club on Times Square, with pianist Russ Freeman. Six weeks earlier in Hollywood, the two and producer Dick Bock from the Pacific Jazz label had recorded the trumpeter’s first vocal LP, Chet Baker Sings. “It is startling to discover a voice and a horn of such quality with but…

WHEN THE Sex Pistols split messily on-stage at the Winterland in San Francisco on January 14, 1978, Johnny Rotten infamously declared, “Ever get the feeling you’ve been cheated?” Earlier on that night, he’d also told the crowd, “I think it’s fun. Do you want your ears blown out some more?” This year three limited-edition live LPs from that infamous US tour allow listeners to re-experience the Pistols live. Three volumes of Sex Pistols – Live In The USA 1978 present the San Francisco gig (on blue vinyl) plus shows at the Longhorn Ballroom, Dallas (on white vinyl) and the Great South East Music Hall, Atlanta (on red vinyl). The sounds are newly mastered and come clad in familiar Pistols livery. The first vinyl (Atlanta) is released on March 28, with…

JEFF BRIDGES’ film career has, of course, taken in such essential movies as The Last Picture Show and The Big Lebowski. But he’s also a musician of long standing – see his T Bone Burnett-produced solo LP from 2011, and more – which brings us to one of RSD 2025’s most intriguing releases. His LP Slow Magic ’77-’78 collects various vintage Bridges material: songs are variously informal and in-studio, from Beefheart experimental to Beach Boys melodious. “Oh, I was thinking about doing another Quaalude,” goes the representative, loopy Obnoxious. Two songs have vocals by acting legend Burgess Meredith, who narrates multi-part movie-for-the-mind Kong. For decades it existed only as an informal cassette comp. “Music would keep bubbling up,” says Bridges, surely one of the few men in the world who…

ON DECEMBER 31, 1947, one of music’s all-time great labels was born in New York. Before the founders’ signatures sealed the deal, the original name Horizon Records was crossed out in favour of Atlantic Records. In charge were Turkish diplomat’s son Ahmet Ertegun and dental student Herb Abramson. Using money borrowed from Ertegun’s dentist, the two music nuts were up and running. Soon they’d be joined by producers Jerry Wexler and Tom Dowd, and over the decades that followed the label released prime jazz, R&B and, after signing a deal with Stax in Memphis, soul. A move into rock and pop in the late ’60s, meanwhile, set the scene for success as part of the Warner Records group. Along the way, still-vital LPs by Aretha Franklin, Led Zeppelin, John Coltrane…

1 MARK PRITCHARD AND THOM YORKE THIS CONVERSATION IS MISSING YOUR VOICE From collaborative LP Tall Tales, Yorke falsettos ambivalence over oil-slick electronics, C’mon Everybody rhythms and fading tape. Find it: streaming services 2 MICHAEL SHANNON AND R.E.M. PRETTY PERSUASION  Actor Shannon’s Fables Of The Reconstruction Tour hit Athens, and all four members of R.E.M. got up on-stage and joined in. “Oh my fucking god!” concluded Shannon.  Find it: YouTube 3 PAUL McCARTNEY STEP INSIDE LOVE  Macca’s original 1967 voice-and-guitar demo, with bossa nova shimmy, melodic sophistication and no Cilla Black. Find it: YouTube 4 GALACTIC AND IRMA THOMAS LADY LIBERTY Social protest from the Crescent City, as lively funk foregrounds Irma setting America to rights: “Lady Liberty took a fall.” Find it: YouTube 5 BON IVER EVERYTHING IS PEACEFUL LOVE From…

SEPTEMBER 26, 2024, AND ON-STAGE at the O2 Forum in Kentish Town, north London, three of the original Sex Pistols are performing with a startling intensity, displaying the fire and skill that always belied the Malcolm McLaren-contrived gimmick that they couldn’t play their instruments. As bassist Glen Matlock will put it to MOJO, describing the explosive chemistry between himself, drummer Paul Cook and guitarist Steve Jones, “As soon as we plug in and start playing, we’re the Sex Pistols.” Their new singer, Frank Carter, is halfway up a stage-right staircase, and climbing over a railing onto the lip of a balcony, as he belts out Satellite, the Holidays In The Sun B-side that was John Lydon’s ambivalent anthem to the suburban kids in “those godforsaken new towns” where the Pistols…

IT’S 1972 and John Lennon is talking to drummer Jim Keltner on the phone, about a tour he’s planning that will end in Miami Beach to coincide with a protest at August’s Republican National Convention. The ex-Beatle’s ongoing challenge to President Nixon and the US political establishment has him buzzing, but Keltner sounds a note of concern. Does Lennon realise he’s playing with fire? Has he considered the risks? Lifted from a recently discovered box of tapes, the audio is one of the stars of One To One: John & Yoko, Kevin Macdonald and Sam Rice-Edwards’ vivid and visceral new film about Lennon and Yoko Ono’s period of controversial activism, 1971-73. The pair’s recorded phone conversations with Keltner, Allen Klein, MC5 manager John Sinclair and more provide some of the…

APRIL 28, 1963. BACKSTAGE AT PARIS’S OLYMPIA THEATRE, Dionne Warwick was doing her best to remain calm. Waiting to perform at Les Idoles Des Jeunes, she’d met the revue’s local stars Françoise Hardy and Sylvie Vartan and said hello to fellow imports The Shirelles and a 13-year-old Stevie Wonder. After recent months on the chitlin’ circuit in the still-segregated Southern US, her European debut promised a glimpse of another side of life. She took to the stage, however, to applause that quickly gave way to silence. From the cover of Warwick’s latest French release, This Empty Place – featuring a barefoot strawberry blonde in a coquettish pose – they were expecting something, or someone rather different. “There was an audible gasp when I walked on stage,” Warwick recalls. “They didn’t…

EVEN TODAY, OBSERVATORIO DEL Teide’s towers – shining brilliant white against the Tenerifian sky – resemble a Giorgio de Chirico painting brought to life. It was here that 22-year-old Brian May spent spring 1970 with professors and fellow students from Imperial College, Kensington. Together the island’s clear skies and the observatory’s telescopes allowed an unhindered view of the zodiacal dust Brian was studying for his PhD thesis. Back in London, May played guitar in Smile, a trio who’d shared a bill with Pink Floyd and Free but were struggling to make any serious headway. May bought a Spanish guitar in Tenerife, hoping to experience a musical big bang moment when he wasn’t pondering the cosmos. One night, perched on the volcanic rocks of Mount Teide, May watched the sun rise…

BOB GELDOF AND I WERE PUTTING LIVE AID TOGETHER and going through potential artists. Being the producer, I understood how slots work and who went where. I was also dealing with the technical side: we were doing two shows [London and Philadelphia] and had to stay strictly to time because of the satellite. I thought about it, and said for the late afternoon slot the perfect act would be Queen. Bob said, “No, they’ve peaked. I don’t think they should play.” I said to Bob, I really think they’ll be perfect to go on in that 5.30, 6 o’clock type slot – knowing Freddie as I did, I knew they’d really make a show of it. Bob and I went backwards and forwards. I had to do a lot of…

Greentea Peng Tell Dem It’s Sunny AWAL. CD/DL/LP BREEZILY DITCHING that well-established creative principle “show, don’t tell,” Greentea Peng outlined exactly what she was setting out to do with her music on her ambitious 2021 debut Man Made. “This sound,” the south London-born singer-songwriter declared, “is physical… meta-physical and mystical,” before defining it as “sensual”, “alchemical” and “like medicine”. She ended with an instruction: “now open wide and let it in.” If it seemed like a lot to absorb, Greentea Peng – the stage name adopted by Aria Wells – happily delivered on her claims, merging psychedelic soul, woozy trip-hop and Erykah Badu-influenced R&B into broad-spectrum beats, a holistic alternative therapy groove designed to work against tough times. Tell Dem It’s Sunny has a similarly medicinal quality, but Wells’s second…

The Waterboys Life, Death And Dennis Hopper SUN. CD/DL/LP SOME YEARS ago Mike Scott chanced upon an exhibition of the ’60s photo art of Dennis Hopper, best known as the radical, free wheeling actor/director. Seeing the era through Hopper’s eyes moved Scott to investigate the former’s story further and increasingly view Hopper (who died from prostate cancer aged 74 in 2010) as a cultural giant, but also to feel a growing appreciation for a man who’d lost his mind in the process of making 1971’s baffling rogue stuntman flop The Last Movie. Scott could relate to the latter, having as he admits, “hit the rails making Fisherman’s Blues” in Ireland in the ’80s. Inspired, he wrote the simply named pop-art rocker Dennis Hopper (which appears here in reprised form as…

LAUNCHED AFTER the UFO Club was forced to vacate its original locale beneath the Blarney in Tottenham Court Road, and based initially in Covent Garden from August 1967, Middle Earth became London’s prime destination for underground thrills accompanied by liquid lights. At its peak it was hosting big bills three nights a week headlined by the likes of Soft Machine, Traffic, Blossom Toes, Tim Buckley, Jefferson Airplane and Captain Beefheart, all of whom are found in a new Cherry Red 3-CD boxcalled Middle Earth: The Soundtrack Of London’s Legendary Psychedelic Club 1967-1969 ★★★★. Says teenaged attendee Jon Newey today: “It was special, a different world entirely to the usual band-plus-audience format of the nearby Marquee, Flamingo and 100 Club and the stale and increasingly violent Mod scene.” Originally sited in…

Sly Lives! (AKA The Burden Of Black Genius) Dir: Ahmir ‘Questlove’ Thompson HULU/DISNEY+. ST LATE INTO Sly Lives!, Ahmir ‘Questlove’ Thompson’s thoughtful documentary about the explosive brilliance of Sly Stone and the band he built, the drummer and filmmaker poses a provocative question to his assembled celebrities: “Is there a burden on black genius?” Nearly two hours earlier, the film begins with a fruitless quest to define that term before implicitly offering Stone as one possible answer: a charismatic multi-instrumental wonder who channelled the fractures and possibilities of the late ’60s into anthems that recombined most everything. D’Angelo – who emerges as a kind of one-man Greek chorus, so crucial for Sly Lives! – is the first to answer: “You do have to do it for everyone, and everybody else’s…

HELLO C.1980 It actually began somewhere in the mid to late ’70s and came out of a lame arena rock covers bar band called Anacrusis, which means to start a song on the upbeat. I guess most songs start on the downbeat. The symbol for the term was an upside-down ‘u’ with a period in the middle. So I put a lightning bolt through it and made it our logo. A little to our credit, we did do Alice Cooper and Aerosmith and so many Cheap Trick songs, one could call us a Cheap Trick cover band. I seriously considered calling ourselves Fat Chance. So anyway, Mitch Mitchell and I bailed, or maybe we got kicked out, in 1978 or ’79, because we started getting into punk rock or, more…