Will Sergeant’s “Space Junk Radio”




I first met the guys in the Bunnymen in the late 1980s, interviewing them while on tour. I’ve stayed in touch with them over the years, and have always remained a fan.

Will Sergeant is one of my favorite guitarists, he’s written so many clever songs-from The Killing Moon, to The Cutter, to lesser known fan-favorites like Angels and Devils; he’s also released a lot of ambient/experimental work under various monikers.  Will is a passionate music fan and record collector, so I was thrilled to see he’s doing radio podcasts taking us through his record collection.

His latest Mixcloud features Eno, Modern Lovers and anecdotes about a wasp nest outside his front door….have a listen.

Echo and The Bunnymen have an imminent new release, The Stars, The Oceans and The Moon, featuring revised versions of classic tunes and a few new ones.  Available for pre-order on their site. 

They are out on tour soon promoting the new record, and you can find dates here. 


Let’s explore Kraftwerk….

Jean Marc Lederman just presented an interesting review of work of German kraut rock legends, Kraftwerk, on the Word website. Word Radio is from Belgium and is English speaking, presents some really interesting stuff. The Kraftwerk bit is a nice distraction from the news today….






It Started in Hamburg



An exhibit coinciding with the release of a  new book by Klaus Voorman, It Started in Hamburg 1958-2018 opens in Hamburg this week.

Graphic works, sketches, objects and large projections at the Festival Village on Heiligengeistfeld will give us the opportunity to immerse in his multifaceted work; iconic illustrations from the Beatles era will send us on a journey through time with the Beatles. The exhibition Klaus Voormann – It started in Hamburgwill be opened by the master himself.

Fans can order the book directly from the artist’s webpage.  Voorman recently turned 80. Looking back on a productive period of 60 years, the graphic art also refers to
the musician Voormann and the perennial influence of the world of music.
Besides well-known illustrations from the Beatles-area, almost 200 pieces of artwork  will reveal the artist’s diversity, including many graphic works, sketches and productions supplemented by fotos and stories – hitherto unknown to the general public – and contributions of companions and friends.


Record store tour in Frankfurt


o.jpgHi there-

Anyone here in Frankfurt on Saturday 29th Sept? I will be hosting a Vinyl-walk hitting a few great shops in the Bornheim area, organized via the ex-pat site InterNations.

Should be a fun day, and if you’re already a member of InterNations, I better see there.

You can sign up via their site or email me via our blog if you are interested

Here’s the official post from Internations:

Dear music lovers,

Let’s do guided tour of some of Frankfurt’s leading vinyl stores by music fan Paul Boschi, who runs the blog Digthatcrate.blog and is an event producer from New York. Paul also will organize some nice give aways which you can win answering some trivia questions.

We will come up with a detailed schedule later, so you can jump on the bandwagon in the afternoon at any place you want. After the tour let’s have some drink/apero and chat about music, Mint and near Mint and “les choses de la vie”.
Linda, Paul and I would be glad to see you on that tour
Tentative stops of the tour will be
-Analogetonträger, specialized mainly in classics, Jazz, Rock but also some progressive.
– Lucky Star, rock/metal/punk but also some 60ies/70ies
– Tactile is the place if you want to dig into electronics like techno, minimal

Velvet Underground Experience in NYC

If you live in NYC or planning a visit, you will want to check this out.

Containing Six Films, over 350 Photos and thousands of objects, the experience hosted at 718 Broadway, will attempt to recreate and immerse guests in the world of Lou Reed and the Velvet Underground.  From the Lower East, to the Factory guests can explore the haunts of the fabled band.

For more info, click here.




Elizabeth Fraser rare live set…




Last night in London a rare treat for 40 or so guests in Soho, featured a brief set from Elizabeth Fraser, who just celebrated her birthday last week.

Singing Black is the Color of My True loves Hair, Willow Song, Cuckoo Song, Shenandoah & Heyr himnasmidur, (according to Ben Watt who attended along with Tracey Thorn) she delighted the guests in a rare appearance.

As if that was not enough, she was joined by John Grant, who interviewed her at the Royal Albert hall last year about the Cocteau Twins seminal album “Blue Bell Knoll”


She’s been busy the last few years working on projects such as the score to The Nightmare Worlds of H.G. Wells, along with her partner Damon Reece.  In 2016, she collaborated with The Insects on the soundtrack to the BBC TV series The Living and The Dead. She could be heard singing “She Moves Through the Fair

We certainly hope to hear more from the lovely Ms Fraser in the near future.


FLASH BACK: Interview with Reeves Gabrels

This article originally ran in the US Fanzine, JETLAG in Sept 1991. I interviewed Reeves Gabrels briefly.  Looking back on this interview is fun, I can hear myself asking him the same questions today and his answers would probably be somewhat the same too.  Enjoy…

A Cog in the Tin Machine: Reeves Gabrels speaks about the new album

SEPT 1991 via telephone


While the influence of David Bowie’s music has been debated by critics, one at least cannot criticize him for sticking with one style for too long.  One of other the key elements to Bowie’s success is the people he works with, particularly his guitarists.  The list includes: Carlos Alomar, Earl Slick, Adrian Belew, Peter Frampton and Robert Fripp. Fans already know the latest Bowie incarnation and project-Tin Machine, which features newcomer Reeves Gabrels.

Bowie naturally handles the singing in Tin Machine, but the guitar work is handled by Reeves Gabrels.  Gabrels met Bowie during the Glass Spider Tour and later Bowie came to see The Atom Said, in Boston (Reeves Gabrels’s band). Gabrels gave Bowie a demo tape of his music after catching the attention of the Thin White Duke, who unbeknownst to Gabrels, was looking for a new project.

“Originally, we didn’t even know if it would work or not, “ said Gabrels via telephone this week.  Bowie had been toying with the idea of joining a band as an experiment he explained.  The first work Gabrels did with Bowie was a re-make of “Look Back in Anger” for the RYKO re-issue of “Lodger.”

“I went into the studio, and within minutes, David had me singing backup vocals for the track with him. I had gotten over the initial shock of getting to work with him, but standing next to him in the studio made me realize what was going on.” Gabrels said.  “ I showed him a couple of things I thought might work (for the remake) and he just said ‘look, I’ve seen you play, just shut up and play away,’ and with that he was just laughed and walked off to leave me to do my thing”

That experience apparently went well for both. A few months later, Gabrels and Bowie joined up with the Sales Brothers (Hunt and Tony).  The Sales brothers formerly worked with Iggy Pop and Todd Rundgren.  “They are such in your face kind of guys, “ said Gabrels, “ and I am more reserved. I was so nervous I couldn’t remember which one was Hunt and which one was Tony!”

The first track they all worked on together on for the debut album was the lead track “Heaven’s in Here” with its unmistakable bluesy intro-riff.

Gabrels remembered “The first album was recorded in a very live sort of setting, few overdubs. The new one is our first real album in that we spent considerable more time with it in the studio.  Tracks such as the catchy “Shopping for Girls” and “You Can’t Talk” attest to this. Since Bowie was on tour with the “Sound and Vision” tour at the time, Gabrels worked on mixing around the tour schedule.

Another factor that makes this the first proper Tin Machine is the fact that the band has gotten used to working with each other.  “We’ve found that, although we have different bakgrounds, we have similar life experiences. All the clichés about the band being like a family , are oddly enough true. We are all very honest about how we feel. If someone is having an off-day then the others try to compensate for it.  It is very much like a little family unit.”

He continued to explain “On the first one, it was everyone putting their trust in David. Hunt and Tony didn’t think I could cut it, I think, but they trusted David’s judgement.  Likewise was true with me.  This time, we have put our trust in each other.”

The Atom Said is Gabrels’ other band, based in Boston.  “It’s just us traveling in a van, that’s one van for the band and their equipment (laughs) there’s no room for superstars!”  Although Gabrels admits with Tin Machine it is nice to have someone set up his equipment, the difference in the two bands keeps him on balance.  He commented that guitarist Robert Fripp once told him “First, do your own cooking, then do your own laundry and take public transportation.”

Public transportation might be more difficult now since Tin Machine is finally becoming accepted as a band, not just David Bowie’s Band.  “I’m still uncomfortable with the fact that my picture is on the cover of the first album” he said.  “It used to make me nervous to walk into record stores and see it.”

I asked the guitarist if he wrote differently for Atom Said vs. Tin Machine, and he said “Actually, I show everything to everyone.  That’s funny, because I was thinking about that last night. When I write a song, I just write it. I have no idea who or what it is for. I actually get to do more of the writing with Tin Machine than I do Atom Said,” he laughed.

Recently, on their live sets, Tin Machine has ben covering “Debaser” by the Pixies. “Yeah I LOVE them, “ Gabrels said. “I really like Smashing Pumpkins and Temple of the Dog, too.  I also appreciate the crafty things like Tears for Fears.  Being a musician today has become so reputable. It’s like parents think if the kid isn’t a doctor or lawyer, a musician is next to best,” he laughed.

Asked how he saw the state of the music business today he said “There’s so much money around it now. Bands just see career opportunities instead of worrying about artist merit.  Bands need to learn to be not so greedy.  If they take millions from a record company, they need to be aware of the implications of that obligation.  That’s why I really like the Smashing Pumpkins, they’ve brought some energy and enthusiasm back to music.”

With that, he was off to more tour rehearsal with Tin Machine,  which starts touring this October. Although Gabrels seems an unlikely rock star, his talent stands for itself. His enthusiasm and down-to-earth attitude are a refreshment from the attitude overdoses of a lot of today’s rock bands.