Video: I'm Father Christmas by Mark Handley

Check out singer/songwriter and RTYD member Mark Handley's music video for his song I'm Father Christmas, filmed while Mark was busking in Peascod Street in Windsor, Berkshire earlier this month.

© Mark Handley Original audio recording 1995

Video: Glamweazel at the Dublin Castle

Jerry T. Jones, AKA Lushi Lee of 1980s band One The Juggler, these days goes by the name of Glamweazel or at least when he is performing his own songs. On Thursday night, he performed with his band at the Dublin Castle, Camden - a gig I had a little hand in setting up - and which I thoroughly enjoyed.

The turn out was very good, and I was touched by Jerry dedicating the last song Tangled Leads to me (a video of which is above). It's an anthem in a 70s rock-stylee for all of us that continue to live the rock 'n' roll dream - if only in our heads.

Rock 'til you drop, Jerry!

ROCK-TIL-YOU-DROP.COM in the Musicians Union magazine

In an article by Anne Wollenberg for the latest edition of The Musician, the Musician Union's quarterly magazine (Autumn 2010), ROCK-TIL-YOU-DROP.COM is included along with Facebook and Twitter as a social network that can benefit musicians' careers.

Obviously it's too small to read below, but you can read it here or click on the image to open a pdf.

The Moths at ROCK-TIL-YOU-DROP 4, Denmark St., London, November 2010

The Galileo Seven at ROCK-TIL-YOU-DROP at 4 Denmark St, 6th November 2010

RTYD at 4 Denmark St: A great indoors experience (not so great, outdoors)

Two years ago I started ROCK-TIL-YOU-DROP online. One and a half years ago I put on my first gig, at the Dublin Castle in Camden. Three months later I put on my second gig - back then one gig every three months seemed about the right frequency. On the bill that night along with Spirit of Play and 14 Carat Grapefruit, were the Dipsticks and The Great Outdoor Experience. Last night at one of ROCK-TIL-YOU-DROP's new haunts at 4 Denmark St., these two bands met again.

Was it only a year and a quarter ago that I first met these guys? It feels like I've known them much longer. And the way it's going I will know them for many more years to come. That has been the success of the gigs over the last eighteen months. The attendances may not have always been that impressive, but the network of bands that RTYD has inspired in London is what makes me happiest.

I'm going to cut back on the gigs I put in on in the New Year. I'm not going to put on regular gigs at the Dublin or Hope or the Fiddlers. And I think I have to knock the Libertine acoustic gigs. I know I have threatened to do it before. But I want to cut back to (mostly) one gig a month, and like last night's gig, at 4 Denmark St.

Denmark St. is a great location. Apart from transport-wise, it is also a good location because everyone knows where it is, and what it stands for. The venue is a good size - 100+ capacity. It is a simple PA set up. I like Isabelle who is the new manager. Long may it last.

Anyway, last night the Dipsticks sounded fantastic there. Despite the heavy rain outside, the band's loyal  fans came out in support and along with a contingent of passing trade, began the night's whooping and dancing. Patrick Begley's lead guitar playing sounded more confident than ever, and his whammy bar work evoked the spirit of the big-H, Himself.

I never get tired of hearing and watching them. And despite being motionless, save his spider-fingers and gum-masticating jaw, the Entwhistle-like figure of Mark McKendrick is as always enthralling. So on it. So in it.

The Dipsticks are for life, not just for Christmas, when they play again at their home venue The Constitution in Camden (11th December).

The Great Outdoor Experience, led by Phil Ram, never disappoint either. They have to be one of the best three-pieces around. Phil is the consummate frontman, one who is not hindered by being tied to a microphone stand by his guitar playing. They unveil a handful of new songs tonight and fill the club with beautiful pop-rock polystyrene chips. God bless them and the outdoors they care so deeply about.

For me the post-gig outdoors experience was not a great one. I cycled home in torrential rain with a sore throat and a throbbing headache, and then I wake the next morning to find my voice box will not open.

Back to school

This weekend is the first gig of the autumn term for RTYD. FATKAT take on The Beast at Peter Parker's Rock n Roll Club. I think these two bands are pretty well matched. Both hard and loud blues-rock, as opposed to wafty soft-blues rock - I can't stand that stuff.

And this will also be RTYD's maiden gig at this Denmark Street basement bar underneath what was formerly Regent Sounds Studio, where the Rolling Stones recorded their first album, the Kinks recorded 'You Really Got Me', Black Sabbath recorded 'Paranoid' and the Sex Pistols used to rehearse.

From 2nd October, when The Great Outdoor Experience play there, the plan is to put on monthly Saturday night 2-band gigs with performances between 8pm and 10pm. This means all those who want a reasonably night can have one. Those that don't, can stay on for the club or hit the West End.

A funny thing happened on the way to the forum

A funny thing happened the other night. In my frustration at the lack of contributions made to the R-T-Y-D Webzine, I sent a sort of clumsy ungrateful message across my networks announcing that I have turned the site into a music news feed, which I have done. I think it's a good use of the stagnant site.

The R-T-Y-D to which I was referring, however, was misconstrued by some as the whole RTYD network. An easy mistake to make, I admit. This elicited a few interesting responses, two in particular from, members and followers who decided to honestly voice, along with their support the RTYD ethos, their personal disappointment and frustration with it, and the lack of clarity in its mission.

Suffice it to say, I think they made some interesting points, which I am going to use to start a new discussion in the forums on the Musicians and Bands, Fans & Industry social networks. Those of you who engage with both my blog and the network will pick up on my alter-ego.

The Moths: Carry on Regardless

I have had the pleasure of booking The Moths once this year, at The Libertine - Remember those Saturday nights at The Libertine? Not many of you will.

The Moths are essentially an originals band but throw a few covers into their set, which they make their own. They have been going since 1982. Their singer and guitarist Duncan Wallis has seen various line up changes over the years, but the line up today, and for the best part of 25 years has included bass player Mark Deacon.

The Moths don't need ROCK-TIL-YOU-DROP. They play regularly. They play music which is very listenable in a pub or small venue situation. They would fit on almost any bill. They could play on a bill of blues bands. Or new wave bands. Or mod bands. Or 60s garage bands. Even alternative/indie bands.

But ROCK-TIL-YOU-DROP needs bands like The Moths. And for this reason I have created a page for them in the ROCK-TIL-YOU-DROP-RECORD-SHOP. There, you will find a link to their website, and another where you can buy their music on CD or download it.

In return for doing this I requested a CD that I could stream on their page, and yesterday it arrived (thanks Mark!). I haven't listened to it yet, but I don't need to to get the feeling of how important this CD is. It is lovingly presented; the inserts properly printed. It is a 2CD set, a Very Best Of, if you will, with a poster insert, including loads of old pickies and press clippings to draw you in, much like the back or inserts of an old LP, or the inside of an old gatefold. It is entitled Moth-Balls - The Best of the First 25 years.  

25 fucking years! This is a major achievement. How many of us have this to show for all that time? Something as cohesive as this. Something that shows this kind of dedication; such an unfaltering vision.

You know what? They may not need ROCK-TIL-YOU-DROP, but this band is a shining example of what can be achieved without management companies, publishing deals, record deals, and so on. Back 'in the day' they had bits of record company interest, but they came to nothing. Instead they released their record themselves. Now twenty odd years later record company interest is history. It will almost certainly never come again. But hey, who cares if you can produce nicely presented CDs like this yourself? And you can make a living in a career outside music, while doing so. Occasionally, they even get to jump in a minibus with family and friends and go and play in France, where they go down a storm. Music fans are less spoiled there. They appreciate live music on a local level there.

And who cares if they don't sell CDs in the thousands, even hundreds. Who fucking cares? If when you look back, you can get out a collection of CDs on a par with The Moths' back catalogue, and show your children or grandchildren, or just look at it yourself during a private nostalgic moment; who gives a shit? Fuck the record companies. Fuck their narrow mindedness. Fuck their oversight. Fuck the commercial success. This is deeper than that. This has real integrity. Most of the bands that got signed in 1982 aren't still going, I am damn sure about that. Maybe, some have reformed after being offered significant amounts of money. But that doesn't demonstrate this kind of integrity. This kind of loyalty. This kind of vision.

This is the real thing. These guys will rock til they drop. Nothing is going to stop them. They are beyond caring or being influenced by anything outside their band. They will keep on rocking regardless of anyone, or anything.

Good and bad news

Good news: The PUNK ROCK-TIL-YOU-DROP gig this Wednesday at The Dublin Castle

Bad news: The Beast had to cancel their appearance on the bill at The Fiddlers gig in July

Good news: Foaming Beauties are considering standing in.

Bad news: One of my patients relapsed

Good news: Punks Not Dad remembered their password and are back on the RTYD network!

Bad news: The 25 year old drummer we auditioned last week, who was to coming to his second rehearsal tonight, sent me a text to say he couldn't make make it. What's more, he now can't play the gig on the 10th July, and doesn't feel he can commit to Pocket Rocket at this point, anyway. Shame 'cos I always wanted a drummer who played 'chopsticks' style like John Densmore.

Good news: Got a meeting with Peter Parker at his Rock 'n' Roll Club in Denmark Street on Thursday.

Bad news: One of my dinosaurs is missing

Losing The Libertine

I was having a shit day yesterday, and in the middle of it came a call from the manager of The Libertine. The Saturday nights, he said, weren't really working for the pub.

The problem was plain to see at Saturday night's ROCK-TIL-YOU-DROP gig. The pub, which is run by 20/30-somethings, is often patronised by those of a similar age. Not, however, live music fans, more live football fans. And on Saturday night they were in the majority. Unfortunately, too often, they are in the majority. If, the manager said, the live music bought in the majority of punters, then it would be fine, but as we all know, and like Saturday night, the music fans were in the minority.

Despite this, I enjoyed Saturday night, especially once we worked out how to factor in an electronic drum kit. It was great to have The Dipsticks on again, to meet their new drummer Alan, and see their former drummer Angie come out to support them. It was nice to meet Runfever, and initiate them into 'the club'. The Dipsticks bought some friends, but Runfever struggled to bring people after shooting their load (as it were) at a recent gig in Stockwell. The lovely Ray Hyde from Kryptic Klu turned out to to support live music locally. But that was it. We drove most of the 20/30-somethings outside with our noise. Hardly the ROCK-TIL-YOU-DROP club atmosphere that idealistically I always hoped to achieve; Nights that bring mature musicians and music fans together to support live music, and to be social and network.

It's a real shame because The Libertine is a great pub rock venue. Those that play it always enjoy it, and those that attend it do, too. The sound is good, the staff are friendly.

The acoustic afternoons, they feel, work well, but to be honest I don't want to be left holding the acoustic guitars. I am not that interested in promoting these alone. They were always meant to be supplementary to the electric nights, so I will probably stop them, at least regularly.

I have a Saturday night booking to honour, but to be honest I fear for this. I fear it clashes with a 7:30pm quarter final World Cup game, which promises to be a battle of the European titans, Spain and Italy.

I need to have a think. And to look for a new more central venue. In my sights is the pre-club shift on a Saturday night at Peter Parker's Rock 'n' Roll Club, 7:30 - 10:00pm. Wish me luck.

Ning's New Price Plans

So Ning, the company that provides the platform for the RTYD Musicians  and Bands Fans & Industry networks is phasing out its free service, and introducing three new pricing plans. Basically, they'll want $199 annually from me to run each site, as part of their mid-priced package. On the plus side, they will be introducing the ability to sign-in with Facebook, Twitter or other authentication services, more text boxes, that I could be used to run fee-paying ads/links, as well as a couple of other functional additions.

Ning does have a $19.95 (annually) price plan, but it lacks some of the functionality that we have got used to including Facebook integration, Events and so on. On top of this, it only allows a maximum of 150 members, which is no good. I would also lose the right to use my own domain name. So that's out.

The Musicians' network has 500 members, many of whom, as you know are mostly absent. Maybe they check in from time to time but they do it without leaving a trace. They have little to offer in the way of news, blogs, discussions, information, reviews, musicians wanted ads, or whatever. They are members in name and profile only.

The Bands, Fans & Industry site has 254 members, 133 of which claim to be a band, though some of these appear to be individuals, and again many seem to have gone fishing.

All this starts in July, so there's time to think it over.

Do I suck it up myself? Or charge members a small fee to help cover costs?

Help is on its way

At the end of last week I had a pub meeting with someone who is prepared to run more ROCK-TIL-YOU-DROP nights in London. If you recall 14 Carat Grapefruit were the first to put on their own RTYD night, which was at The Miller in London Bridge in March; but this the first individual to come forward with an interest in getting involved in organising events, and in RTYD in general.

He is 37, so he was teenager in the  late-80s/early 90s. He is therefore at the bottom end of the RTYD age group, a first year student, if you like. His favourite bands are Joy Division and Interpol, but he's not a goth, so that's okay. He is a vocalist/songwriter, but he isn't in a band at the moment. He sees getting involved with ROCK-TIL-YOU-DROP as a way of raising his musician's profile in London, and helping him get back into a band.

He has recently moved from Surrey to East London, where he is co-habiting with his girlfriend. He is approaching middle-age. He's got a proper job. He can't handle his drink like he used to; this and other mature developments are under way. He is beginning the process of settling down, but like many of us, he doesn't see this as a reason to stop making music. Quite the contrary. It's funny, because settling down does seem to help you realise just how important music-making is to you, and how much it defiines you, and as a result reinforces your dedication to it.

It was cool because we talked at length about the longer term prospects of a social network like RTYD; five/ ten years down the line. We talked about significance of the first RTYD member 'dropping' -and how, in many respects, that this will be the moment that the network comes into its own, and demonstrates its real meaning as a club for life.

He's also interested in the idea of a regular social meet-up. Perhaps monthly, in central London in the back room of a pub, which I think is a nice idea.

I will introduce him in good time. Right now, he's on holiday, but when he returns, he plans to come to one or two RTYD gigs, to get an idea of what is involved.

It will be interesting to follow his progress. And if he becomes involved in the longer-term, it may well lead the way for others, in other towns and cities across the UK, to do the same.

I can but dream.

Now that's what I call a good night: Creak & Kryptic Klu at The Libertine

People came. People drank. People danced. Musicians networked. People added their emails to the mailing list, even! The place was b-u-s-y, BUSY! So, it is possible to fill the pub on a ROCK-TIL-YOU-DROP night. The bands just have to bring there friends and family in abundance, like Creak and Kryptic Klu did, God bless 'em. There was the added bonus of the stag party that arrived to fill the far end of the pub; but who cares who they were? They were there. At the Libertine. All of 'em. That night.


The first band of the evening, Kryptic Klu, has been evolving for six years or so. It is a five-piece guitar band led by Ray Hyde. The band rehearses regularly (their guitarist Liam Barnes once told me that weekly rehearsals were written into each of their marriage vows!) but has played less than a handful of gigs. Last night was the boys' first gig in a long time, and was therefore a very special occasion indeed, which galvanised friends and relatives, from teenagers and upwards. And they didn't disappoint their travelling massive, with a solid set of Leonard Cohen and Bob Dylan-flavoured rock songs.


Winners of ROCK-TIL-YOU-DROP's Best Band of 2009, Creak had a hard task following the Kryptics, but rose to it, and kept the room buzzing with their mix of classic rock covers. Their guitarist Vladi arrived in the nick of time, straight from the airport that he'd flown in to from France, put his luggage down, got himself a Guinness, plugged in his sunburst Les Paul, and spent the next 45 minutes throwing the rock moves and shapes that have become his trademark. Creak is solid, professional and loud, but never uncontrollably so. I want a rhythm section like theirs, and a lead guitarist like Vladi or Paul. Singer Paul Rodger can join me on stage for our encore, a rendition of We're Not Gonna Take It.

Musicians met musicians. Promoter met musicians; I was introduced to the members the Foaming Beauties, a band I had not come across yet, who seemed very nice - I look forward to finding out more about them.

Youtube video of Creak and Kryptic Klu to follow shortly.

Sod this for a game of soldiers

The 4th Suit

The Galileo Seven

Alpha Rays

I think I've done three or four Fiddler's gigs now. Attendance at all of them has been disappointing. It's a shame. It's a decent venue. There's no division between venue and bar. Once you're in, you're in. The sound is good. It's five minutes walk from Chalk Farm tube station. The staff are friendly.

At the last gig, the Blues night, there was nearly 60 people in the 150 capacity venue, but only 22 of these were paying customers. 20 musicians. A few WAGS. And a bunch of locals made up the numbers. It seemed reasonably busy. People danced, and so on.

Last night, there were 12 paying customers. Just enough money at the end to pay the sound man. Their were a few WAGS, a couple of French guys who thought they were above paying to see their mates. The locals. But there was a gaping void in front of the stage. People were pinned to the walls around the venue of fear of standing out, literally.

Is is worth it?

Tox of 14 Carat Grapefruit came out to support The 4th Suit who'd travelled from Bristol to play. And what a fine punk band they are. And lovely blokes. The kind of band that stops me from giving up on this whole thing. Hobbyists. A good attitude. No egos. No bullshit. Mates, mostly from school. Loyal to each other. No bickering. They plugged in, following their late arrival, and played. Then they relaxed. And ate. And drank. And drove home to Bristol.

Steve 'Istvanski' was out in support of The Galileo Seven, which featured on lead vocals and guitar, former Stabilisers guitarist Allan Crockford, perhaps more famously known for his place in 80s psychedelic-mod-rockers The Prisoners. They were very professional. Kept themselves to themselves, but put in a fine performance, much like The 4th Suit, performing as if the venue was more than half-full rather than more than half-empty.

By the time the Alpha Rays hit the stage the place was empty, save a handful of loyal friends. Which was sort of depressing.

I think I'm going to knock these gigs on the head. I'll honour the bookings I have committed to. And I'll probably continue to do The Libertine gigs, especially the Saturday night electric ones. But with respect, many of these bands are wasting their time playing in 150 or more capacity venues. They don't have the following. These are pub bands. They want less bands on their bill, and to be able to play longer sets, but they don't draw enough people to justify these arrangements.

Last night, two of the bands were travelling ones, so they can be forgiven for not bringing a big crowd, but The Alpha Rays are a London band. They won't survive long on the Full-PA Toilet Circuit without more support. I don't pressure bands to bring people. I'm beginning to see why venues do though. I don't want to be a promoter like that. It's not me.

On Tuesday night, 14 Carat Grapefruit arranged a ROCK-TIL-YOU-DROP gig of their own. In the spirit of the mature musicians' community, they branded it as such. They asked me to bring my stage-banner down and I went along and introduced the bands. I flyered it, and did some real-world social networking. Their performance was well attended, but as the night went on, the Miller in London Bridge felt much the same as The Fiddlers did last night at 11.15. Empty.

I think this is the way forward for RTYD. I'm tired of organising these bigger gigs. Bands can arrange their own gigs at these places. I will promote those bands and musicians that I like, and are friends with. I will happily endorse their gigs, and include them in my monthly email-outs, as long as they give a nod to ROCK-TIL-YOU-DROP in some way.

I need to focus on my own band. And when that's back in one piece, I will do as 14CG do, and organise Pocket Rocket gigs, with support from stalwart RTYD-associated bands that I like and care about.

Photos taken at 14 Carat Grapefruit's ROCK-TIL-YOU-DROP gig at The Miller, London Bridge.

Probing Cranks

The Remnants

14 Carat Grapefruit

Thought for the day

I've just decided, from now on, I'm only promoting gigs for bands that have signed up to the Bands, Fans & Industry network. I can't be bothered anymore with those that aren't 'in the club'.

The February half-term blues

The RTYD social networking sites have gone a bit quiet lately. Maybe it's the English winter blues? The February half-term blues, even? There's not much new membership. Very little activity on the feeds. I'm not stressing though. After the Xmas/New Year blog posts about my frustration with it all, and me sounding like I was tearing my hair out trying to find ways to monetize the thing, I have been working more at the clinic and at a local secondary school. This on top of the school runs, has left me less hair-tearing time. Which is good 'cos it's really thinning up there. Working has taken the pressure off it a bit. Hobbified it again. I have a more balanced view of RTYD now, which is good.

I will continue to promote the gigs - not too many though, 'cos they're becoming a pain to organise. The more you do the more pain you get. Dates keep getting cancelled, bands pull out at the last minute. It's not worth the stress. And there's no money in it for all the effort.

I'm going to push the new automated musicians ads site, because I think the strength of the network is in it providing a place for mature musicians to connect and advertise. It's not in the amount of entertaining written contributions from members, that's for sure.

Whilst they have a band, mature musicians who work and have a family to care for, can only just find the time - and/or get the permission - to rehearse and gig. They don't have time to support other musicians doing the same. They have no need for a social network for mature musicians. They've got Facebook, anyway. Who needs musicians going on about what strings they use when you can read about, and comment on, what your old school friends are having for breakfast.

When their drummer has a bizarre gardening accident or explodes though, maybe then, they will need RTYD.

So, I'll keep spinning the plates, I'll keep thinking of ideas that would be helpful to mature musicians out there. I'll probably even keep blogging. But I ain't gonna keep stressing about it.

The trouble with ROCK-TIL-YOU-DROP...

...is there's not enough, what they call, UGC. User Generated Content. In a further attempt to encourage more of this UGC stuff, I have come up with the following:

'Juke Box Jury', will hopefully encourage reviews and comments on music made by RTYD-associated bands. (In your dreams - Ed)

'Pedal Power', part of the Musicians' Network discussion forum, is designed to inspire guitarists to post photos and explanations of their effects-pedal set ups. (Life's too short - Ed)

And then there's my brand new website: TRAINSPOT-TIL-YOU-FUCKING-DROP.

Ever get the feeling that you're banging head against a brick wall?

Rock til you drop, not just til Christmas

I've made a lot of new friends as a result of setting up ROCK-TIL-YOU-DROP. Nice people that I expect to keep in touch with for many more years. A particularly special friend is Colin Gillman. And the other night, before the arrival of another new friend, Steve 'Istvanski', with whose recording equipment and expert knowledge we would all later that evening be recording a podcast radio show of songs about killing and murder, Colin and I were discussing music that we wanted played at our funerals. No surprise that we both picked eleven minute songs.

While we were talking on the subject, it reinforced for me the deeper meaning behind the 'clever' name, ROCK-TIL-YOU-DROP. The fact that most of us really mean it. That we're in this together now. We have created a loop. A social circle. We now know where to find each other, at least on-line, if not on the telephone, and in the real world too. We have each other to turn to for advice. For information. For counselling. This is for life, and not just 'til Christmas.

This common ambition is what brings us together; Me, Colin and Steve, for example, around that kitchen table the other night. The commitment. The shared love of making and listening to rock music. That is what we have signed up for. For the duration, for the longevity. Because we all believe that this is one of a very few things that is certain. The fact that we will be rocking 'til we die; give or take a few days, when we may well be dosed up to the eyeballs with morphine and won't be able to remember our names, let alone what 'rock' is.

To that end, I have set up a temporary home for the Members' Obituaries. Not wanting to tempt fate or anything. But before long, someone will 'drop', and it'd be nice to be prepared, and to have a place for others to share their memories, and pay tribute.

As well as Facebook, I mean.