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terry stamp - bootlace johnnie and the ninety-nines (cd)
Click here for soundbites from all tracks.
Intense, poetic, earthy and emotive, the astonishing 'Bootlace Johnnie and the Ninety-Nines' features the first new recordings for nearly 30 years of songs by Terry Stamp and Jim Avery, the songwriters at the heart of uncompromisingly political 1970s cult band Third World War (TWW).
Namechecked by the legendary likes of Joe Strummer and Steve Albini, TWW developed a uniquely confrontational performing style that emphasised power and passion over technical precision, setting the scene for the Punk revolution that was to follow some six or seven years after the band's demise.
Sensitively guided by the inventive production and playing of Alistair Murphy, 'Bootlace Johnnie' is a potent reminder of Terry Stamp's highly individual voice and lyrical style. Whether describing early years in the resident band at the Wimbledon Palais, lamenting music industry mistreatment, or exploring historical and mythological themes, the songs have an immediacy and wit that occasionally recalls Tom Waits, Kevin Coyne, and Van Morrison, while carving a totally distinctive path of their own.
Recorded in England and LA, the CD edition of 'Bootlace Johnnie and the Ninety-Nines' additionally includes two tracks recorded by TWW fan andworld-renowned producer Steve Albini.
Tracks
Christmas the Way I Like it
Bootlace Johnnie
The Ice Lizard Hometown Fair
Riverstones
Traitor’s Gate
Nightingales
Wastelanders
The Washing of the Spears
Cruel Masseur
Tender Guillotine
Bootlace Johnnie and the Ninety-Nines
Bonus Tracks
Down Pentonville Way (Demo)
My Assassin (Demo)
Click here for soundbites from all tracks.
Credits
All songs Terry Stamp and Jim Avery, (c) & (p) GSL Music, Los Angeles B.M.I. 2004
Arranged and Produced Alistair Murphy for Cromerzone productions.
Original recordings of Down Pentonville Way & My Assassin by Steve Albini, Chicago, overdubbed by Alistair Murphy
Terry Stamp: Vocals & Guitar
Jim Avery: Guitar (Pentonville Way & My Assassin)
Alistair Murphy: Guitars, Slide Guitar, E-bow, Keyboards & Backing Vocals
Mark Fletcher: Bass
Jeremy Salmon: Guitars & Tambourine
Jim Halsall: Harmonica & Backing Vocals
Laurie A'Court: Alto & Tenor Saxes
Cover designed by Carl Glover
Mastered by Ian Shepherd at SRT, St. Ives
Notes
Well here I am still sucking down air. I will be 59 in June, many years and far away from the twelve year old Twickenham kid learning to play skiffle songs in his bedroom and listening to them on old seventy-eight records on my parents’ radiogram.
Firstly, all credit for this CD that you are holding goes to Alistair Murphy, Faith Davies, Jim Avery and the musicians performing on it. Without their time, energy and love of music, past and present, you would be holding another CD in your hands.
For me, Alistair's production and arrangements of the songs included here are simply stunning. I just thank God it is myself "doing the vocal part".
I wrote and recorded the "basic tracks" of these songs, (vocal with acoustic guitar) as far as I can recall, mainly during the nineties, in Los Angeles, some being home demos, others studio demos, songs that I really thought would never see the light of day.
So pull on them headphones, everyone included here has left a few pointers for some future generation, saying, "that's how we were, we were born that way".
Terry Stamp, Los Angeles, April 2004.
For further information go to:
www.stardomroad.com
www.cromerzone.co.uk
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Comments
Stunning, a knockout... The songs, the fabulous songs, breathtaking, mind numbing, light years from the moronic norm we are continually fed, hitting you like an overhand right that you never seen coming. Submitted by James in New York, NY, USA
Much, much more information available at www.stardomroad.com
The Webmistress
Back in the early 1970s Terry Stamp fronted Third World War, a politicised and aggressive street punk band - some said the English equivalent of the MC5 - five years before punk properly exploded in the UK. In 1975 he recorded his debut solo album Fatsticks on A&M before disappearing to Los Angeles, where he kept his head down for nearly thirty years. In the intervening period, both Joe Strummer and Steve Albini have cited Third World War as an influence, although apart from the most ardent record collectors (the second TWW vinyl album is listed as £70 in one reference book), they’ve slipped almost completely out of sight and memory. In the summer of this year Stamp released Bootlace Johnnie And The Ninety-Nines (Burning Shed) to almost complete apathy, certainly as far as the established music press were concerned. But I’m slowly coming to the conclusion that Bootlace Johnnie is the best thing I’ve heard for ages. Produced by long-time fan Alistair Murphy, Stamp’s comeback is a brilliantly written collection of songs which explore historical and mythological themes together with his own experiences within the music industry--a lot of it located in the pre-punk London of the early ‘70s--already well past its swinging ‘60s prime and desperately trying to regain some sort of spark. Think Van Morrison’s Belfast, circa Astral Weeks, purely for the sense of location. His voice is a hybrid of Dylan, Nick Cave and Tom Waits, but peculiarly English and beautifully downbeat throughout, ideally suited to twilight walks in dank winter drizzle. Two Steve Albini recorded bonus tracks, both demos, have tastefully been attached to the end, and the best of them, "Down Pentonville Way" delivers the final high point on an album which is comfortably stuffed with them. In conclusion, you really need this record and you need it now. Don’t hesitate.
Rob Forbes - Nighttimes
Stamp – along with ex-Thunderclap Newman bassist Jim Avery – shot to infamy with early-‘70’s proto-punks Third World War (loved by Lydon, Strummer and co). Their first recordings for 30 years (including some Steve Albini-produced demos) sound like precious things rescued from the grime of a lifetime spent warring with record companies (“Tender Guillotine”) and inner demons (“The Ice Lizard Hometown Fair”). The contrast between Alistair Murphy’s delicate production-minimal sax, harmonica and picked guitar- and Stamp’s gravel toned intensity is especially delicious. Uncut **** March 2005
Uncut 2005