Events are listed by date, then city. Submit listings at least 14 days before publication for Glasgow to glasgow@list.co.uk and for Edinburgh to henry©list.co.uk. Listings are compiled by Mark Robertson, Fiona Shepherd and Henry Horthmore. For ticket outlet infromation, see Book Now.
Thursday 20 G zxsgnw I The Ramones Story featuring Marky Ramone I )mn \lni. " *1 “ W (in-.u \\t‘\lt‘lll anl. ‘55 (illlll " illpui. t' I 5 ()llt' nl lllk' lt'\\ \lll\ l\ in: l<.lllll'llk'\ |l.l}\ llllllllt' In lux tlnikx punk l‘llllllt'l\ I PopUp \\.il.int’ht'_ il l)lllltl.l\ \Iit't‘l. “3 NW” nnnn l-iw '\ \llt'tl up '\l.ll‘ Sliup Ina-Ix .i \lll\\t'll tl(l\\ll ('Iiit" \w \.lltl ill l’iilll [l III lllt'\k' \t'l') [‘.Ij_'L'\. llL'lC |.iunthinj: lhcu \inglt' ‘l in}. \\h;il )nil 'li_\in;: In \;1} "
I Michael Simons 'I (In: (M ll.l. .12 ()I.i}_'n l .lllk'. ‘55-153-1. Spin t3 (il.i\;_)n\\ lxmwl yinluihl pl;i}inj_' lnll\. lilut'x .llltl l‘t'}lllltl
I Ross Hamilton Rciumx l'L'l‘l}. .\lltl\'l\lllll (Jun). 'I ll\' llinnnut'luu. Illn‘lfi In5 5| l Spin U) Sun] and I‘nt'k \(llllltl\ linin llll\ \illlfJ\\lllt‘l. lxit'kul li_\ liw pit-u- lmuil,
I Son of Dave, Tom Mansi and Adam Beattie li;ll’ll_\. 3M) ( .l'\tlk' Slim. USN) III)? II‘N‘) .\pin. t". Snn nl l).m- l\ lllk' |i.'uiunnit';i Inquig: llvuluniui l).ll\t'll. lninicil} nl ('iuxh 'l'cxl l)l|lllllllt'\. \\lln luth up .i i;i\\ hlucx \lll\l \lilllll .ill nu lux ll\\ll\lllllt',
I Suede Denim Secret Police, RM“ tllltl El Dog l 5lll \Hlt‘ (‘illk'. 50 (ill King: Sliu'l. 55i Inks. ani, t i. Scll \I)|nl ‘Iuclniht‘. luuu lurking; intuit" linui l1| llng.
I White Ace, Boogie Loushou, ATP and Quixote l‘hc l.lt]llltl l.nung_'c. lll \\c\l lx’t'gt-nl Slit-cl. ;5i 0‘“. Spin. (5. | null Inck llllL' up.
' High on Fire \it'c'ii'Sltuix}. ~13l Suut‘lut'hiill Sliccl. i.“ (NIH). .\'.,‘~Ilpin. £85“. ‘.-\ \Iipci'xnnit~ cwi‘t‘ixc Ill t‘nnquL'xt li_\ \nlunic‘. lli'ing ll nnl I Shy Child King: 'l'uI‘x \lel \Vuh llul. Tin SI \int'cnl Sliu‘l. III 527‘). 3.30pm. 9;". l,n\\ t'llkl lxt‘}llllill'tl/tll'llllh nnleughI lll Ihc \cin nl llcgiIh li'nui .'\l‘(l\t' l‘l—y‘l.
I The Tallboy illltl The Urchins The liquid Ship. l‘l I75 (ii'cul \lecrn Rnutl. Hl l‘llll. 83”an l'i'cc (Emil) St'xxinnx iughI \\ iIh l'I‘cnch nt'l lhc l'It'hinx.
I Live Music \lct‘luullx. 4H High Sllccl. 553 _‘l ‘5. ‘lpni l-i'cc. \wa hundx night. \\ llll linc up In lic t‘nnlii'uiul.
I Standard Lamp Sessions 'l‘lic llull ll.u. lhIl \\'nntll;intl\ Rlliltl. ‘53 “Win. ‘lpui, lit-c. .-\t‘nu\lic
\ingci‘ \nngixiut‘i night \\ llll .iclx In he t‘nnlii'iuctl,
I This is Pop and Naomi Bur Blnt‘. l l5 liulh Sll'ct‘l. 554 (\(lhh. ‘lpnl. l'il'cc. \cu nighl ll'Ulll l)L‘.lllll\lll—lllllll\ llu'l} .\l;u‘t‘ l‘l;l_\lll:_' lux ll\ll‘.ll nu\ nl i'nt‘lx. int-Lil. punk. Ict‘hnn. clct'u'n .lllkl hnuw. I Dropkick .md Attic Lights l'hll‘L‘\\tllCl'. .i-ll Stillk‘lllk'lltlll Sll'u‘l. 3.54 “35”. MW lwlni‘c l lpin; L5 .illcix .‘\\‘Ull\ll\‘ tltllll‘lk‘ l‘lll.
Edinburgh
I Horse 'l‘hc .luiu llnuxc. 5 (‘luccn Sli'ccl. 22h 435‘”. "pm. L'le IL'5H int~ Ilu'cc t'nui‘xc lllL‘;lll. l.n}ul|} puli‘nnixctl \ingci' \nngmucr \\hn \\ ill nn tlnuhl hc t‘i'nnning In .1 lull linuxc.
I Il Divo litlinhiu'gh (Kixtlc. Royil \lilc. 235 ‘l.\‘~lh. “pm. £35 {40. Pop Ulk‘l'd li‘niu the phcnnincnall} \uccmxiul ll Dun.
I Jack O’Diamonds, Blueflint and Denghis llcni'} '\ (‘clLu‘ Bar. 5' Im Mni'i‘ixnn Sli‘u‘l. 238 ‘3303. 8pm. tllk‘. ‘liiullx‘nunln '.
68 THE LIST GM:
JOHN FOXX King Tut‘s. Glasgow. Sat 22 Jul
It may come as a surprise to some that Ultravox once had an artistic credibility that predated their more mainstream recognition in 805 popland. Formed by John Foxx and Chris St John in the mid-70$. Ultravox released three influential albums before being dropped by Island and abandoned by Foxx. ‘I just felt that there was a lot I wanted to do with electronics.‘ offers Foxx on his departure. ‘I could see that something significant was about to come out of that and I wanted to get involved. I knew what this music should sound like and I just had to do it.‘
So inspired by the possibilities of this new technology Foxx jettisoned everything he knew about making music in bands and set off on a path of musical freedom and purity, as a biz outsider, through a series of electronic albums over the last twenty-odd years. 'I always saw a parallel there with the time when electric guitars first appeared. There was this new instrument. a new technology that everyone got and which led to a new kind of music. I felt something like that was about to happen back in 78-79.‘ With artistic partner Louis Gordon. Foxx is promoting a number of new releases that espouse a stand-alone genre of electronic rock and dabble in their shared fascination with developments in audiovisual technology. 'It is that idea of retrieving the electronics from dance' he explains. ‘It went too far and was appropriated by dance music completely. and we’re trying to pull it out of that.‘ (Mark Edmundson)
I Covert Camel, Wynd and 3 Steps Back llunnm‘iuun'x \itltli'} Sll‘ccl. 550 325-1. 8.45pm £4. Intlic .uitl i‘nt'k ll'lPlL‘.
I Theme, The Jack and Strait Jacket \VllhllL‘l‘llllleN. —l (i Sillllll lh‘itlgc. 55" 51H. ‘lpin, l-rcc. ()i'iguiul i'nt'lt linui (ilcui'nllicx‘ Sll'ull Lulu.
Glasgow
I Guns ‘n’ Roses and Bullet for my Valentine ~\'l".('(‘. l'lllIlIL'\lnII (Jun). Ils'll lull-10ml -..5ll[‘lll £555“ The crmtit' (iunucix luup nu. \\ iIh nnl} nnguml incinhci‘ .-\\| Rnxc lcll Hi the line-up
I Fallacy, Arca Felix, Give Half to the Monkey .md Athena Smile Bni‘ll} tllp\l.llr\l. 2N) (lulu 81mm. UV“
IIn" INUU linc up I Rockburn, Stereoglo, The Arguments .llltl Ampersand ltui‘inuluntl 3. 2+1 (l.lllil\\_‘_‘.llt'. 55: Mull " 45pm to ()\Cl' Hx \hnv. lllktll iuthc lMlltl \lill\\\\l\L'
I Scarlet Blue, Ali Love .md The Mode Burl}. Inn (‘lttlt- \IIct'l. 4M! NH“ II‘N‘) .\pni L5. \lilkl'l\ll \l‘lllhl‘ Iinin Sgdl'lt'l lilllk‘
I Amplitude, Hunky Dorys, Ladder Coins and Basilisk l'lll_\ \lui'i'} K. W» \l.i\\~.cll \Ii‘t'cl. Ill (i511 \ illpni L4. lllt'ltltllll; gnu} In me-gig tluli \chkl} \hnutuxc nI lngul llltllL' l‘illl\l\
I Lavender Diamond \‘ict-‘ii'xlc.i/}. 431 Saut‘hichull SII'ccl. “WWII”
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I Paul Kelly, Dawn Landes .md Bela l\:t:_~.' lzzt \ \\.il‘. \\.il‘. llul. 35:4 \I \ "mull: \Itt'cl
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I Perfect Remedy \JTllllt‘l llmt n” ‘i \iIli\.l.ilc lx’nml. 1.“ I’ll"
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I The Tallboy .m.l The Urchins llit- ll.ilI ll.u. Hill \\nnill.iutl\ Rinitl :57 ‘N‘Hi ‘lpin lit-v \t‘t' lhu I"
I The Times, Skarsoles, Tommy Weir, Brady Cole, The Revivals, Archangel nut Lost Generation \nuntllmux. 1‘ llhlcixuk \Iit'cl. .‘.‘l rln5" " illpni tn hclnit' l.‘.ini, t\ .lllk'l lillllll‘t‘l lint“ up. int lnthuz' lnn l I;'lIIcI\ \lll‘l‘illl l‘.lll\l lii.itl_\ ( Illk'
I Shitdisco Turbo Sound System (il.i\;.'n\\ \ linnl nl \ll. IIV lx't'nlit'u \liccl. 15* 15:1 llpni :5 it M \t‘\\ \\k'\'l\l\ \ luli nig'lil \Kllll .i \llll\ll\\ n ll\\' \t‘l II\ {Mill \‘l l‘likt‘t‘illllIW
I Korovas .mtl The Dirty Hepburns lllk' l iiputl l nuupt', "l \\\'\l lx’t';'cIiI \llt't‘l_ ‘5 i h i ii lilit'iliiit'\\ \nunilx linui Ilu' lliII_\ lik'l‘l‘lllll\
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I James Winter, Rich‘n‘Niz .uul The Flavours llit- l.lll| llnuxt‘. \ (‘lllt't‘ll \llt‘t'l. 35h li\ll fll‘lll l l\'\‘ l‘k'llllt‘ lllpui. :5 l‘t'llllt' l.un_i ('nwix .llltl p.uI_\ Iunt'x
I Lucerna .lllIl The Usual Suspects \\ lll\llt'l‘llll\lt'\. 1 n \nth lliu _‘,'\'. 555 5| ll npni l'lk'k' lwlnit' Initlniyhl. Ll .lllt‘l \lk'llltlh .llltl k'l‘H lc.uun_:\ linni l ll\k'lll.l lllllll\\\'ll l\_\ lunk} l‘lllk'\ linin lllk'l \ll.ll \ll\l‘t'\l\
3.1 High on Fire ( Limit-i \Hlldllt'.
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I Westlife ltlinluuuh ( '.i\Ilt'. lx’n_\.i| \illk‘. 5:5 ‘l-Vl‘l "PHI 145 \lult' l‘.lll.l\l\ .llltl \lllll pnp ’hiyhlig'hlx' linin lllt' \t'cuunpl} mm pnpul.u llil_\l\nl\
I Aspen Getaway, Sitting Pretty, Toe’d Up .mtl Screaming Blue Murder Sulmp ('imyulc. fi‘l ( 'nu guilt: 335 (Whli " illpin H «L i» l':llkl\ .llltl lllt‘l.ll I.iut_\ tllt'\\ {hill}
I Boogaloo Bothy llk'lll\ x ( 1-H.” ll.u. .\ lfm \lniiiwn \liu'l. .1“ “Ni .\’pni {.un t5 llnnpulnn llnlh} \.llk'l\ lui In.in_\ l.l\lt'\ ‘.\|lll ux lug'. lHll‘l‘llllj.‘ pnI nl lllll\|\ .llltl l‘t'.ll\ u llll liu' .l\l\
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I Nerve Engine .lllll Sweet Chin Music ( Zilulnumn Hut kllilt lxt‘l\. i (\lllk‘k‘lhlt‘ll} Slim-I. 17) "23-1 .\ Ulpin L5 \ll Int’lx .llltl pnxl liltlx ninjhl
I Taylor I )ltl ( ~h.un l’it'i. i.‘ lquI} (.ltNLk'lll. \mxlmwn. 55: l.‘ ii ‘lpni l‘lL'L‘ .\t'HlI\lI\ ll.lt'l\\
. Open Mic lliillllt' \llt't'l “Al. (I') llnlinc Slim-I. ‘) illpni lit-c ()pvn nu; nijghl
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I John Foxx .lllkl The Rubicks KlllL’ 'lul‘x \Kuh \\.ih llul. 353.: \I \ lllk't‘lll Slim-I. Ill 53“) HWHpni L7 .‘\ll'\llllt' \xhn ll.t\ \u'n t'niumhun (i.u_\ l.(’ Stumpy .iI Ilic l‘llllth' lll.l} unl lic .ihh' In I.il\c lnI‘Iiu'I l'ltI.i\n\ \tlt.lll\l .lnhn l'n\\ \L'llillhl}. hut Ilu\ \llllllltl lw nI \iilllL' llllt'lL'\l In llltl \}nIh pnp l.lll\ Su-
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I Parts 8: Labor, Action Beat .uul Park Attack \itt"Ii'\'lt‘.i/_\. -1_‘l Suut'luclmll \IIu-I. “WWII” H {llpui L" l nhnl} Lit kul unanan \ll\llll'lL‘tl in“. tli‘unh .intl hwhnunh linin Ilu\ l‘llIHillel \llllll‘ll. In.il\Ing_' lhcu Stnllixh tlL’l‘lll
I Open Stage 'l llL' lltill l‘lul. lfill \Viuitlltillth Riiuil, ‘)‘)‘)(i, «l lell l'I'cL'. \VL‘isl-tl} \L'\\lllll lnr lncul
I David Sneddon ()I'un \lnr.
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