STRIKE IN THE DARK

In early February I shot the lovely and incredibly talented David Shah an email. He happily replied. Unfortunately, his answers had been sitting in my inbox for months on end - unloved. Now the new album "Permissible Permutations" has been released, there couldn't be a better time to post this Q&A!

For those that don't know, David Shah was lead singer of Luxembourg (a band I heartily recommend). He now fronts a group called The Melting Ice Caps.

Hello there!
Hello!

Out of all the bands and projects you’ve been involved in, David, I think it’s fair to say that you’re most strongly associated with Luxembourg. The band was championed by big names such as Simon Price, Steve Lamacq and even the elitist NME! The debut album, “Front”, garnered golden reviews from the indie crowd. This must have encouraged you all to carry on and work on the follow-up, which unfortunately was never completed. So why did the band stop all of a sudden? Surely, you were just starting to smell the scent of success? We worked really hard on Luxembourg for seven years, and some of us had a shared music-making history going back even further than that. We enjoyed a lot of very warm support from webzines, small promoters and the like – and it was all much appreciated – but we rarely drew the attention of the mainstream. We were approached by big labels a few times – cue much excitement – but nothing concrete ever came of it. We built up a wonderful, loyal live audience, but I think it's fair to say that our rise had somewhat plateau-ed by 2008 (although of course that might have changed if we had continued). In the end, I think we just wanted to see each other do different things musically, have fun, take philosophy degrees, visit the pyramids... just anything other than the thing we had been slogging away at for really quite a long time.

I've no regrets, because I know we gave it a good go when we were at the stage of life when you should be giving it a good go. That's not to say that I take music-making any less seriously now than I did then, far from it, but the aims are very different these days.

Did you self-release under Dogbox Records because no one came knocking on the door or was it that the band would enjoy much more creative (and financial) freedom in doing so? Couldn’t you have just stuck with Angular Recording Corporation?
We were chuffed to be on the first two Angular compilations CDs, but unfortunately they weren't able to offer Luxembourg anything beyond that. So I think necessity was the mother of invention where Dogbox was concerned, yes. Alex did a great job with turning it into a bona fide label.

Is it an urban myth that Morrissey was in the audience looking on in awe at Luxembourg’s gig at The Metro?
Lots of people claim he was there, so unless it's a very elaborate joke on me, I suppose he was. Sadly, I was too dazzled by the stage lights to catch a glimpse of him. At least, I think it was the glare of the lights – maybe it was just his aura. Or the light bouncing off his glorious brow...

After Luxembourg drew to a close, you moved onto The Melting Ice Caps. Now in terms of sound it does seem very different to what you did previously. Was this a conscious effort?
Well, quite a few of the Ice Caps recordings came about by my collaborating with one person at a time (Alex Potterill, Aug Stone, Audrey Morse, Mark Estall, Samantha Ashleigh Hayhurst, Aurore Sommer), and there were other songs that I made working entirely solo. Either way, a lot of samples and virtual instruments were usually involved. That's bound to sound different to the sound of five people playing together, i.e. Luxembourg. It also meant I could try things that I couldn't have done in Luxembourg, so the Ice Caps catalogue includes a bossa nova song, a few dance tracks, something akin to folk music, and generally some quite unexpected gear changes here and there. Maybe things have come full circle now though: on the “Strike” EP last year, I got to record a song (“Strike In The Dark”) with a full band (the wonderful live Ice Caps group), and there'll be two more such full-band numbers on the album I'm putting out this year. If there's a unifying thread now, it's to make songs that have a certain prettiness.

I think some of the Ice Caps songs are as good as anything I wrote prior. I'm not sure how many people my music reaches these days, but I carry on because I love doing it. I'd like to think the songs will have a long life, but that needn't be through the versions I've recorded.

You’re also working with Aug Stone under the umbrella of The Soft Close Ups. Now do you see this as an equal to The Melting Ice Caps?
It's all equal, of course. There are some real gems in the Close-Ups canon, I think. But time-wise it is very much a side project for both Aug and me. We've written about ten Close-Ups songs together, I think, whereas I've released about 30 Ice Caps songs, and there's a full-length album of new Ice Caps material on its way. (Never hurts to mention that more than once!) Aug, as you probably know, always has a dozen intriguing projects on the go at any one time.

Do you deliberately veer away from being political in your songs nowadays? It was often said that the Luxembourg lyrics were political. I expect my lyrics nowadays are seen as less political, but I wouldn't agree. I'm just a bit less hectoring in how I say things these days.

Can you please describe how you would traditionally write the lyrics to a song? The way I mostly work now, the lyrics are usually the last part of the process. I tend to start a new song by working out the chords and melody. Sometimes I build up the musical arrangement quite a lot before the words suggest themselves. Ideas for lyrics come from all over the place: things that happen to you, things you read, other people's lyrics. At the risk of de-romanticising the whole business, the final step is partly technical – making the lines scan, managing to get in a few rhymes here and there, or some pleasing word combinations. But that mechanical bit can be enjoyable, especially when things drop into place. It's a bit like doing a crossword.

Presumably, you have a day job. From what I gather, the hard reality is that GOOD music tends to get overlooked by the press and doesn’t make much money – especially with illegal downloading and the like. How do you balance your work life with the musical pursuits?
I work part-time, so there are some hours left over in the week for music making. A day job isn't such a bad thing for a musician; it stops you taking yourself too seriously or obsessing too much over every last detail of that mix you're working on in your spare room. Music is important, but most of the time it isn't a matter of life and death. Having all your time available to indulge in your own projects isn't necessarily a recipe for happiness.

What do you make of our X Factor - get famous quick - culture?
There are probably better things to do with your time.

Are you still in contact with your Luxembourg band members?
Yes, and some of them even play in the live The Melting Ice Caps band! I'd like to see all the Luxemboys more often than I do though.

Would you happily fall into the nostalgic familiarity of Luxembourg if a reunion was to take place? Or would you want nothing to do with it?
I certainly wouldn't rule out the possibility of a reunion when the time is right, although of course it's not just up to me. Nostalgia is an emotion that evaporates very quickly, which in this case would be a good thing.

Do you ever play Luxembourg tracks live? Or do you stay clear?
The Soft Close-Ups did a live version of 'About Time' once, but that's as far as I've gone. Like most musicians, I'm usually more interested in playing new songs, not old ones. Maybe one day though.

Any pre-gig rituals?
Sip still water; store self at room temperature.

What are your plans for the near future, David?
Did I mention that the new album is almost in the can and should be out within a few months?

Thanks Harry for helping to spread the word about The Melting Ice Caps!

"Permissible Permutations" is out now
www.themeltingicecaps.co.uk

OUT OF FOCUS

Jonny Cola has made his name as the outspoken, theatrical and bitingly witty frontman of glam rock cum pop band Jonny Cola & The A-Grades, formed in the summer of 2008. Their debut release "Yellow Mini" was released the following year to rave reviews. Incendiary Mag branded the seven-song collection, "brash and confident, stylish and thoroughly entertaining... poppy and totally anthemic." The full-length debut album, "In Debt", was released in 2010 and received similar praise. 2011 saw the release of the "Postcode Wars" EP, with the lead single receiving significant airtime from music maestros Q. Mudkiss remarked that the EP was packed full of "tight, economic songs with something to say, delivered with punch and precision." They have a new EP, "Halo", ready for a March release.

I may be flirting with sensationalism but in my eyes Jonny Cola is the modern day David Bowie. We need more like him to spice up today's bleak musical climate.

Pop! The Question looks under the cover and into the elusive, but thoroughly entertaining, world of Jonny Cola.

How did the band come about?
I cut my teeth as the keyboard player in a band called Luxembourg. During the same period, Mauro was lead guitarist in The Rocks, who I used to go and see a lot. Both bands reached their natural end at the same time and I managed to catch Mauro at a weak moment and convince him to give me a try.

Jonny Cola is a great stage name but what's the real one?
The internet holds the answer but I couldn't possibly comment.

Are you directly involved in the creation of your music videos? What is your input?
All of our videos have been done "in house". Most of them were plotted by Jez and me, filmed by our mate Ian Brown (not that one) and edited by Jez. Obviously we had to get Pixar involved to help with all the CGI in Action Man though.

Who would play you in a film?
I'd play myself, but not very well.

Putting out your releases online through Corporate Records is a novel idea but what are the benefits?

Corporate is a very well designed, easy to use site which I'd recommend to anyone who wants to self-release online. So much easier and quicker than iTunes, etcetera! The downside is that it's relatively obscure, but as a way of releasing to the underground, I've not seen a better platform.

Could you describe your relationship with the label Scratchy?
Scratchy put out the Postcode Wars EP, helping us with press and getting us distribution through Cargo (so that you could order the vinyl from HMV or download the MP3 off iTunes). They'll also be releasing our next EP, Halo. Simon (not that one), who runs the label, is a lovely man and we're very grateful for all his help.

What is the last album you bought?

I think it was Me & Home James by Morton Valence. They're an excellent and under-appreciated bunch. 

Analogue or digital? Why? 

Any way you like it. 

Do you write the music and lyrics yourself? 

I write all the lyrics. For most of our material to date, I've written the basic song and then given it to the others to write their own instrument parts. But I'm very open to other ways of writing. 

Which politician, past or present, would you most like to meet and why? 

I'd like to meet Ken Livingstone, who's one of the few politicians I have much time for, and ask him what the hell he was thinking when he backed the London Olympic bid.

Any views on today's music press? 

I think it's much the same as it's always been. There's a lot of good music out there and there are also some good writers. It can just be frustratingly hard to link the two up. 

Have you rubbed shoulders with the rich and famous? 

David Hoyle, a hero of mine, reposted the Action Man video on Facebook, which pretty much made my year. And I once met Moira Stewart in a lift. Does that count?

You're known for your flamboyant stage presence and colourful dress sense. When did this all start? Has it got you into any trouble?
It's been going on for a long time. Trouble though? Nah. My boys have got my back.

Where do you go for a good curry? 

One of the best places I've been to is opposite St James's Street Station in Walthamstow, London E17, down the road from where we recorded In Debt. There are lots of great options in Whitechapel/Brick Lane too, obviously. 

If you had the choice of comfortable sales with no artistic compromise, or world domination by selling your soul, which would you prefer? 

Pop music is a form which by definition demands some form of compromise, but I won't be writing adverts for Coke or anything. 

What's the funniest band experience you care to share? 

Punk Rock Night in the Glasgow Paisley Road Travelodge was pretty entertaining, especially when the Buckfast started flowing. But, in objective terms, it's probably the time we got locked in the dressing room before a soundcheck. We had to phone the engineer to come and rescue us! 

How would you like to be remembered? 

Fondly.

Where can we find you on a typical Friday night? 

Where would you like to find me? 

Is 2012 going to be the year of Jonny Cola & The A-Grades? 

One can only hope so. 

I think that brings this to a close then. Any thoughts?

Never give up.

Jonny has unearthed a rarity for us. You could call it an exclusive!

This is the band's very own cover of Boys (Summertime Love) by Sabrina. 

"Halo" is out on 26 March
www.jonnycolaandtheagrades.net

BLUSHING GOD

Photo by Rob Golding

Having previously interviewed Marco Pirroni, I was delighted to have the opportunity to quiz band mate Chris Constantinou, the enigmatic front man of The Wolfmen. With a musical career of over three decades and a variety of anecdotes stretching back even further, Chris was certainly not light on material!

For those unfamiliar with the man himself, let me give you some background. Following a somewhat eclectic musical birth in the Seventies – spanning blues to rock – Chris’s big break came in 1982. He joined Adam Ant, playing bass guitar and supplying backing vocals, under the stage name of “Chris De Niro”. Chris is probably most notable for his work in 1985 during the 'Vive Le Rock' period, where he also played Live Aid with Adam, and worked with legendary producer Tony Visconti. After his stint with Adam, Chris moved onto several exciting projects. Teaming up with former Bow Wow Wow starlet Annabella Lwin resulted in the surprise hit “Do What You Do” in 1994. Chris also had a songwriting partnership with Guy Chambers, now renowned for his work with Robbie Williams. Subsequently he founded JackieOnAssid, which released two albums and went on to support Iggy Pop. In 2004 Chris got together with long time friend and ex-Ant, Marco Pirroni, to establish The Wolfmen.

In this candid interview, Chris opens on his influences, ambitions, regrets and schoolboy mishaps.

Chris, who were your first serious musical influences?

Jimi Hendrix and T. Rex were fantastic. Ska, Blues and Country music were on constant rotation.

Your first musical memory?
My parents’ family favourite LPs had a big impact on me. A track that really stands from those early years is “The Man From Laramie” by Jimmy Young.

Describe the soundtrack to your adolescence
Jimmy Cliff
Lou Reed - Transformer
Slade
Howlin’ Wolf
Dave and Ansell Collins - Double Barrel
Tangerine Dream
Amon Düül II
Jimmy Hendrix - Hey Joe
Hawkwind
Franz Zappa
Cat Stevens - Moon Shadow
Johnny Wynter
Black Sabbath
James Taylor
Billy Cobham - Spectrum
Roxy Music

Anything you mimed in front of the mirror to?
T. Rex - Ride A White Swan

And what about your first snog?

It was up a lane in Derriford in Plymouth with Linda Bloom. She bought me an ice cream. It was raining. She was wearing a red pvc raincoat and she had massive red bee stung lips.

How did you learn to play guitar?
I went to the skinny man in the music room. He played the clarinet. I wanted to play the guitar like Jimi Hendrix or Marc Bolan. The teacher taught me how to play the melody to a piece called “Edelweiss”. I then decided to give the flute a go and was sent to the skinny man’s room again. I really wanted to play a Jethro Tull song – but living in the past – he stuck to scales only. He couldn’t actually play flute!

From then on, I had to teach myself to play guitar, flute and bass guitar.

Did any records inspire you to be a singer?

No, there wasn’t one record in particular but I admired Howlin’ Wolf, Marc Bolan, Leonard Cohen and Franz Zappa as singers and lyricists.

I was always a singer, you know in the choir and that sort of thing. In terms of what inspired me to be in a band? Well, that was out of necessity, at the start. I began doing simple backing vocals in my bands and then with Adam Ant I learnt quickly. You had to. It was intensive training! Also, to play the bass live with bands you had never even met before, or rehearsed with, was quite a thrilling - if daunting - task. Adam got me to sing all backing vox on the “Vive Le Rock” album.

When did you first discover your vocal talent?
I never had and still don’t see it as a talent. I just see it as something I can do okay and just work with.

How did you form The Wolfmen?
Well, I was in a studio with Harvey Birrel, in North London. We were working on some JackieOnAssid tunes (“Mr Sunday”, “Andy Warhol”, and "Company Car") and I called up Marco and asked him to play some guitar. As that went well, we decided to write some tracks from scratch and that was the beginning of The Wolfmen!

What don’t we know about you?

• There was a professional country band that had a residency in an American camp in Baumholder, Germany that I used to play for. I was seventeen. A man got shot dead in the audience. The singer told me to keep playing
• I was not one bit nervous playing at Live Aid. 
• After playing at Radio City Music Hall in New York I partied with John Belushi, Eddie Murphy, Robin Williams to name a few.
• Cooking is a love of mine.
• During my first television appearance as part of the Plymouth College Choir, I picked my nose. I then hid behind the sofa when I saw it all back - including the gruesome close up.
• When I was young, I went for a sleepover at Martin Foster’s place and shat in the bath. I would like to publicly apologise to him and his parents, if they are still alive.
• Cat Stevens is my God Brother. He goes by the name of Yusuf nowadays.

Which musician did you most enjoy collaborating with?

Daler Mehndi was by far my favourite. The creation process behind “Two Eyes” was very exciting.

We were sent his vocal files from India. It was mostly based on a one-chord Bangra vibe. We then wrote and wrapped Wolfmen-like music around it.

  

Do you have any musical regrets?
I started off wanting to sing as well as play guitar and bass, etc. In hindsight, I wish I had just stuck to the singing from the very beginning.

Any views on the innumerable reunions seen over the past few years? 

Well, I guess it beats having to get a proper job.  

What was the most challenging recording you’ve ever been involved in?

Ha! I suppose it most be the session with Gary Katz in which I had never heard the track before. I went to the pub, bought some bottles to take back to the studio, sat with the music in front of me. In fact, I got it in one take (apart from one note). That must have been a bit of luck but the track turned out pretty good, it was for a singer called Thomas Ribeiro. 

“Scorpio Rising” from the Vive Le Rock album, with Tony Visconti producing, was also a challenge. I had been out clubbing and had met a girl, so I went straight from that to the studio and I had never heard the song before. Again this was a first take – Tony said that is was the best bit of bass on the album.

Digital downloads - blessing or curse?
Blessing.

Tell me about the film Drapchi you star in.

Jack Cassady was the character I played. He’s a successful musician and producer who is sick of the rat race. He sells up and moves to Kathamandu.

For about two weeks I was in Kathmandu. The director Arvind Iyer is brilliant and they all looked after me very well. An amazing experience!

The film is out very soon so I can’t say too much.

It’s strange because “Plastic Charm” refers to Kathmandu but the lyrics for this track were written about fifteen years ago.

How was it working with Sinéad O’Connor? 

She was good fun to work with and is of course a brilliant singer and lyricist. It was an honour for us to work with her. The new album, “How About I Be Me (And You Be You)?”, will be coming out in February.

What was your input? 

Marco and I recorded about five tracks altogether at Raezor Studios. We co-wrote three songs with Sinéad that made the album - "The Wolf Is Getting Married", "I Had A Baby" and "Old Lady". We also recorded another two. One was a track called "Very Far From Home" and the other I can't remember.

You had finished “Married To The Eiffel Tower” in late 2009 and yet it was released two years later. What was the reason behind the delays? 

We were pissing about!

I know you teamed up with Annabella Lwin for the critically acclaimed singles “Car Sex” and “Do What You Do” in 1994. Were there any further plans? 

We signed a record deal with Sony. Unfortunately, the project was blighted by poor management and never went further than a couple of singles. A treasure trove of material was recorded, which remains unreleased to this day. What a waste!

Tell me about your partnership with Guy Chambers

I played on a number of sessions for Guy and he became a good friend of mine. He was on the verge of giving up before the Robbie opportunity came. He was telling me he might just have to become a music teacher! I told him he should keep at it and it was just a few months later when he got the call. I like him. Met up with him at a mate’s birthday party and have been in touch ever since. Working with him again would be nice.

Balancing Marco’s reluctance to live work with the financial interests of the band must be hard? How do you do it?

Marco doesn't like playing live and I respect that. We did a great gig at the 100 Club recently and Ciaron covered Marco's parts really well. Everyone knows that you need to play live in this day and age, I love playing live, and so that’s what I'll be doing.  

Will Ciaron be working with The Wolfmen in the studio? 
Or is Marco still on board?

Marco is still very much on board despite not playing live.

Ciaron has already played on a cover of a song we have recorded by David Bowie’s project, Tin Machine, called “Bus Stop”.

Who designs the album artwork for the group?

Mark Alleyne has done most of the work so far. He’s brilliant!

Do you have any celebrity fans?

Pete Shelley, of Buzzcocks, was up at the front of our first gig. He took some photos and gave us a nice little write up in his blog. I can’t think of any others at the moment.

Oh, David Bowie loved “Cat Green Eyes” and “Wam Bam JFK”.

What are your thoughts on auto tune?

It’s another tool, like any other. 

Please describe your time with Adam in the eighties

It was amazing, like a never-ending fun paid holiday. I loved it!

Have you ever had a groupie? 

Are you joking? 

Your favourite Adam Ant/Adam and the Ants album?

It has to be “Dirk Wears White Sox” and some of “Kings Of The Wild Frontier”. I like some of the b-sides, too.

Would you like to work with Adam again?

Marco gave Adam the two albums and he said he really liked them. Yes, I'd love work with him again.  It would be nice to collaborate on a track in the studio.

Are you likely to buy his forthcoming ‘comeback’ album, snappily titled “Adam Ant Is The Blueblack Hussar In Marrying The Gunner’s Daughter”?

Yes! 

How crazy is it on the road? 
What was your most interesting experience whilst touring?

It was San Antonio. When I wandered on to the roof of the hotel and saw a girl who was about to take her life. I talked her down and let her sleep in my hotel room – and no we didn’t have sex – she was nothing to do with “The Adam Ant Show”.

We kept in touch for many years and she told me how her life had improved.

But I haven’t heard from her for a long time now. I hope she is happy.

Most recent book?

Bowie Bolan And The Brooklyn Boy by Tony Visconti 

Did you enjoy the 100 Club show? 
The reviews have hailed it as a triumph.

It was amazing fun and yes, the reviews were great too.

100 Club, July 2011 - Photo by Rob Golding

What does the future have in store for The Wolfmen? 

Live Nation has taken us soon meaning you can expect plenty of live shows from us. There are also some interesting collaborations in the pipeline. So lots to look forward to!

Does a follow up to the “Married To The Eiffel Tower” album look likely?

I hope so! We have all discussed making the third album. If we do go ahead and make it, we’ll find a decent label to release it on. 

Chris, where do you want to be in five years time?

I want to be alive, creative, fit, playing live and having fun.

“Married To The Eiffel” is out now

www.thewolfmen.net

TWO MORE INTERVIEWS... HOPEFULLY!

I'm trying to get two exciting new bands on board for an interview. They are already taking the music scene by storm. Both have the unequivocal support of the music press, including the elitist NME.   

Photo by Richard Davis                                             

Let me start with The Heartbreaks. 

The four-piece band from Morecambe released a five track ep last year. 

Now, they're good friends with Theo and Adam of Hurts, they have worked with Edwyn Collins and Carl Barât has championed them. In addition, they have even been hand-picked by Morrissey to support him on his European tour!  

Photo by Ian West

Frankie & The Heartstrings have, for now, a bigger following, when compared to The Heartbreaks. They released their fruitful debut effort "Hunger" earlier this year and, like The Heartbreaks, already have the adoration of a whole legion of die hard fans. The album jumped into the Top 40. 'A Negative Narrative' have reviewed the fun new album hailing it as "a belter" in which "the band follow traditional songwriting techniques to create simple and catchy tracks."


The band originate from Sunderland and cite The Smiths, Edwyn Collins' Orange Juice and Dexys Midnight Runners as key influences. 

For those eagerly awaiting my interview with Chris Constantinou, the finishing touches are being applied as we speak. The aim is to publish it later this month.

MAN CALLED MARCO

To celebrate the release of the latest release from The Wolfmen, "Married To The Eiffel Tower", and news that they'll be much more active on the live circuit, here is the interview I did with Marco Pirroni, guitarist of the band, back in February 2009 for the relatively obscure (and now defunct) site Family Of Noise. 

Photo by Rob Golding

Hello Marco, I cannot believe I am interviewing one of my heroes!

Hi Harry!

How was Christmas and the New Year for you? 

It was uneventful, I spent it with my parents and also some friends.

Do you have any New Year's resolutions?

I never make them as I can’t ever stick to them.

As a child, what did you want to be when you grew up?

I wanted to do exactly what I ended up doing!

What were you like at school?

Almost the worst student in the class. I really wasn’t interested in anything at school.

What was the first guitar you ever bought?

It was an awful nylon strung acoustic somebody gave me. The first one I ever bought was an red epiphone semi acoustic, it was £50 in a pawn shop.  

How big is your guitar collection, can you tell me about it?

Around forty-five pieces mostly from 50s and 60s, lots of Gibsons, Gretsch and Epiphones.

Which current guitarist do you admire?

I like the guy out of Muse.

What type of guitar would you recommend to a beginner?

Probably a good used Telecaster.

Looking back at your post-Ant history, what would you say was the highlight?

Too many highlights to just choose one, but I liked the period just after the band split when Adam and I were left to our own devices. That’s when we were writing and recoding the "Friend Or Foe" album. That was very happy period. 

Sinead O’Connor posted a message on her Myspace page that you are working with her on her next studio album. Can you comment on this?

Yes it’s true. We start first week of March on her new album. 

Who would you most like to collaborate with in the future?

Lou Reed, definitely. 

What new bands do you like? 


TV On The Radio and Dengue Fever are very good.

Tell us about the last musician you saw live.

I never go to live shows any more. I’ve seen and done enough in my life so they don’t hold much interest for me now.

What’s it like working with Adam?

He thinks very fast so you have you be on your toes, you never know what he’s going to do next but he also knows when to leave you alone to get on with it.

How do you listen to music?

Everything is on my iPod now, but I do miss CDs. I was never really a vinyl junkie.

Are you happy with what The Wolfmen have achieved so far?

How is the recording of the second album, Married To The Eiffel Tower going?

We are about half way through; ask if I’m happy when we finish it! 

Why did you choose Raezor Studios to record the album?

It belongs to a friend of ours and as our recording work grew we needed somewhere we could take up permanent residence. We are in there almost every day and it has become our studio/office/clubhouse.

Do you ever read the Family of Noise forums?

Yes, I do I have a look every few weeks. 

Will The Wolfmen perform in Singapore?

Ha ha ha, dunno! Do bands ever perform there? 

What further changes do you think the music industry will see in the next five to ten years?

If I knew that I would very rich indeed! I think its clear that retail will disappear and download will take over totally but as with everything there will a reaction against that but nobody can really predict was going to happen. A lot depends on technical developments in the next 5 years but I think the next thing will be high quality downloads as MP3s and even MP4s aren’t that great in the audio quality stakes.

On a personal note, during your time as a customer at Barclays Bank Premier Banking, in High Street Kensington, my mum Anna McGarvie, who worked there on the front desk, often chatted to you and remembers you well. We still have a signed Antmusic Greatest Hits that you signed and gave to her - “to Anna and John, love from Marco xxx”. Do you by any chance remember her? This would be about 14 years ago?

I don’t remember your mum specifically, but I used to like going to that bank as everyone was very nice and you would get a cup of tea while you were waiting. 

That's it from me, thank you for your time. I wish you all the best with everything that you do.

Marco xxxx

www.thewolfmen.net