Sunday, 26 March 2017

Lobotomy Room at Fontaine's DJ Set List from 24 February 2017











































From the Facebook event page:

“It’s just what you need when you’re down in the dumps / One half hillbilly and one half punk …”

It’s back! The first Lobotomy Room of 2017!

Revel in sleaze, voodoo and rock’n’roll - when incredibly strange dance party Lobotomy Room returns to the Polynesian-style basement Bamboo Lounge of Dalston’s premiere Art Deco vice den Fontaine’s! Friday 24 February! 

Lobotomy Room! Where sin lives! A punkabilly booze party! Sensual and depraved! A spectacle of decadence! Bad Music for Bad People! A Mondo Trasho evening of Beat, Beat Beatsville Beatnik Rock’n’Roll! Rockabilly Psychosis! Wailing Rhythm and Blues! Twisted Tittyshakers! Punk! White Trash Rockers! Kitsch! Exotica! Curiosities and other weird shit! Think John Waters soundtracks, or Songs the Cramps Taught Us, hosted by Graham Russell (of Dr Sketchy and Cockabilly notoriety). Expect desperate stabs from the jukebox jungle! Savage rhythms to make you writhe and rock! Now with vintage erotica projected on the big screen all night for your adult viewing pleasure! Come for the special offer cocktails - stay for the putrid music and dirty movies!

Admission: gratuit - that’s French for FREE!

Lobotomy Room: Faster. Further. Filthier.

It’s sleazy. It’s grubby. It’s trashy - you’ll love it!

A tawdry good time guaranteed!













































/ No sin too great ... no lust too degrading ... at Lobotomy Room! /

Good lord! I’d better post this unblushing revoltingly candid scene report / exposé about last month’s Lobotomy Room because soon it will be time for this month’s! (The March instalment of Lobotomy Room at Fontaine’s is Friday 31 March. Read the full squalid details here).

February’s incredibly strange dance party was a bit different because the Polynesian-style basement Bamboo Lounge was booked for a private party, so Lobotomy Room had to re-locate upstairs to the main bar. That meant I couldn’t project my usual flickering, grainy black-and-white vintage erotica on the big screen, but it worked out OK. We just had to work a bit harder to generate our own ambience of sleaze instead!

This Lobotomy Room was also noteworthy because it represented the “hen party” of my friend Rachael, who’s getting married in the beginning of April. (North American readers: you would call it a bachelorette party). The bridezilla (sorry, bride-to-be) looked radiant in a vintage dress. 

For once, I have some photo documentation from the night.


/  Christopher and Pal /


/ Stylish ginger trio /


/ Rachael and I /


/ Rachael and I /


/ Rachael and I. Rachael is seemingly channelling Divine as Babs Johnson in Pink Flamingos? This is a rare shot that gives you an indication of Fontaine's beautiful Art Deco-style decor (note the golden palm tree) /


/ Yorkshire's finest: Rachael and Christopher /

Anyway, here's what I played:

Handclappin' Time - The Fabulous Raiders
Little Queenie - Bill Black's Combo
Fujiyama Mama - Annisteen Allen
Treat Me Right - Mae West
Intoxica - The Revels
Fever - Edith Massey
Three Cool Chicks - The 5,6,7,8s
I'm Blue - The Ikettes
Mau Mau - The Fabulous Wailers
Monkey Bird - The Revels
Wimoweh - Yma Sumac
Kismiaz - The Cramps
Beauty is Only Skin Deep - Robert Mitchum
Dona Wanna - Wanda Jackson
Go Calypso - Mamie Van Doren
Blockade - The Rumblers
How Much Love Can One Heart Hold? Joe Perkins and The Rookies
The Flirt - Shirley and Lee
She Wants to Mambo - Johnny Thunders and Patti Palladin
I Was Born to Cry - Dion
Little Darlin' - Masaaki Hirao
I've Told Every Little Star - Linda Scott
I Wanna Be Sedated - The Ramonetures
Fools Rush In - Ricky Nelson
Devil in Disguise - Elvis Presley
Be Bop A Lula - Alan Vega
My Baby Does the Hanky Panky - Rita Chao and The Quests
Saber de gostaria - Wanderlea
You Sure Know How to Hurt Someone - Ann-Margret
Shout - Johnny Hallyday
Woman - Peggy Lee
Treat Me Right - Mae West [played in error!]
Boss - The Rumblers
What Do You Think I Am? Ike and Tina Turner
Tornado - Dale Hawkins
I Walk Like Jayne Mansfield - The 5,6,7,8s
That Makes It - Jayne Mansfield
Wildwood - Sil Austin
Big Bounce - Shirley Caddell
Woo-Hoo - The Rock-A-Teens
Let's Go Baby - Billy Eldridge
Savin' My Love - Wanda Jackson
Wild Wild Party - Charlie Feathers
Hillbilly Surfer - Whitey White
Your Good Girl's Gonna Go Bad - Tammy Wynette
The Swag - Link Wray
Lucille - Masaaki Hirao
Jim Dandy - Laverne Baker
Wiped-Out - The Escorts
Your Phone's off the Hook - The Ramonetures
Breathless - X
Rock Around the Clock - The Sex Pistols
Heartbreak Hotel - Buddy Love
You're Driving Me Crazy - Dorothy Berry
He's the One - Ike and Tina Turner
Whistle Bait - Larry Collins
Action Packed - Ronnie Dee
Jim Dandy - Sara Lee and The Spades
Somethin' Else - Sid Vicious
Viva Las Vegas - Nina Hagen
Atomic Bongos  - Lydia Lunch
Jukebox Baby - Alan Vega
Batman Theme - Link Wray
Shortnin' Bread - The Readymen
Muleskinner Blues - The Fendermen
Surfin' Bird - The Trashmen
Margaya - The Fender Four
Wipe-Out - The Surfaris
Surf Rat - The Rumblers
Suey - Jayne Mansfield
Pass the Hatchet - Roger and The Gypsies
Chicken Grabber - The Nite Hawks
Vesuvius - The Revels
Dance with Me Henry - Ann-Margret
Here Comes the Bug - The Rumblers
Bikini Girls with Machine Guns - The Cramps
C'mon Everybody - Sid Vicious
Johnny Hit and Run Pauline - The Ramonetures
Year 1 - X
Teenage Lobotomy - The Ramones
Lightening's Girl - Nancy Sinatra
Vampira - The Misfits
Salamander - Mamie Van Doren
Touch the Leather - Fat White Family
Harley Davidson - Brigitte Bardot
Viens danser le twist - Johnny Hallyday
Peter Gunn Locomotion - The Delmonas
Peter Gunn Twist - The Jesters
Khrushchev Twist - Melvin Gayle
Twist Talk - Jack Hammer
Twistin' the Night Away - Divine
Ultra Twist - The Cramps
Sweetie Pie - Eddie Cochran
Hoy Hoy - The Collins Kids
Bossa Nova Baby - Elvis Presley
Beat Girl - Adam Faith
Jim Dandy - Ann-Margret
Roll with Me Henry - Etta James
I Love the Life I Live - Esquerita
Goodbye So Long - Ike and Tina Turner
Rock-A-Bop - Sparkle Moore
These Boots are Made for Walkin' - Mrs Mills
Big Girls Don't Cry - Edith Massey


Further reading:

Read about all the previous antics at Lobotomy Rooms to date hereherehereherehereherehereherehereherehere , hereherehere, hereherehere, herehere, here and here.

Follow me on tumblr for all your kitsch, camp, retro vintage sleaze and fifties homoerotica needs!


Follow me on twitter!

"Like" and follow the official Lobotomy Room page on Facebook if you dare!





































Scrawl the date in blood! The next Lobotomy Room punkabilly booze party at Fontaine's is Friday 31 March 2017! Details here. 







Wednesday, 1 March 2017

Reflections on ... Sentimental Eartha (1970)



A few days ago, I scored the obscure oddity Sentimental Eartha (1970), widely regarded as sultry atomic-era chanteuse Eartha Kitt’s strangest album. In her case that’s really saying something: Eartha Kitt (1927 - 2008) was a strange woman who made strange records. The CD version released on an independent label in the nineties is long out of print and now ultra-pricey. On Amazon it routinely goes for between £75 - £400.  Miraculously, I nabbed a used copy for only about £3 from Germany!

By 1970 Kitt was still in-demand on the glitzy cabaret circuit but the hits had well and truly dried up. Sentimental Eartha showcases the slinky feline temptress’conscious effort to update and reinvent her image and sound “with it” by embracing modern rock trends. Many of the other post-war pop and jazz divas of Kitt’s vintage were also experimenting with a more contemporary “groovy” direction. Around this time, Peggy Lee re-interpreted songs by the likes of Aretha Franklin, Otis Redding and Sly & The Family Stone. On Julie London’s unintended camp classic Yummy, Yummy, Yummy (1969) she applied her breathless sex kitten coo to “Louie Louie” and “Light My Fire” by The Doors as if they were Cole Porter standards. A few years later saw Miracles (1972), on which Peruvian high priestess of exotica Yma Sumac explored trippy fuzzed-out acid rock.

Sentimental Eartha bombed upon release and is pretty much forgotten today. It deserved a kinder fate. As her biographer John L Williams would later assert, “The innocuous title gives little indication that this would turn out to be far and away Eartha’s most experimental album and one of her best.”

Sentimental Eartha’s cover features Kitt lounging in a woodland setting amidst autumn leaves clad in an animal-print maxi-dress, floppy black hat and the long straight wiglet familiar from her stint as Catwoman on TV's Batman. On the psychedelia-tinged music within, Kitt gamely tries on the unfamiliar roles of hippie maiden, soul sister and earth mother by tackling Herman’s Hermits “My Sentimental Friend” and three songs by singer-songwriter Donovan: “Wear Your Love Like Heaven”, “Catch the Wind” and best of all, “Hurdy-Gurdy Man”, on which Kitt cackles like a witch and suggests a sorceress casting a spell.





On some of the more delicate songs Kitt seems to deliberately and audibly mute some of her signature purring mannerisms. On others (like the ultra-dramatic opener “It Is Love”), she roars in full feline attack. And when “The Way You Are” ends with campy ad-libbed comedy Spanglish, it could only be Miss Eartha Kitt.

In his 2013 biography America’s Mistress: The Life and Times of Eartha Kitt, John L Williams interviewed the producer of Sentimental Eartha, Denny Diante.  (The album was recorded in Los Angeles for a British label). The producer recalled Kitt as enthusiastic: “She was thrilled to death; she couldn’t thank me enough for pushing the more contemporary stuff. She was very contemporary herself, very progressive in her thinking.”

Kitt promoted her new material with a German TV special. It was obviously produced on a shoestring budget. Check out that frugal set (decorated with office furniture? Hotel lobby furniture? What’s the deal with the coat stand? And why during “Sentimental Friend” does it repeatedly cut away to photos of spaghetti western actor Franco Nero?). But durable pro Eartha belts out the songs with style, sex appeal and conviction. And while the band may look square in their tuxedos, they’re tight, dramatic and swing hard. 

Thankfully there are plentiful clips from Kitt's 1970 TV special on YouTube. I've tried to assemble them all here:



/ Above: "Hurdy Gurdy Man" and "Catch the Wind" /



/ Above: "It Is Love", "My Sentimental Friend" and "The Way You Are". The dramatic spoken intros are something else! Kitt also seems to be doing some intense Method Acting with her performances. Check out her smouldering eye contact during "The Way You Are" and the way she moodily smokes and sips champagne  /



/ Above: "Genesis". Eartha at full-throttle tigress assault mode. Like Nina Simone, the volatile Kitt was the mistress of abrupt mood swings /



/ "Once We Loved": fierce! /



/ "Wear Your Love Like Heaven": Eartha Goes Psychedelic, Baby  /



/ "I remember what you said about me. You said I was a very beautiful brown Helen of Troy ..." An epic performance of that world-weary anthem "When the World Was Young" - which also featured in the Marlene Dietrich songbook /



/ One of the few nods to the old days: "C'est Si Bon", one of Kitt's first and biggest hits in the fifties /

As Williams argues, the TV special’s high-point is Kitt’s impassioned performance of the ballad “Paint Me Black Angels” (a Mexican song she’d already recorded in the fifties as “Angelitos Negros” with its original Spanish lyrics). Kitt delivers it in extreme close-up with a stark simplicity and a few tears rolling down her face. What a mesmerising presence she was!



Nonetheless, Sentimental Eartha bombed in the UK and was never even released in the US.  Kitt never pursued modern rock music again. It was a doomed but noble effort. As with Peggy Lee and Julie London, Kitt’s experimentations baffled her existing mature fans and failed to engage with a new younger audience.

Saturday, 25 February 2017

Reflections on ... Sid and Nancy (1986)



/ Top: Gary Oldman and Chloe Webb as Sid Vicious and Nancy Spungen. Bottom: the genuine articles. Just to confuse things, I'll be alternating photos of Oldman and Webb and the real Sid and Nancy throughout this post! / 

From the Facebook events page:

Lobotomy Room Goes to the Movies is the FREE monthly film club downstairs at Fontaine’s bar in Dalston devoted to Bad Movies We Love (our motto: Bad Movies for Bad People), specialising in the kitsch, the cult and the queer!

Considering February is the month of Valentine’s, we’ll be embracing a romantic theme with … Sid and Nancy (1986)! Hey! It’s a love story! (Well, director Alex Cox himself describes the film as “a horrific love story”. Its original title was going to be Love Kills). It outlines the doomed tragicomic “amour fou” between punk’s Romeo and Juliet: Sex Pistols’ bassist Sid Vicious and his heroin-addicted groupie girlfriend Nancy Spungen … and let’s just say it all ends messily.

So – why not throw on a black leather jacket, stick a safety pin through your nostril and join us on 22 February for a quiet night with Sid and Nancy?

Added incentive: in honour of Valentine’s Day, Fontaine’s is being sponsored all month by the fancy French raspberry liqueur Chambord! So there will be special offer cocktails on the night – and they will be pink!

Doors to the basement Bamboo Lounge open at 8 pm. Film starts at 8:30 pm prompt. Grab a cocktail and come down early! I'll be playing punk music and vintage erotica on the big screen before the main feature.




/ "I'll never look like Barbie. Barbie doesn't have bruises." Chloe Webb as Nancy Spungen /

Happily, we had another full house downstairs in the Bamboo Lounge of Fontaine’s on 22 February for my presentation of Alex Cox’s confrontational 1986 biopic covering the whirlwind, drug-fuelled and ultimately homicidal 19-month love affair between Sex Pistols bassist Sid Vicious (10 May 1957 - 2 February 1979) and downtrodden groupie Nancy Spungen (27 February 1958 - 12 October 1978). It was great to see so many new faces. And the screening was appropriately rowdy and boozy! Well, until the film’s despairing closing scenes – when everyone was so rapt and hushed you could hear a pin drop.

Sid and Nancy was a key film for me as a teenager (I taped it from cable TV onto VHS and watched it so many times I could probably recite screeds of dialogue from memory!).  Until Wednesday night, it had been a good twenty years since I last re-visited it. How great to see it’s as powerful, scabrous and disturbing as I remembered! Thirty-one years later, Sid and Nancy still packs a nasty punch. The film is like staring into a raw open wound.



/ The real Sid and Nancy (I love Sid's engineer boots) /

The early scenes set in London – covering the rise of the Sex Pistols and Sid and Nancy’s burgeoning romance – are brash, rowdy in-your-face bad taste black comedy. Once the Sex Pistols acrimoniously implode and an increasingly heroin-addicted Sid and Nancy find themselves adrift in New York (especially once they check into their squalid room at The Chelsea Hotel), the tone turns progressively, almost unbearably bleak and claustrophobic. (Bizarrely, one of the most common criticisms levelled at Sid and Nancy upon its release was that it irresponsibly glamorised heroin use. Which raises the question: what film did they watch? It depicts addiction as a nightmare!).

I love maverick director Alex Cox's weird flourishes of romantic, art-y magic realism or poetic realism or whatever you want to call it. I think that aspect confused people at the time who expected something more straightforward. For a brief period, he was a genuinely distinctive and vivid original voice in British cinema. Sadly, like leading lady Chloe Webb, in recent years Cox seems to have entirely vanished off the radar.

Not that Cox doesn’t make some jarring false notes, and Sex Pistols fans could certainly pick holes with the accuracy of certain segments. We catch a glimpse of a band meant to be X-Ray Spex belting out “Oh Bondage Up Yours” and they look wrong, wrong, WRONG. What a disservice to Poly Styrene! The fictional glam rock star Rock Head who crops up in a few scenes (who is he meant to be? Iggy Pop? Johnny Thunders?) feels terribly ersatz and unconvincing. 

To be fair, though, Sid and Nancy was never meant to be a documentary: it’s Cox’s idiosyncratic interpretation of their story, with artistic license. When it was released in ’86, Vicious had only been dead for seven years and his story was still fresh in peoples’ minds. More than thirty years later, we can watch Cox’s film more objectively and appreciate it on its own merits.


/ Gary Oldman and Chloe Webb as Sid and Nancy /

On a purely superficial level, for aficionados of punk fashion, Sid and Nancy offers a bonanza. Sure, Sid and Nancy were stoned, destructive and barely-functioning hot messes, but boy did they have outlaw style. Their wardrobes encompass studded leather bondage belts and wristbands, black leather biker jackets, the unravelling mohair sweaters synonymous with Vivienne Westwood and McLaren’s SEX shop, green nail polish, tartan, laddered fishnet tights and painted-on skinny black Levis. (Special mention must go to Nancy’s sensational gold leather micro-mini skirt. In real life Nancy Spungen seemed to sport a distinctive “gun” necklace in every photo ever taken of her; it’s weird Cox didn’t get Webb to wear a replica). I love the padlocked chain around Sid’s neck (a gift from Nancy. When Nancy lovingly puts it around his neck and clicks the lock shut, Sid says, “Cool! Where’s the key?” Nancy replies, “What key?”). 



Sid’s best accessory, though, is his starved-to-perfection skeletal body straight out of an Egon Schiele painting or Giacometti sculpture. (In later scenes Oldman pretty much entirely abandons wearing shirts. To achieve Sid’s emaciated physique, Oldman reportedly undertook such a drastic diet he was diagnosed with malnutrition at one point).



/ The real Sid and Nancy /

All these years later, the performances of Oldman and Webb still astonish. Both are hilarious in perhaps my favourite scene when Nancy takes Sid home to meet her horrified suburban family. Black tragicomedy at its finest! This was one of the early roles that launched Oldman as one of the best and most versatile Brit actors of his generation. Poor Web was every bit as exemplary as Oldman, but she never seemed to catch another good break after this and seemingly disappeared into obscurity. Read any book about punk history and Nancy Spungen is perhaps the most reviled figure of the whole era. She was profoundly troubled: diagnosed with schizophrenia at 15, expelled from multiple schools.  At 17 she’d run away to New York, supporting herself via stripping and prostitution and embraced groupie-dom (she was already "affiliated" with bands like the New York Dolls, Aerosmith, The Ramones and the Voidoids by the time she met Sid). Webb portrays the damaged Spungen with humanity and compassion. For me, Webb’s two finest moments are her junkie freak-out shouting at her mother in a phone booth ("he loves me more than you do!") and then later Nancy’s rambling, croaky monologue about a dream she’d had, delivered to an unconscious Sid next to her bed. She rasps something about “we had a little dog and we loved it … but it died and we didn’t know where to bury it … so we ate it.” It sums up their toxic love and it’s like an eerie premonition about what lies in store.  



/ Gary Oldman and Chloe Webb as Sid and Nancy/

Anyway, to introduce the screening I quickly Googled and compiled some “fun facts” about Sid and Nancy. Here are a few!

Daniel Day Lewis was short-listed for role of Sid before Oldman got it.

A young unknown Courtney Love unsuccessfully auditioned for the role of Nancy. As consolation Cox gave her a supporting role. It’s fascinating to see Love’s almost unrecognisable original pre-plastic surgery face.

Sid and Nancy was originally intended to be filmed in black and white but the financiers vetoed that idea. I think it would have felt even harsher in grainy black and white!

Cox’s original choice for the title was Love Kills right up until the time of release - when he was advised someone else owned the legal rights to that name and would sue. Calling it Sid and Nancy was a last minute compromise, but I think it works: it’s terse and it evokes Bonnie and Clyde. When it was released on video in Mexico, the Spanish title translated as Two Lives Destroyed By Drugs. My own alternative title would be Baked Beans and Champagne: The Sid and Nancy Story.




/ Gary Oldman and Chloe Webb as Sid and Nancy /

Further reading:

Read more about the Lobotomy Room film club here

Loverboy magazine ventures into the wild, wild world of Lobotomy Room 

Follow me on tumblr

"Like" and "Follow" my Facebook page for all of your Lobotomy Room needs!



Monday, 13 February 2017

Joey Arias at Brasserie Zédel 12 February 2017



































Any time Joey Arias – veteran performance art / cabaret legend, toast of Mondo New York and all-round fabulous creature – breezes into London, attendance is freaking obligatory! So, a big gang of us assembled to see his gig last night (Arias is doing a residency at Brasserie Zédel inSoho 11-14 February 2017).

Arias’ speciality is his evocation of doomed jazz diva Billie Holiday in all her earthy, ravaged foul-mouthed hedonistic glory. This isn’t a conventional “tribute act”, though – Arias is freakier, raunchier and far more original than that. And the Art Deco opulence of Brasserie Zédel provided the perfect backdrop, creating a sense of mid-century café society.



































Arias himself was a compelling spectacle in fetish-y black Frederick's of Hollywood-style lingerie and full Vampira make-up. His voice is a soulful smoky, scratchy rasp alternately lewd and awash with heartbreak (my friend Louise admitted afterwards she cried several times during Arias’ set). As well as samplings from the Billie Holiday songbook ("You’ve Changed", "God Bless the Child"), Arias also answered the musical question: what would unlikely other songs by the likes of Cream or Bob Dylan sound like given the Holiday torch song treatment (with added Yma Sumac-like bird noises and punctuated by deep stripper squats)? The answer – hilarious, dramatic and exquisite!



































Between songs, Arias gave a swear-y but elegant masterclass in audience participation, shuttling between seduction and aggression just because it amused him. Mingling through the crowd, flirting outrageously, he stopped and asked a woman’s name. “Ann-Marie? That’s a whore’s name.” He implored two (platonic) female friends at another table to kiss on the lips. When they hesitated, Arias snapped, “I’m not saying eat her pussy! Just kiss her on the lips! It’s love!” More pointedly, he turned his full laser beams on a rude heterosexual couple who arrived late then proceed to check their mobile phones and talk amongst themselves. “Sarah! Look at me!” Joey hissed. “Focus!” (Who were those two and what were they doing there?)



































For the night’s emotional high-point, Arias demanded all the venue’s lights be extinguished (even the neon sign behind the bar) so that he was illuminated by just a single blue spotlight. Then he crooned an eerie, spine-tingling “I Cover the Waterfront”, transforming the jazz standard into an anguished prostitute’s lament. Devastating!



































/ Afterwards we ambushed Arias in the lobby for an impromptu red-hot camera session! L-R: (back row) Chris and Pal. Front: Louise, Joey Arias, Nell and me /

































































/ Above: (Back) Chris, Joey, Nell and Pal. (Front) Louise and Alex /

Further reading:

See the full set of photos from Joey Arias at Brasserie Zédel here

See my photos of Joey Arias performing at London's Institute of Contemporary Art in 2014 here

Read my account of seeing Arias perform in 2013 here



Wednesday, 8 February 2017

Cockabilly at The Glory DJ Set List 4 February 2017



































As I posted on Facebook on Saturday 4 February:

I know it’s ultra-short notice, but … calling all leather boys, gay greasers, cry-babies, prison wives and juvenile delinquents of all ages! We’re having a mini Cockabilly reunion TONIGHT at the fabulous Glory! Saturday 4 February! Mal Nicholson is DJ’ing upstairs and I will be joining him for a guest slot!   Expect all your favourite rancid vintage sleaze classicks! Think rockabilly, rhythm and blues, surf, punk and tittyshakers! Daring and virile! Chains, whips, knives and leather belts all swished around together in bone-jarring rock and roll! Way-out sex and sin for those who like it that way! Why not drag a comb through your quiff, swallow a fistful of bop pills and rock around the cock? Tonight!

The Glory 281 Kingsland Road E2 8AS
10 – 2 (Free before 10 pm!) 





































/ Classic beefcake model Cherokee (aka Everett Lee Jackson) photographed by Kris Studio circa 1955 /

I’d love to announce “Cockabilly is back!” In fact London’s only regular queer rockabilly club night (freaking out the squares since 2008!) is still on hiatus ever since we got unceremoniously turfed from our last venue (which shall remain nameless!). But for now at least, Saturday 4 February was a bit of a one-off Cockabilly reunion when Mal and I guest DJ’d at Haggerston’s epicentre of happiness and gay bohemia The Glory! 

It’s virtually impossible to not have a blast at The Glory (their generosity with the drinks tickets certainly helps) and I grab every opportunity to DJ there that I can. (In an ideal world, Cockabilly would re-launch in 2017 with The Glory as its new permanent base – hint, hint!).




































/ Mal and I sweating to the oldies /

Anyway, I did a guest spot of about 90-minutes. Here’s what I was laying down: 

Rip it Up - Little Richard
Let's Have a Party - Wanda Jackson
Three Cool Cats - The 5,6,7,8s
I Wanna Be Sedated - The Ramonetures
Somethin' Else - Sid Vicious
Be Bop A Lula - Alan Vega
Viva Las Vegas - Nina Hagen
Margaya - The Fender Four
Atomic Bongos - Lydia Lunch
Bombora - The Original Surf-aris
Hanky Panky - Rita Chao and The Quests
Gostaria de Saber (River Deep Mountain High) - Wanderlea
Party Lights - Claudine Clark
He's the One - Ike and Tina Turner
Year 1 - X
Lucille - Masaaki Hirao
Rock Around the Clock - The Sex Pistols
Whistle Bait - Larry Collins
Jim Dandy - Sara Lee and The Spades
Boss - The Rumblers
The Swag - Link Wray
Your Good Girl's Gonna Go Bad - Tammy Wynette
Ultra Twist - The Cramps
I Walk Like Jayne Mansfield - The 5,6,7,8s
That Makes It - Jayne Mansfield
Beat Party - Ritchie and The Squires
Aphrodisiac - Bow Wow Wow
Let's Go, Baby - Billy Eldridge
Bossa Nova Baby - Elvis Presley
Jim Dandy - Ann-Margret
Roll with Me Henry - Etta James
Ring of Fire - The Earls of Suave
Road Runner - The Fabulous Wailers
Cry-baby - The Honey Sisters
How Much Love Can One Heart Hold? Joe Perkins and The Rookies
Under My Thumb - Tina Turner
Twistin' the Night Away - Divine
These Boots Are Made for Walkin' - Mrs Mills
My Way - Nina Hagen

Updated news for all your Lobotomy Room-related needs: there are two upcoming opportunities to get down and dirty later this month at Dalston sin bin Fontaine’s! Jump on them!


























Wednesday 22 February is this month’s film club. Lobotomy Room Goes to the Movies is, of course, the FREE monthly film club downstairs at Fontaine’s devoted to Bad Movies We Love (our motto: Bad Movies for Bad People), specializing in the kitsch, the cult and the queer! (The January presentation of Russ Meyer's magnum opus Beyond the Valley of the Dolls was triumphant!).

Considering February is the month of Valentine’s, we’ll be embracing a romantic theme with … Sid and Nancy (1986)! Hey! It’s a love story! (Well, director Alex Cox himself describes the film as “a horrific love story”. Its original title was going to be Love Kills). It outlines the doomed tragicomic “amour fou” between punk’s Romeo and Juliet: Sex Pistols’ bassist Sid Vicious and his heroin-addicted groupie girlfriend Nancy Spungen … and let’s just say it all ends messily.

So – why not throw on a black leather jacket, stick a safety pin through your nostril and join us on 22 February for a quiet night with Sid and Nancy?

Added incentive: in honour of Valentine’s Day, Fontaine’s is being sponsored all month by the fancy French raspberry liqueur Chambord! So there will be special offer cocktails on the night – and they will be pink! Full details on the Facebook events page. Read more about my sin-sational monthly film club here. 



































Friday 24 February 2017

“It’s just what you need when you’re down in the dumps / One half hillbilly and one half punk …”

It’s back! The first Lobotomy Room of 2017!

Revel in sleaze, voodoo and rock’n’roll - when incredibly strange dance party Lobotomy Room returns to the Polynesian-style basement Bamboo Lounge of Dalston’s premiere Art Deco vice den Fontaine’s! Friday 24 February!

Lobotomy Room! Where sin lives! A punkabilly booze party! Sensual and depraved! A spectacle of decadence! Bad Music for Bad People! A Mondo Trasho evening of Beat, Beat Beatsville Beatnik Rock’n’Roll! Rockabilly Psychosis! Wailing Rhythm and Blues! Twisted Tittyshakers! Punk! White Trash Rockers! Kitsch! Exotica! Curiosities and other Weird Shit! Think John Waters soundtracks, or Songs the Cramps Taught Us, hosted by Graham Russell (of Dr Sketchy and Cockabilly notoriety). Expect desperate stabs from the jukebox jungle! Savage rhythms to make you writhe and rock! Now with vintage erotica projected on the big screen all night for your adult viewing pleasure! Come for the special offer cocktails - stay for the putrid music and dirty movies!

Admission: gratuit - that’s French for FREE!

Lobotomy Room: Faster. Further. Filthier.

It’s sleazy. It’s grubby. It’s trashy - you’ll love it!

A tawdry good time guaranteed!




































/ As ever, if you've read this far you get rewarded! /

Further reading:

Read about all the previous antics at Lobotomy Rooms to date hereherehereherehereherehereherehereherehere , hereherehere, hereherehere, herehere, here and here!

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