New album Just what the Saw Doctors ordered

I read with great interest the Saw Doctors’ request to their friends on Facebook for a clever title for their new album. I sent the following Facebook message to Leo Moran, lead guitarist and founding member.

“So, what do you think of these album names?

FaceBog: play on Facebook site name
Tuamour: a bit final
Turf Wars
Postcards From the Bog
Knock and Roll

Thoughts?”

His response was polite but non-committal.

Hiya Mike:
Thanks for the suggestions -- I like Tuamour, and, I actually like the others as well but we'd get destroyed by the press in Ireland, and maybe beyond, for a mention of boglife I'd be afraid.
Leo

The album might not have a name, but the new songs do not suffer from an identity crisis. “Last Call” is as rollicking a rocker as the lads have ever written.

“Pour me another one/play another song/never ceases to amaze me you’re the only one/that makes it right/that takes the time/that always smiles/and in another life I’d come here every night,” sang Davy Carlton.

“This is a song about one of the fellas we have at home,” Moran explained from the stage at Monmouth University, a small college on the Jersey Shore that happens to be my alma mater.

“He’s the kind of guy that knows the working schedule of the cute bartender down cold and after a while, he’s not sure if he is more in love with the exotic bartender or the drink.”

That’s classic Saw Doctors for you. They apply a reporter’s eye for detail to brawny power chords to create a view of rock and roll from the craggy shore of Ireland’s West Coast.

With songs like “To Win Just Once,” “Clare Island” and “Green and Red of Mayo,” all of which were played here in Springsteen’s state, one can easily see the storyteller’s connection between the Saw Doctors and the Boss.
“Jersey gets slagged, Tuam gets slagged, too,” reasoned Moran. “I guess that’s why I feel so at home here.”

New songs like “Train” barreled along like they were written on the same day as “I Useta Love Her,” an encouraging sign that this album, whatever it is called, will go by the name “winner” with the fans.

The latest lineup, which includes Carton (vocals, guitar), Moran, Anthony Thistlethwaite (bass, saxophone), Kevin Duffy (keyboards) and Eimhin Cradock (drums) is the finest lineup yet.

Cradock looks young enough to be the son of some of the band members, and he brings a youthful energy to the skins that gives these old warhorses new life!

The Saw Doctors have a busy summer planned, with a new album showcase at Upstairs at Kelly’s in Galway in June and appearance at the Oxegen Festival at Punchestown Racehorse on July 11.

Since the euro is in the tank at the moment, this could be your chance to see the lads on their home turf! If you’re not planning on seeing them in Ireland this summer, you’ll have another chance when the boys return in August with shows in Manhattan, Lancaster, Pennsylvania and the Cape Cod Melody Tent in Massachusetts.

I can report that the lads are in fighting form onstage and playing better than ever, so make sure you log onto sawdoctors.com to track when they are coming your way.

Barleyjuice ready to rock Catskills

Summer will be here before you know it, and there is no better place to start the festival season than the place where it all began -- the Catskills.

The folks up in East Durham have yet another high energy set list of Celtic music planned for the 33rod annual East Durham Irish Festival on Saturday and Sunday, May 29 and 30.

The event will feature the likes of the Elders, Black 47, Shilelagh Law, Barleyjuice and Hair of the Dog. If you like things a little less rocking but no less entertaining, check out the Andy Cooney Band, The New York Showband with Tommy Flynn, Jameson’s Revenge or Canada’s Searson.

There is something weird about our Irish music scene. It is hard for bands to break into New York when you’re from Philly with the dividing line being somewhere around Route 195 in Jersey.

Hopefully, the appearance of Barleyjuice on this stage will change that. Their newest album, Bonny Prince Barley, is a Celtic tour de force that serves up a dizzying array of rock, punk, country and trad.

The band is led by Kyf Brewer, an interesting character if ever there was one. You may have heard his roughed up voice announcing on things like VH1's Before They Were Rock Stars and the Dodge commercials. His acting credits include film work on John Waters’ Serial Mom and Fahrenheit 911 as well as playing a cop in NBC's Homicide and a sleazy photographer in CBS' Hack.

He is joined by Keith Swanson on an array of instruments, Billy Dominick on fiddle, Jim Carbomb on whistles, Eric Worthington on bass, and Greg “The Shredder” Shroeder on drums.

Bonnie Prince Barley opens with “Drunard’s Ambassadors,” a gritty rocker that tips the hat to the many fans that show up at their boozy shows. With songs like “Nancy Whiskey,” “Weekend Irish” and “Bleary-Eyed Beauty,” it doesn’t take a rocket scientist to see that their artistic palette is somewhere between the black and tan of a black and tan!

“I describe it as west meets east,” says Brewer during a weekend interview with the Irish Voice.

“In much the same way as I grew up imitating the Rolling Stones, imitating American R&B singers and Dylan, we imitate what we hear coming across from the Celtic nations and make it our own.”

Barleyjuice adds an interesting spin to the Celtic rock vibe, as evidenced in the 10-gallon hat melodies in “Weekend Irish.”

“American country and bluegrass is what happened as a result of the old trad melodies being brought here and played as mountain music,” reasons Brewer.

“Jam with any fiddle player and sooner than later you'll come across the same melodies from both sides of the pond, only they might have different names or variations.

“Most of the country music lovers here don't realize this, but they're catching on, hopefully thanks in part to us. I grew up with the British invasion of the sixties and seventies, but I had a real penchant for old country music and bluegrass. Sorta like when the Beatles covered Carl Perkins!”

Just when you think you have the band all figured out, they throw you a curve ball with a killer cover of The Clash’s “London Calling,” a version that would make the late and great Joe Strummer swell with Celtic pride.

“Not sure the song fits into the mix, but we are huge Clash fans,” says Brewer.

“If you hear us live, you'll undoubtedly hear some Who, some Doors, maybe some Johnny Cash, etc.

“We never take any of it seriously, until people started coming up and asking to buy the album with ‘London Calling’ on it. It wasn't on one, so we put in on one. As Ray Davies said, give the people what they want!’”

Barleyjuice is a crowd pleaser and their spot on the East Durham Memorial Day festivities guarantees a good time! For more information, log onto www.barleyjuice.com.

For information on the East Durham fest, visit www.irishvillageusa.com/memorial-day-festival

Just what the Saw Doctors ordered!

St. Patrick’s Day didn’t seem to be the same without the Saw Doctors, who bagged their annual March outing to our shores for a detour in Australia, where demand for the band knows no limits.

The “doctor” is in for the summer, however -- the band is here this week for a quick tour of the U.S.

Apart from visiting far-flung outposts around the globe, the lads have been busy writing and recording a new album.

They sent me over a few MP3s of the new recordings as a tease, and they sound as fresh as baked soda bread, with all the Irish flavor to match!

“Train” and “Be Yourself” have everything you’d come to expect from the Saw Doctors -- muck-thick accents from the west of Ireland, catchy hooks, and lyrics that touch on the simple life. The summer is looking sunnier now that we have the promise of new music from these lads!

In typical aw-shucks style, the Saw Doctors solicited fans and friends on Facebook for ideas on a title and artwork for the album cover. You can log onto sawdoctors.com to submit your ideas and keep track of the band’s whereabouts this week.

I caught up with Leo Moran as he was leaving the airport, after getting cleared to fly once the Icelandic volcanic ash dispersed over the Shannon. Here’s how it went:

You just got back from Australia. How was the tour? I hear that is a popular spot for the young Irish. Did you see a lot of Irish there?

We did see a lot of Irish. It was way too short and we had an amazing time. The audiences are mostly in the twenties, and they are just doing some job they’re not fond of.

The Australians don’t seem to have the pressure to work so hard -- 40 hours is enough for them over there. The Irish that we found are very happy to be there and the weather is great and everyone is relaxed, and tanned.

For a lot of Americans, you offer a taste of home when they see you on tour. Do you find that vibe over there?

I’m not sure if we see a ton of people from home anymore on the American tours. We have been over there dozens of times and we have a pretty solid American audience.

I am surprised also at how young they are, particularly in places like Cleveland and New York. We get a lot of first and second generation people, and not as many Irish immigrants.

Do you find yourself playing to a younger audience? Maybe the children of the people who immigrated here in the nineties?

It varies from city to city. Some places in England we do towns where everyone is more mature. When you do the festivals they are much younger audiences. Cleveland and New York are very young audiences.

When the Saw Doctors first came over here in the early nineties, you definitely had a lot of people come to the shows from Ireland after a huge immigration here. Are you seeing that trend again now that the economy in Ireland is tanking?

I don’t see as many people leaving now, and even when they do, Boston, London, and Manhattan aren’t the guaranteed places to go when you are immigrating anymore -- I see that Canada and Australia are the big destinations now. When I immigrate one of these days I will go to New York (laughs).

This is the first time you didn’t come to the U.S. for St. Patrick’s Day. Was it weird to break the routine?

It was weird, but I think it was nice to shake it up a bit.

The new album is getting mixed and mastered right now. How is it sounding?

We are really delighted with it. We hope it goes down well. I can actually listen to an album and enjoy it.

How so?

Sometimes, you work so hard and you know the details and the intricacies of the arrangements, and all you’re hearing are the imperfections. You don’t get the joy of the music. It’s like driving the car when you’re a mechanic -- you know what is going on under the hood, and you’re more fixated on that when you hear a song as a musician.

Was that because you didn’t spend a lot of time fussing with things in the studio?

No. Actually, we worked very hard and drove ourselves very hard and did a lot of polishing. We actually did a lot of magnified detail work that you may not have done on other albums.

I really think this is the best album we’ve made and hopefully, the rest of the world will agree with us.

What do you make of your current resurgence of fame in Ireland? You’re playing to sell-outs all over.

The tide came up for us. People know we’re around and that we’re making a racket, and it is really great the audience is not only coming back, but we have some people so young coming to the gigs.

We have a crest of a wave in front of us, but we’re also old enough to realize that these things come and go. You sometimes slip in and out of the spotlight, and you can’t get too excited about it.

Are you going to drop some new songs into the set list?

Nearly all of the songs have appeared so far. I think they’ll all get a run in the states.

What’s good about it is that they have all slotted in and they stand up against the tried and trusted favorites and that has been happening, which is a really good sign.

How do you decide on the set list?

Davy does it and he does an hour before the show, so we play what we’re told.

Yourself and Davy have been musical and business partners for over 20 years. Some long partnerships, like Mick and Keith of the Stones, have a tension between them that inspires creativity. Is that a dynamic with the two of you?

We enjoy ourselves too much for that. It’s a lot more cooperative and just finding the things we all have in common.

Are you listening to anything in the Irish music scene and if so, what are some of your favorites?

The older I get the less open I am to tune into it. If there’s stuff not turning me on, it’s probably my own fault. There are a lot of great bands playing locally who are pretty interesting.

So, when can we hear the new album? And what is the future of albums with the Saw Doctors? Some bands are opting to just release a tune here and there as opposed to an album.

We hope to get the album out here in Ireland at the end of August. We’ll try to get things out as soon as possible after that.

As far as releasing songs here and there, I think that putting out a song a month is a cool idea but I do think there is an artistic statement, a statement of intent, when you make an album.

The Saw Doctors will play a sold-out show at Irving Plaza in New York on May 14; then they’ll appear at the House of Blues in Boston the following night, and the Music Hall in Portsmouth, New Hampshire on the 16th.

The Dropkick Murphys: Alive and thriving!

The Dropkick Murphys have made their corner of New England a greener place over the last 14 years by delivering a potent mixture of caustic punk rock with sweet Irish soul.

Each year the band breaks house records when their live shows celebrating St. Patrick¹s Day go on sale. Many people, including reviewers like yours truly, have been left out in the cold when the shows fill up immediately.

Knowing this, the band has released Live on Lansdowne, Boston, MA, a scorching live album that gives the listener a hint of what we’ve been missing.

This updated recording is volume two of the series comprising a “best of” or “greatest hits” from the extensive Dropkick Murphys catalogue of albums.

The material on this album focuses on the band’s most recent titles and includes a live rendition of their most popular and instantly recognizable platinum selling single ”I’m Shipping Up to Boston,” as well as popular tracks like “The State of Massachusetts,” the Red Sox anthem “Tessie,” St. Patrick’s Day sing-a-long “Kiss Me, I’m S***faced,” and the tear jerker sing-a-long “Forever.”

The album was recorded over six nights and seven shows in March 2009. This live CD and Hi-Def DVD package puts the band’s hot ticket live show experience in your own home.

Like any good live set, Live on Lansdowne is a perfect sample for the newcomer to feast on. “Don’t predict the future/forget about the past,” howls Alan Barr on “State of Massachusetts,” a slice of high octane diddly-diddly that is quintessential Dropkick Murphys.

Many Celtic punk outfits barnstorm through “Fields of Athenry,” but this band plays just as fast as anyone else without trampling the patriotic emotions in the lyrics.

Though I have been following the band for years, I never paid much attention to the optimistic “Sunshine Highway” from 2005’s The Warrior’s Code. It’s the kind of song that begs an airing with the top down now that the weather is warm!

This working-class, bare-knuckled band struck gold a few years ago, when their “I’m Shipping Up to Boston” was featured in the soundtrack to the Oscar-winning film The Departed.

Since then, the song has been adopted as the official anthem of that city, the sounds of power chords, flutes, and fiddles regularly wafting over the loudspeakers at Fenway.

To chow down on a hot dog as that tune plays (I know this is sacrilege to the Yankees fans out there) never fails to produce goose bumps, even in the cheap seats.

The band not only writes about the hardscrabble characters in the poorer neighborhoods of their hometown, they have recently devoted their efforts and influence to charitable endeavors as they lend a helping hand to those less fortunate.

According to their website, the Claddagh Fund is based on three core values within our community -- friendship, love and loyalty; the three attributes symbolized in the Claddagh ring.

The fund provides assistance to organizations that share in these goals, prioritizing the needs of children and targeting organizations that support a myriad of children’s causes.

The Claddagh Fund also supports veterans’ causes, families of deceased soldiers, and alcohol and drug recovery programs.

A registered 501(c)3 organization, the Claddagh Fund was founded by singer and guitarist Ken Casey. The fund is hosting its next event, Celebrity OysterFest 2010, on May 12 at 88 Wharf Riverfront Grille in Milton, Massachusetts.

Casey and his bandmates, along with family, friends and loads of local celebrities are kicking off the summer patio season at this awesome waterfront restaurant. For more information on the charity and how you can donate, log onto www.claddaghfund.org or become a friend on the charity on Facebook.

If you are not going to be in Boston for that event, fear not! The Dropkick Murphys will be playing a handful of shows on the East Coast in June before jetting to the West Coast for a string of Warped Tour dates.

For more information, check out www.dropkickmurphys.com.

Black 47: 20 and Still Going Strong

The French poet Jean Cocteau said, “Americans are funny people. First you shock them, then they put you in a museum.”

Nowadays, you can’t swing a cat at an Irish festival without hearing some band doing their best to blend traditional Irish melodies with bone crunching power chords nowadays.

For some of our younger readers the idea of mixing traditional Irish melodies with rock and rap would be considered dangerous, but I really thought the world was coming to an end when I first saw Black 47 in the Village almost two decades ago.

I first remember being assaulted by their music back in 1990. I just came from a cousin’s wedding in Galway, and everyone was mad for this new band called the Saw Doctors. I was thrilled when I heard Black 47 were coming to the Big Apple, and got their nice and early to soak in the soda bread sounds of home.

With a screech of feedback, Larry Kirwan, an impish redhead, hurtled toward the audience, guitar in hand, provoking the crowd, while Chris Byrne, a Times Square cop, hunched over uilleann pipes that screamed over the urban beats.

Before my eyes (and ears), the music of my heritage was shot through a grinder of rock, reggae and rap and transformed into a product uniquely Irish American.

With surgical precision, they sliced the British establishment in lyrics that were sung, rapped and spat about the likes of Michael Collins and Bobby Sands, translating the history of our heritage in an urban language I could understand. My life has never been the same since.

We haven’t gotten around to making a national Irish American museum yet, but once it is built there must be a Black 47 exhibit. Unlike other musical museum pieces like McCartney and Jagger, who trot around their musty warhorses in stadiums, Kirwan and the lads are as vibrant as ever.

They have released one of their best albums, Bankers and Gangsters, expanding on the formula of sharp social commentary and genre-bending sounds. Kirwan is touring bookstores as well, reading passages from his gritty story about Irish Americans in the Eighties called Rockin’ the Bronx.

He still hosts the wildly popular Celtic Crush on Sirius XM, and if that weren’t enough he is workshopping a new musical at the Irish Arts Center this weekend.

Kirwan is a man always looking forward, so it is rare indeed that he would stop to celebrate an anniversary.

“The owners of Paddy Reilly's have been asking us to do a one-off reunion there for some years now,” explains Kirwan of the band’s 20th anniversary show on May 7 (Paddy Reilly’s is at 519 Second Avenue) at the bar that gave birth to this legendary live act.

“There's always been something in the way, but we are on a bit of a break to allow everyone in the band to do their own thing for a while when I got a call from the producers of a Horslips documentary.

“The Horslips doc is about the emigration story of a Gaelic speaking guy who traveled from New York City to the Yukon, and they want to get footage of us playing in New York and along with some footage of the old Irish areas like Bainbridge/Kingsbridge as featured in Rockin' The Bronx. They were going to be filming in Reilly's anyway, so we decided to kill two birds as it were.”

Irish American rock might not shock anyone now, but I am still in shock that I’ve been following the band around for 20 years! Happy anniversary!

I spoke with Kirwan over the weekend about the many moving parts of the man and the band. Here’s how it went.

What kind of show can fans expect at the 20th anniversary gig?

As regards the kind of show we'll do, I would imagine that we'll perform a lot of the old songs from the nineties, ones that we first played in Reilly's on those adrenalized sweat-soaked nights. There was an intensity back then because many people were refusing to accept the type of music that the band was creating. It was very defiant and aggressive.

I don't think we've ever really lost that. We just came through five years of playing songs about Iraq, not everyone's favorite topic. So we don't have to reach too far back to re-capture the attitude, which is always the basis of great rock and roll.

And we'll do some songs from Bankers and Gangsters to bring us right up to the present. Musically, I don't think the band has ever sounded better. Should be a blast!

Are there any surprise guests planned?

Surprise guests -- who knows? But Jim Lockhart and Barry Devlin of Horslips will definitely sit in. Black 47 will be playing a Horslips song for this documentary, probably “Wrath of the Rain” or “Speed the Plough.” That should be interesting.

We very rarely do other people's material -- a bit of Dylan, Marley, Strummer -- but it will be fun to give a B47 interpretation of Horslips. And they're such great guys. Jim is a particularly under-rated keyboard player, and Barry is that voice of seventies Ireland.

What advice would you give the Larry Kirwan who played Paddy Reilly’s back in May 1990?

Musically, artistically, I don't think there's anything I'd do differently.

When we last spoke, you were about to release the new CD, Bankers and Gangsters. What has been the reaction from the fans now that they have had a chance to listen to it on record and on stage?

Critics and fans are calling it our best album since Fire of Freedom, Home of the Brave or Green Suede Shoes. I don't know -- to me, the songs have been top shelf all along and we've done our best on every album, but I really like the sound of this one.

Sometimes you know just exactly how you want something to sound, and we succeeded this time. A number of people seem to like the fact that we've gone back to the "Black 47 formula." That is, some political, some humorous, some songs of regret, some songs of relationships, etc.

You also released a novel, Rockin’ the Bronx, which paints the picture of the Irish American scene in the eighties. How do you think the scene has changed since then?

A lot of things have changed since the eighties. Rockin' the Bronx is set between 1980-82. New York City changed dramatically at the end of '82. AIDS was finally identified and people began taking Ronald Reagan seriously.

I always maintain that the sixties lasted until 1982. The city was much more lawless through the eighties. It was possible to live very cheaply in New York back then. Thus people had time to go out at nights, socialize much more and be in bars.

From our inception in late 1989, Black 47 was playing three to five nights a week. We did our rehearsing onstage and we became tight within the first months -- also fearless.

Within six months we were playing pretty much all original music and taking it into bars where before they'd only previously heard cover bands. Your own songs had better be top-of-the-line and distinctive if you're going to do that.

You can't play five nights a week anymore so bands can't take that risk. Consequently bands can't develop their own material because they're constantly falling back on popular songs by other artists.

You're got to develop your own sound -- there's only one Pogues, one Dropkick Murphys, one Flogging Molly and one Black 47. If you're going to be yourselves, then you should drop everyone else's song no matter how popular. You'll suffer for it, but it's the only way to make it.

You also have a new musical coming out. Tell us about how Transport came about?

For over 10 years Tom Keneally and I have been working on Transport, a musical based on his wife's great-grandmother who was sentenced to penal servitude in Australia back in 1838 for stealing a bolt of cloth.

Transport tells the tale of four such women on a convict ship during their voyage from Cork to Botany Bay. Tom is a great storyteller and one of the few men who can really create and bring to life women characters.

My job was to turn this story into music and song. I would say that the music is a mix between Irish trad and Broadway show tunes, if you can imagine such a dichotomy. We'll workshop it for five days and then put it up onstage at the Irish Arts Center (553 West 51st Street), Friday, April 30, Saturday, May 1 and Sunday the 2nd. Tony Walton is directing and Aidan Connolly and his team at the Irish Arts Center are very much behind it.

It will be a great opportunity for people to see the birth of a large scale musical in a very intimate setting.

Log onto www.black47.com for more information.

Maria Doyle Kennedy has lots of ability

If you’re anywhere near the Bowery Electric (327 Bowery, New York) on April 23, make sure you check out the next big thing out of Ireland.

Maria Doyle Kennedy is out to make a name for herself here in the States and duplicate the success she has had in her native Dublin. Based on the collection of songs from her album Mutter, she is off to a great start!

Frantic bagpipes announce the arrival of “F***ability,” a distorted, strutting rocker that was a minor hit for Doyle.

“You take one step forward/two steps back/and three steps sideways,” she sings over an industrial goose-step that calls to mind U2’s “Zoo Station.”

“Opera” is built on tentative piano tinkling and tense strumming. Her acoustic music is not pretty. It’s almost as though she strums with a broken bottle chip on rusty strings, producing music that begs for a tetanus shot.

One can hear the goth of Concrete Blonde and the Cure in these spooky melodies, so make sure you pack your black lipstick and ripped fishnets if you go! Girls, you can wear that, too!

Kennedy is an accomplished actress, proving that God blesses some of us more than others. Her movie credits include The Matchmaker, Moll Flanders and The Commitments, and she has also popped up on the smaller screen in shows like The Tudors, Queer As Folk and Father Ted.

I spoke with Kennedy over the weekend as she was packing her bags for her showcase tour, which includes a stop in Toronto as well. Here’s how it went.

How would you describe your sound/this CD to someone who has never heard of you?

It is difficult to describe your own music as you feel it rather than hear it ... but ... in an attempt to … it is exciting, melodic, inventive, sometimes comforting, sometimes hilarious and best of all when heard live.


What/who is “F***ability” about? AMAZING song, by the way!

Thanks, glad you like it. I like it so much I released it as a single! Not a lot of airplay due to the title, as you can imagine.
I wrote it after overhearing a conversation between a girl and a guy (they were friends) in which they listed the qualities they expected in a prospective partner and the kind of lives they expected for themselves people have such notions sometimes.

How does your acting feed your music? Vice-versa? Are there distinctions in inspiration between the two?

They are completely separate for me, and never the twain shall meet.

What is the most surprising reaction you have gotten to your music?

A long time ago I did a gig in a squatters’ commune in Switzerland. I was midway through a very gentle song when a huge, burly ,shaven-headed, right-wing kinda guy pushed his way to the front of the stage, stuck his fingers down his throat and made himself vomit over Kieran’s shoes. It was quite a moment!

What do you think of the state of the Irish/Dublin rock scene? Any bright stars we might not know about?

I love a band called Fight Like Apes, noisy, clever craters full of attitude. There’s a young singer/songwriter who has just released his first album, James Vincent McMorrow. He has a very beautiful voice.

You run the record label with your husband, correct? If so, what is that like?

Well, you do get complete control over what you do, but it’s up to you (two in our case) to do absolutely everything. I still look at the bookkeeping stuff some days and feel like running screaming from the house and full tilt into the arms of a three-day bender.
That said, the new album is coming along so beautifully, I sort-of feel anything is possible.

Louis Walsh tries to sign you -- do you pick up the pen or tell him to get lost, and why?

Never gonna happen.

For samples of her music, log onto myspace.com/mariadoylekennedy.

Malcolm McLaren, the ultimate punk, passes on

Speculation abounds about who will fill the last seat on the judge’s bench ever since Simon Cowell announced his retirement from American Idol earlier this year.

The press has anointed Howard Stern as the favorite replacement (I hope to God that is true), and I remember thinking at the time the news broke of another acid-tongued Brit who would inject a much needed punk flair to the stale and moldy reality show.

With the passing last week of Malcolm McLaren, the icon of the punk movement that swept Great Britain in the mid-seventies and launched the career of the Sex Pistols, my horse bowed out of the race. Even to the end, he was a potent critic of culture.

“The music business has gotten too damned corporate,” he said with a sneer during one of his last interviews in Manhattan on GakTV. “Kids are on the Internet doing things for themselves, just the way we used to do. It’s good for the culture.”

Could you imagine him dismissing the pop tarts onstage with a nasally “aw, piss off?” Like Cowell, he was responsible for cultivating talent when he saw an opportunity.

Apart from the Sex Pistols, he discovered and managed Bow Wow Wow and Adam Ant. Without him, MTV would have been boring television when it launched in the early eighties!

Of course, the Sex Pistols are the godfathers of punk rock that made a star of one of the most cantankerous Irishmen on the planet. John Lydon (otherwise known as Johnny Rotten) said in a statement, “For me Malc was always entertaining, and I hope you remember that. Above all else he was an entertainer and I will miss him, and so should you.”

He was much more than a music industry veteran. McLaren got his start as a fashion designer who opened up a clothing shop with girlfriend Vivienne Westwood called Let It Rock. As Charles M. Young wrote in his 1977 cover story for Rolling Stone magazine on the Sex Pistols, “(McLaren) was the first to understand the democratic implications of punk -- rather than pay 10 pounds for an ugly t-shirt with holes in it, he took a Pink Floyd t-shirt, scratched holes in the eyes and wrote I HATE over the logo.”

McLaren had an ear for music, but his real talent was his eye for style and how he bent sight and sound to create the punk ethos.

Later in his career, McLaren became a well-known musician in his own right. His 1983 hip-hop-flavored album Duck Rock produced the U.K. Top 10 singles “Buffalo Gals” and “Double Dutch.” A year later, McLaren also had a hit with “Madame Butterfly,” a song inspired the opera of the same name.

His music might be dismissed as being a dated novelty today, but the blending of turntable scratches and global rhythms on tracks like “Soweto” made McLaren’s music groundbreaking at the time.

Rest in peace, Malcom. Thanks for the music and madness that fuelled this teenager’s fantasies way back when.