I first met Ian Stuart eight years ago in the Hoop and Grapes pub in Farringdon Street. Before then, we both knew of each other even though we’d never met. I knew of him as the lead singer of the skinhead band Skrewdriver whose album All Skrewed Up I’d bought a couple of years before in 1977. He knew of me as the national organiser of the Young National Front since he was, at that time, the local YNF organiser for the Blackpool and Fylde Branch in Lancashire. The purpose of that first meeting between us was to discuss Ian’s plans to reform Skrewdriver. It was a strange setting for such a meeting, not least because the Hoop and Grapes is renowned as a favourite drinking place for Morning Star journalists and printworkers. Throughout the evening, although the subject of reforming Skrewdriver was discussed, we spent most of our time discussing politics. A few pubs and a few pints later we found ourselves in a Fleet Street pub frequented by journalists with Ian sounding off indignantly about the ‘scum in the media’! Since that first meeting we have formed a good friendship and have worked closely together in building Rock Against Communism and White Noise Records.
All went well until December 11th, 1985, when Ian was sentenced to 12 months imprisonment for defending himself from an attack by a black gang at Kings Cross station. Until then Ian had never been in any trouble with the police but that didn’t prevent the judge from meting out such a harsh sentence. Needless to say the blacks that attacked him were never punished and got away scot-free. I heard of the savage sentence inflicted upon Ian, and the six month jail term given to his friend and co-defendant Des Clarke, on the morning of December 12th at Snaresbrook Crown Court where I was facing trial under the Race Relations Act. I remember being horrified by the harshness of Ian’s sentence, yet little was I to know that on that very day I too would be given a twelve month jail term. I awoke the following morning, appropriately enough it was Friday the Thirteenth, in a prison cell at Wormwood Scrubs. I’d just spent the first night of my sentence with a Pakistani prisoner as a cellmate and was unsure as to what the next weeks and months held in store. I was, to say the least, somewhat anxious about what the future would bring. Imagine my delight, therefore, when I spotted Ian Stuart in the cell opposite mine as I ‘slopped out’ that morning! We exchanged a few words and I tried in vain to get a job on the hot-plate where Ian was working serving up prisoners’ meals. I was transferred to another wing of the prison on that same day.
In the weeks that followed Ian was transferred to Wayland prison in Suffolk while I was transferred to Standford Hill prison on the Isle of Sheppey in Kent. Thus it was that we were destined not to see each other again until we were both released on parole six months later; Ian on June 11th, 1986 and me a day later on June 12th. In between time, however, we kept in regular touch by post and it was during this period that I suggested I write a book about Skrewdriver to commemorate the first ten years of the band in 1987. Ian agreed and this slim volume is the results of my efforts.
In closing this short introduction I’d like to dedicate this book to Ian Stuart whose acquaintance I’ve enjoyed over the years both as a friend and comrade. Without his help this book would not have been possible, not only because of the hours of taped interview he gave me so that I’d have all the background information I needed, but, far more importantly, because without Ian Stuart there wouldn’t be a band called Skrewdriver to write about.
JOE PEARCE, April 1987
THE EARLY YEARS: FROM BLACKPOOL TO CHISWICK
Ian Stuart was born Ian Stuart Donaldson on the 11th of August 1958 in Poulton-Le-Fylde, near Blackpool in Lancashire. He was educated at Baines Grammar School where he met Kev McKay, Sean McKay, John Grinton and Phil Walmsley. These five formed a band called Tumbling Dice, named after one of the many hit records by the Rolling Stones who were Ian’s biggest influence at that time. In turn, following the departure of Sean McKay, Tumbling Dice became known as Skrewdriver in May 1977.
Tumbling Dice, who were the first band Ian ever played in, were formed towards the end of 1975. As their name suggests they played mostly Stones’ cover versions, although covers of classics by The Who and Free were also included in the band’s set, as indeed were four or five original songs. They played at various working men’s clubs in the Poulton-Le-Fylde and Blackpool area. Following the formation of Skrewdriver in the late spring of 1977, the band started to write more of its own material. Right from the start Ian Stuart took on the bulk of the writing and while he credits much of the music which influenced his early writing to the Stones and The Who, he admits that the Sex Pistols were a vital early influence. He saw the first Sex Pistols gig in the north of England at the Lesser Free Trade Hall in Manchester in very early ’77, when they shared the bill with Slaughter and the Dogs and the newly formed Buzzcocks. Punk was, according to Ian, ‘different’ and ‘full of energy’ and it influenced Skrewdriver’s early recordings greatly.
While Ian names the Sex Pistols as the punk band which he most liked he also remembers being impressed by The Jam who were just starting out at the time. He also cites American bands like the New York Dolls and The Stooges as being particular favourites when Skrewdriver started. Skrewdriver’s first record release was the single You’re So Dumb, backed with Better off Crazy, which was released in 1977 by Chiswick Records.
You’re So Dumb was an anti-drugs song which, according to Ian Stuart, “didn’t make us too popular in certain circles because it was quite ‘hip’ to take drugs and we were ‘thickoes’ from a northern town who were coming down south and slagging off something that was quite ‘hip’ to do”. However, although the anti-drugs sentiments in You’re So Dumb didn’t exactly ingratiate Skrewdriver with the drug-taking fraternity who infest record companies and the like, it did gain the band support among the grass-roots of the punk movement which, at the time at least, was working class and predominantly anti-drug – not least because drug taking was seen as a pursuit for middle-class ‘trendies’ trying to be rebellious. Unfortunately, of course, middle-class ‘trendies’ trying to be rebellious hi-jacked the punk movement later on causing many of the original punks to shave their heads and become skinheads. That, however, is another story…
You’re So Dumb was extremely punkish in its overall sound which is not altogether surprising since the band were all punks at the time. Indeed, it established Skrewdriver’s credentials as a punk band, particularly in London where most copies of the record were sold. The follow-up single to You’re So Dumb was Anti-Social, which was backed by a cover version of the Rolling Stones’ classic Nineteenth Nervous Breakdown.
At around the time of the release of Anti-Social, near the end of 1977, Skrewdriver were undergoing the first of their many metamorphoses. First, Phil Walmsley left the band to be replaced as guitarist by Ron Hartley. Second the band forsook their punky image in favour of cropped hair and DM’s. In short, Skrewdriver became a skinhead band. Thus it is that the cover of Anti-Social shows a photograph of Skrewdriver as punks while their debut album All Skrewed Up, which was released about the same time shows the band as skinheads.
Nevertheless, while the visual appearance of Skrewdriver may have changed at this time, there was no drastic change of musical direction. On the contrary, the pulsating punk which was the hallmark of You’re So Dumb and Anti-Social continued to characterise the thirteen tracks on the album. This being so, why did Skrewdriver feel it necessary to ditch their punk image even though they still produced essentially punk music? According to Ian Stuart the decision to become skinheads was motivated by a belief that ‘punk music at the time was becoming too left-wing’.
However, it wasn’t just the politics but the posing of these new leftwing punks which really annoyed Skrewdriver. Ian Stuart explains: “There were a lot of poseurs at the gigs. When punk first started everyone went for the music, but when it became the fashion to be a punk you started to get a lot of rich people coming along. They had nothing to do with punk, they were just there because it was the place to be seen. They weren’t dancing to the bands. There was no comeback from the audience when it was packed with those sort of people because they weren’t there to enjoy the music but just because it was the place to be.”
Following the band’s utter and complete disillusionment with the punk scene, becoming skinheads seemed the most natural thing to do. Towards the end of 1977 there was a skinhead revival and many skins were starting to go to Skrewdriver gigs. The four members of Skrewdriver were friends with many skinheads, not least because they all had been skinheads themselves during the early seventies. Thus it was, at the end of 1977, that Skrewdriver became a skinhead band.
Perhaps, when one considers the scathing invective by Ian Stuart against punk ‘poseurs’ who were just there ‘to be seen’, it is not altogether surprising that the new-look Skrewdriver spat out their venomous revenge in the lyrics of songs like We Don’t Pose on the All Skrewed Up album.
The album itself, while not representing any great change in musical direction to mirror the change in the image, did represent a move towards more meaningful – or, at least, less facile – lyrics. For example, the shallow nihilism of Anti-Social I Don&rsquot Like You and I Don’t Need Your Love on side one of All Skrewed Up are counter-balanced by Nine to Five and the excellent Too Much Confusion on side two. These last two tracks, together with Government Action on side one, indicate through their lyrical content the birth of Ian Stuart’s political awareness. In fact, an interesting exercise in observing the musical, lyrical and political progress of Ian Stuart as a song-writer can be gauged by playing Nine Till Five from All Skrewed Up alongside Mr. Nine Till Five from the excellent Blood and Honour album. Such a comparison will illustrate how an essentially similar theme is dealt with entirely differently in the two songs. The former is raw, powerful and lyrically simple; the latter is refused, powerful and lyrically subtle. The power still remains yet the refinement and subtlety of the latter can only come with the accumulated knowledge and skill which is the result of eight years extra experience.
My personal favourite track on All Skrewed Up is undoubtedly the powerfully aggressive Too Much Confusion which opens the second side, yet it is interesting that Ian Stuart’s favourite from the album is Won’t Get Fooled Again. It is interesting because his choice is the only cover version on the album, being a rendition of The Who classic, and it illustrates his real rock roots which owe more to the sixties than to the Sex Pistols. These roots were destined to bear fruit much later.
BUILT UP, KNOCKED DOWN
To say that Skrewdriver have had a bad press in the ten years since they first started would, to say the least, be an understatement. From the moment their first single You’re So Dumb launched an attack on drug takers the music media have generally eyed the group with hostility and suspicion. Nonetheless, it must be remembered that Skrewdriver were not particularly political when they first arrived in London to sign for Chiswick Records and none of the band were involved with the National Front. This being so, the band did get some fairly reasonable press coverage in the early days. For example, as Ian recalls, “New Musical Express gave the 1.p. (All Skrewed Up) quite a good write up, and Sounds gave a decent write-up. Even Melody Maker and Record Mirror were okay.”
No doubt the press interest in Skrewdriver during the heady punk days of ’77 and early ’78 sprang from their growing popularity. The group’s reputation grew steadily with the demand for Anti-Social and All Skrewed Up outstripping by far the demand for their debut single You’re So Dumb. Live too, Skrewdriver were pulling in the crowds achieving house records at the Roxy – the Mecca of punk – and at the Vortex.
Prior to their ditching of the punk image, their live audiences were comprised mostly of punks with only a few skinheads dispersed amongst the crowd. However all this changed following the band’s changeover to skinheads with their audiences becoming almost exclusively close-cropped and white. Predictably this changeover caused concern in the music media who made the most of a near riot at a Skrewdriver gig at the Vortex by slagging off the group’s audience as ‘thugs’ and ‘National Front supporters’. This was the first time the band had been linked with the NF, albeit indirectly.
Following further exposes in the press that many skinheads were involved actively with either the National Front or the British Movement, the Marxist dominated music media began to demand that Skrewdriver and the other leading skinhead band, Sham 69, denounce their audience as ‘racists’. This demand was complied with willingly by Sham’s lead singer Jimmy Pursey – an indiscretion for which he was never forgiven by his audience but for which he was rewarded by his media masters. Skrewdriver, however, refused to betray the loyalty of their followers as Jimmy Pursey had done. Ian Stuart and the rest of the band refused resolutely to dance to the media’s tune. From that time on the Marxist music media declared war on Skrewdriver.
Even today, Ian Stuart doesn’t regret his decision to stand by his audience in spite of the difficulties it caused the band subsequently. Neither has he forgiven Jimmy Pursey of Sham 69 for his betrayal of those who had followed the band loyally up until then: “Sham cut their own throats by slagging off those people because that’s what destroyed them in the end.” Nonetheless, Ian Stuart’s decision to stand by his supporters very nearly destroyed Skrewdriver also. They paid dearly for their stand against the music establishment. They were barred from playing any gigs and in the end the pressure told. In the middle of 1978, unable to play live or get a new recording contract, the band split up.
Disillusioned with the corrupt set-up of the music business in London, the band packed their bags and returned to Blackpool. In fact, Ian Stuart was so disgusted at the way the Marxist left controlled the music scene in London that he began to take an active interest in Nationalist politics. Naturally enough he sought to find out what it was that the music press were so frightened about and why they were scared of National Front involvement in the music business. In short, he wanted to know more and, as such, he began to attend National Front meetings in Blackpool. Convinced that he liked what he heard at these meetings, he joined up as a Full Member in April 1979. The music media, in their efforts to browbeat Ian Stuart into submission, had made him into a formidable enemy who would still be haunting them many years later.
In the meantime, however, he was paying dearly for his principles. He returned to Blackpool from London without a job, as did the other members of the band. Several of the others eventually found work on local building sites while Ian ended up working in a car wash! Meanwhile, those with fewer principles were doing very well for themselves in London. Jimmy Pursey had become the darling of the music press following his stabbing in the back of those who had given him success in the first place. Nonetheless his former fans had the last laugh. Sham 69’s last concert at the Rainbow had to be stopped after the audience told the group in no uncertain terms what they thought of the sell-out. Not only was their farewell concert a sham, it was Jimmy Pursey’s last stand. He disappeared with egg on his face never to emerge again.
Unable to face another day in the car wash, and echoing the sentiments of Nine Till Five from the All Skrewed Up album, Ian got itchy feet and returned to London. He stayed at Suggsy’s mum’s house. Suggsy had been one of Skrewdriver’s roadies back in 1977 but now, two years later, he was lead singer in Madness who were about to make the big time themselves. It was during this period that Ian and I first met in the Hoop and Grapes on Farringdon Street to discuss the possibility of reforming Skrewdriver. It was not to be. Ian only stayed in London for three months before returning to Blackpool.
Pretty soon, after enduring spells at another couple of dead-end jobs, Ian got the wanderlust again and moved to Salford near Manchester. He and Kev McKay then joined up with Glenn Jones and Martin Smith, two Mancunians, to reform Skrewdriver. Thus the new line-up was Ian Stuart on vocals, Kev McKay on bass, Glen Jones on guitar and Martin Smith on drums. The new Skrewdriver played quite a lot of gigs in and around Manchester and eventually got a recording contract with TJM, a local record company. They played regularly at the Mayflower Club near Belle Vue and quickly built up a good local following of skinheads and punks.
Along with the old favourites such as Anti-Social and Government Action, the audiences at the Mayflower Club also heard new songs, mostly written by Ian Stuart or guitarist Glen Jones. Three of these new songs found their way onto the bands first – and only- record release on TJM. The e.p., Built Up, Knocked Down, was recorded and released soon after the new-look Skrewdriver were reformed towards the end of 1979. The title track, as Ian Stuart recalls, “was about what happened to us, our experiences of the music business up until then. For instance, you got built up by the record company then they turn round and completely knock you down.”
In fact, the scars left by Ian’s experiences at the hands of the music business in London are a feature of the other track he wrote on the e.p., A Case of Pride. The stark realism of this song’s lyrics, borne out of bitterness, contrast completely with the romantic fantasies of Glen Jones’ lyrics on the third track, Breakout. Breakout is a typical rock song in the mould of so many others which build up an illusionary romantic aura around the music business. It’s about a musician ‘breaking out’ of his mundane surroundings and going down to London to make his living by making music – not so much a case of wishing on a star but of wishing to become one!
A Case Of Pride, on the other hand, is more down to earth. It is more down to earth simply because Ian had already reached for that star which Glen Jones can only dream about; he had reached for it and had literally been ‘knocked down’ to earth again. Thus it is that A Case Of Pride covers the same theme as Breakout but puts a whole new, realistic, perspective on it. A Case Of Pride is about someone leaving home, having no money but having too much pride to ask for any from either parents or friends. Neither is there a happy ending since the person in question ends up dying. Not only does A Case Of Pride ‘break out’ from Glen Jones’ romantic fantasy, it shatters the dream and turns it into a nightmare.
Nonetheless, if we cast aspersions on Glen Jones’ song writing ability, we can have no such feelings about his guitar playing. In fact, his superlative guitar is perhaps the most memorable and lasting quality about the Built Up, Knocked Down e.p. It gives the three tracks an added dimension, an extra quality which brackets them as pure, solid rock. As such, Jones’ guitar differentiates the tracks on Built Up, Knocked Down from anything Skrewdriver had done before or, for that matter, anything they were to do for a long while to come – you have to go to the Blood And Honour album to find any comparable guitar playing. Consequently, Glen Jones stamped his mark on the music of Skrewdriver even though he was destined to remain with the band for only a short period.
Neither are these observations about Glen Jones’ musicianship merely subjective judgements on my part. Ian Stuart states quite clearly that having Jones as Skrewdriver’s guitarist was a major contributing factor in the group’s decision to progress from punk to a heavier form of rock: “Glen was a brilliant guitarist, he really was good. He would have been wasted on doing punk music. The guitaring on Built Up, Knocked Down is amazing.” After the release of Built Up, Knocked Down the band continued to play regularly at the Mayflower Club and at various other venues around Manchester. But the breakthrough they were looking for remained elusive. The music press still had neither forgotten nor forgiven Skrewdriver for defying them two years earlier. The group were branded as a ‘National Front band’ and the barriers were put up to block their road to success. Unable to make any progress outside the Manchester area because of a ban on advertising of their gigs in the music papers, the band got more and more frustrated. At the end of 1980 they decided to call it a day.
Ian Stuart explains the conditions he was living under at the time, conditions which added to the feelings of frustration and reinforced his decision to quit: “I was beginning to get really sick of the right dump I was living in Manchester, and so was Kev our bass player. We were living in a right pit up in Cheetham Hill in Salford. It was a one-room bed-sit which both of us had to live in and there were rats in the kitchen and the halls.”
Once again, Ian and Kev returned to Blackpool. Ian got a job as a machine operator in a toolmaker shop and tried again to hang up his guitar and lead a ‘nine till five’ life. Over the previous three years Ian Stuart had experienced success and failure. He’d seen record companies and music papers that had been his friends turn into his enemies. He’d been built up and knocked down. Now, back in Blackpool and in a steady job, it look as though his Skrewdriver days were finally over. But, to paraphrase Friedrich Nietzsche, blows that don’t destroy you make you stronger and, within a year, wanderlust had hit Ian Stuart again and he boarded the train to London…
BACK WITH A BANG
It was during the autumn of 1981 that Ian Stuart returned once again to London. This time, however, Ken McVay and the rest of the former members of Skrewdriver didn’t make the journey with him. One by one they bowed out of the Skrewdriver saga, setting down to conformist lives and leaving Ian alone with his plans for a new-look band.
On his arrival in London Ian stayed at the Ferndale Hotel on Argyle Square, Kings Cross. In fact, how he came to be staying there is an interesting story in itself. Ian knew Maurice Castle, the Ferndale’s manager, from previous occasions when he’d visited London for National Front activities. Ian Stuart takes up the story: “We were walking around Argyle Square looking for a hotel to stay in for the weekend because we were down for a National Front march. There were about six of us, all wearing Union Jacks, and when Maurice saw us he asked whether we were National Front supporters. When we said that we were he invited us to stay at the Ferndale, telling us that it was the cheapest hotel in the area and the only one under British management. Ever since that time, we always stayed at the Ferndale whenever we were down in London and when I moved down again in 1981 I started to live there permanently.”
Following his return to London, Ian quickly became part of the skinhead scene again. He visited the Last Resort, a skinhead shop in Petticoat Lane market, on a regular basis. As a result, he got to know Mickey and Margaret, the shop’s proprietors, and they suggested that he reform Skrewdriver. It seemed that many skinheads were still asking how they could get hold of Skrewdriver records when they visited the Last Resort and Mickey and Margaret, feeling sure that there was a healthy demand for the band’s music, offered to help in any way they could if Ian got a new group together. This being so, Ian Stuart set about searching for would-be members of a new Skrewdriver line-up.
Ian used his contacts at the Last Resort to find suitable members for the band. One such contact, freelance photographer Martin Dean, introduced him to Mark French who had previously played bass for a skinhead band called The Elite. Mark French, known colloquially as Frenchy, agreed to join. He, in turn, introduced Ian to drummer Geoff Williams, who had also played with The Elite. These three, with Ian playing guitar, became the new-look Skrewdriver at the end of 1981. However, a fourth member, Mark Neeson, joined the band soon after as guitarist. Neeson, known to all and sundry as Lester, had answered Skrewdriver’s advertisement for a guitarist and passed the audition with flying colours. The new four-piece Skrewdriver began to rehearse regularly and pretty soon Ian Stuart was sure the band were ready both for live dates and for recording sessions. Skrewdriver were back in business! Mickey French, the proprietor of the Last Resort (not to be confused with the group’s bassist Mark French), kept his word that he would help Skrewdriver if they reformed. The band brought out the Back With A Bang twelve inch single on his label, Last Resort Sounds, at the beginning of 1982.
In fact, most emphatically, Back With A Bang was the perfect title for Skrewdriver’s first record release for more than two years. The single hit the independent record charts and even elements in the music press were compelled to comment on the title track’s powerful riff. Skrewdriver were indeed back with a bang! Neither had Ian Stuart and the band betrayed their patriotic principles in their bid for success. On the contrary, the lyrics of Back With A Bang are about the media’s efforts to smear and smash the skinhead movement. In fact, in words more calculated and candid than any other Skrewdriver song up until then, Ian Stuart’s vocals spit both venom and defiance at the music media; venom because the lyrics make it patently obvious that Skrewdriver hadn’t forgotten nor forgiven the press for the way they’d been treated in the past, and defiance because they make it equally obvious that the media had failed in their efforts to destroy either Skrewdriver or the skinhead movement. On other feature of Back With A Bang’s lyrics is also noteworthy, and that’s the latent Nationalism which bubbles under the surface without ever boiling over into overt support for Racial Nationalist parties like the National Front. An example of this latent Nationalism is illustrated in these two lines from the song:
“Being patriotic’s not the fashion so they say,
To fly your country’s flag’s a crime.”
In lines such as this from Back With A Bang Ian Stuart was daring to expand the frontiers of Skrewdriver’s music into uncharted political waters which would make them even more persona non grata with their old enemies in the media. The flip side of the single, on the other hand, was far less controversial. It was a new version of the old Skrewdriver classic, I Don’t Like You, which appeared originally on the All Skrewed Up album. The decision to re-record this old Skrewdriver song was made at the behest of Mickey and Margaret at the Last Resort. They convinced Ian Stuart and the rest of the group that a whole new skinhead scene had emerged in the four-and-a-half years since All Skrewed Up was first released. Many of these new skinheads couldn’t get hold of earlier Skrewdriver material and re-releasing some of the old songs would be one way of letting the new wave of young skinheads enjoy the music their predecessors had enjoyed before them. I Don’t Like You was singled out for re-recording because it was one of the most popular tracks from the All Skrewed Up l.p. – a fast and furious favourite.
The words ‘fast and furious’ should be singled out for special attention because they describe the overall sound of the two tracks on the comeback single. In fact – and to stretch the alliteration to the limit – fast, furious and frantic would best describe both Back With A Bang and I Don’t Like You. In short, the come-back twelve-inch single signalled a reversion to the punk sound of the very early Skrewdriver and a departure from the heavy rock riffs which epitomised the sound on the Built Up, Knocked Down e.p. Following the success of the Back With A Bang twelve-inch, Skrewdriver once more found themselves in great demand. This being so, it was scarcely surprising when Mickey French offered the group top-billing on the skinhead compilation album, United Skins. This album, which was also released on the Last Resort’s own label, included many new skinhead bands. Some of them were good, some were bad, but all subsequently sank into oblivion – all that is, except Skrewdriver, a further testament to the band’s endurance and class.
Skrewdriver laid down two tracks for the United Skins l.p. Again, as with the BB twelve-inch, one was a new song while the other was and old favourite. The old favourite was the 1977 skinhead anthem, Anti-Social, a re-working of which appeared on United Skins ‘by popular demand’. However, Ian Stuart remembers the choice of Anti-Social with mixed feelings: “It was always a popular song for some reason. God knows why! A lot of people like it but I can’t stand it myself.” Apparently, the reason for Ian’s less than enthusiastic response to the choice of Anti-Social for the album stems from over-familiarity. To put it bluntly, he’d played the song live so many times that the mere mention of it sickened him. Nonetheless, and mindful of the opinions of others, Ian bowed down to demand, accepting begrudgingly that Anti was still immensely popular.
The new track on the United Skins album was Boots And Braces, a song in the same mould as Back With A Bang with angry lyrics spitting venom at those who seek to stereotype skinheads as troublemakers: ‘We always take the blame..’ Boots And Braces quickly established itself as a firm favourite at the band’s live performances but once again Ian Stuart had distinct reservations: “I suppose a lot of what the song says is true to life but I think it’s a very basic tune and boring to play”.
Whilst it is refreshing to experience Ian Stuart’s modesty and unbiased attitude towards his own songs, and whilst self-criticism is doubtless a virtue, I still feel his criticism of the songs on United Skins somewhat harsh. Firstly, the true quality of both tracks can be gauged by comparing them with the rest of the tracks by other bands on the album. When this is done it becomes patently obvious that Skrewdriver stand head and shoulders above any competition from rival skinhead bands around at the time. They were quite simply in a class of their own. Secondly, Boots And Braces rates alongside the best that Skrewdriver has ever produced. Not the best perhaps, but amongst the best. That, at least, is my opinion and it is an opinion, which I know is shared by many other Skrewdriver aficionados.
To continue on this tangent for a while longer, and putting on my amateur psychologist’s cloak, I believe the real reason for Ian’s attitude to Boots And Braces can be gleaned from his own words: “it’s a very basic tune and boring to play”. As far as Ian is concerned Boots And Braces should be re-titled “Base and Boring” because, as we’ve discussed earlier, his real roots are in rock and the type of music Skrewdriver were playing in 1982 was not, as far as he was concerned, the type of rock he wanted to play. Anti-Social and Boots And Braces were too simple, too basic. Oi music and punk were too simple and too basic. He wanted to branch out towards the heavier rock he and the previous Skrewdriver line-up had experimented with successfully in Manchester. In short, he wanted a challenge which punk and Oi! music could no longer offer him.
Removing my psychologist’s cloak and returning to the central theme of our story, it seems that certain elements in the music press agreed with me about the excellent quality of tracks like Boots And Braces. “There’s a really good guitar sound on this record” wrote music journalist Gary Bushell in Sounds, “but doubts still hover over their political beliefs.” The doubts weren’t to hover for long!
In the early months of 1982 Skrewdriver were packing in the crowds at both the 100 Club in Oxford Street and Skunx in Islington. It was at one of these live dates at the 100 Club that certain political remarks made by Ian Stuart from the stage destroyed any lingering doubts which still ‘hovered’ about where the band stood. They were Racial Nationalists and proud of it! And, what was more, they were no longer prepared to hide the fact… Ian Stuart takes up the story: “The press slagged us off for coming out with ‘ultra-nationalistic’ comments from the stage. They called out audience ‘morons’. In the end I just got fed up. It was obvious they were never going to praise us for anything, and in any case I couldn’t see anything wrong with being a Nationalist, it was natural to me. That’s when we thought we might as well go the whole way.”
In practice, ‘going the whole way’ meant meeting me to discuss the organising of Rock Against Communism concerts and the possibility of setting up an independent record label for Nationalist bands. For my part, I’d just been released from prison in May 1982 after serving a six-month sentence under the Race Relations Act for editing the Young National Front newspaper, Bulldog. Immediately upon my release I got back involved with the Nationalist scene and, in particular, I was very keen to re-activate Rock Against Communism.
Rock Against Communism had lain dormant since 1979, which was the date of the last R.A.C. concert in London. In the three years from then until spring of 1982 I had become increasingly frustrated by the stranglehold which the Marxist left seemed to have on the music industry. Imagine my excitement then when I heard that Skrewdriver were ‘back with a bang’ in London. I bought Back With A Bang and United Skins and started to go and watch the band play at the 100 Club and Skunx. By this time Skrewdriver were already including the songs White Power and Smash The IRA in their live set – another factor that doubtless didn’t ingratiate them with the music press!
Talking of the music press, every effort was made to make the band pay for refusing to toe the multi-racialist line. The press put pressure on both the venues Skrewdriver played regularly but, as Ian Stuart recalls, they met, at first at least, with very limited success: “All that the owners of the clubs could see was that they were getting a lot of people in, there was no trouble and they were making lots of money so why should they ban us?” The music media, demoralised by their failure to get Skrewdriver banned, laid low for a few months, during which time the band pulled bigger and bigger crowds. Then, in the summer of 1982, there was a fight at the 100 Club between followers of Skrewdriver and those of rival pseudo-skin band, Infa Riot, who had made their name playing Rock Against Racism gigs. This was the signal for the press to renew their hate campaign, blaming all the trouble on Skrewdriver and exonerating Infa Riot even though it was their roadies who started it. More stories followed about Ian Stuart being seen at the 100 Club wearing National Front regalia.
However, the knockout blow came when the music papers gave the 100 Club an ultimatum that they either ban Skrewdriver or else the club would not be allowed to advertise any of their events in the press. The 100 Club caved in under the financial pressure and banned Skrewdriver. The media then switched their hate-filled gaze to Skunx in Islington and gave the manager there the same ultimatum. However, much to their annoyance, Skunx were unprepared to ban Skrewdriver who were, by then, their biggest crowd-pullers. In the end though pressure by the police forced Skunx to close down altogether.
This, therefore, was the situation that Skrewdriver found themselves in towards the end of 1982. The screws (or should that be skrews!?) were well and truly being tightened on Skrewdriver’s coffin – or so the Reds in the music media believed. Skrewdriver, however, had other ideas. During the autumn of 1982 the relationship between Skrewdriver and myself bore fruit in two different directions, both of which forced the music media to realise that Skrewdriver weren’t so much dead and buried, as they’d hoped, but very much alive and kicking!
The first kick in the teeth for the musical establishment was the staging of a highly successful Rock Against Communism concert in Stratford, East London – the first for more than three years and easily the biggest. Skrewdriver headlined and proved their pulling power by attracting more than five hundred people. They were ably supported by the Ovaltinees, who brought out the excellent British Justice e.p. a month or so later.
A month later, at about the same time as the Ovaltinees were releasing British Justice, Skrewdriver released the White Power e.p. This was the second kick in the teeth for the musical establishment, not only because of the overt racialism of the title track but because it was the first release on Britain’s first and only Nationalist record label – White Noise Records. Although the three tracks on the White Power e.p. were very much in the same mould as the previous Skrewdriver tracks on the Last Resort label, i.e. basic and punky, Ian Stuart is far happier with the latter than we have seen he was with the former. For instance, whereas he derided Boots And Braces as ‘a very basic tune and boring to play’, he describes the title track of the White Power e.p. in the following terms: “I like White Power. The lyrics, for me, apart from Tomorrow Belongs To Me, mean more than any other song we’ve ever done. It’s such a stark statement. It’s there. It’s very direct.”
However, although Ian enthuses over White Power’s lyrics, he is less happy with the overall production on the e.p.: “I think it could have been mixed better. It’s a very weak mix.” The e.p. was produced by Mark Sutherland in his studio in East London and the poor quality of the mixing is probably due to the fact that he was, at the time, a relative novice. Later on, as he gained more knowledge and experience, the quality of his production improved by leaps and bounds. Another factor in the poor production, as Ian Stuart is quick to point out, was the fact that Mark Sutherland’s studio was, at that time, only four-track.
Nonetheless, notwithstanding the poor production, Ian Stuart is also pleased with Smash The IRA, the second track on the e.p.: “It means a lot lyrically. It’s not a brilliant tune, but it’s quite catchy. The words mirror the stance of the Party I was a member of at the time.” “Shove The Dove was a joke!” Ian explains when asked about the third track on the e.p. “I think it’s quite catchy but I only did it as a joke.”
One senses, when speaking to Ian Stuart about this e.p., that he is not too keen on Shove The Dove and certainly it is his least favourite of the three tracks on the record. This being so, I find I must beg to differ with him yet again. As far as I am concerned, Shove The Dove is my favourite track on the White Power e.p. In fact, it rates as one of my all time favourite Skrewdriver songs, being fast, furious and, as Ian readily concedes, fun! Although it is doubtful that Mary Whitehouse would approve…
As far as White Power and Smash The IRA are concerned, they remain firm favourites among Skrewdriver’s following, in spite of the handicap of being poorly produced and the even bigger handicap of my appearance on these two tracks as ‘guest vocalist’. Unfortunately, I feel doomed to go down in the annals of rock history as the only man who makes the voice of Lee Marvin – he of Wanderin’ Star fame – sound like Elvis Presley! Nevertheless (in spite of the appearance of Joe the Croak on backing vocals), Skrewdriver’s first release on White Noise Records sold enormously well. White Power and Smash The IRA have become latter day skinhead anthems, in constant demand at all Skrewdriver gigs, and the e.p. is still selling today, selling out and being re-pressed on several occasions. After years of ‘anti-racism’ and Black Power, a new phenomenon had emerged triumphantly and defiantly on the music scene – White Power!
VOICE OF BRITAIN
In the months following the release of White Power, Skrewdriver beat the ban on playing live imposed by the music establishment by playing a series of ever more successful Rock Against Communism concerts. These were held all over London and attracted ever larger audiences. The success of Rock Against Communism led to more bands being prepared to speak out against Marxism and multi-racialism. Thus Skrewdriver were supported by various other skinhead bands, such as Peter and the Wolves, the Die-Hards and the ever-popular Brutal Attack. Rock Against Communism, it seemed, was continuing to go from strength to strength.
The initial success of the re-activated Rock Against Communism movement received a further boost with the release of Skrewdriver’s second record on White Noise. Voice Of Britain was released in the autumn of 1983 and, for once, I am in total agreement with Ian Stuart in his assessment of both sides of this release: “The mixing was an improvement on White Power and I think the tunes were as well. It’s quite a good single.” The only point of difference between myself and Ian Stuart’s words lies in his description of Voice Of Britain as ‘quite a good single’. In my subjective judgement Voice Of Britain coupled with Sick Society on the flip side, represents the best Skrewdriver single to date. This being so, Ian’s reference to it as ‘quite a good single’ appears something of an understatement.
Lyrically, Voice Of Britain is much the same as many other Skrewdriver songs, lamenting the decline of Britain and longing for the long-overdue renaissance of the British people and the White race. However, its real strength lies in its instant and insistent catchiness, its sing-along tune and its unforgettable chorus. In fact, Voice Of Britain is the nearest Ian Stuart has yet come to writing a classic pop song. Neither do I mean this in any derogatory sense. I’d even go so far as to suggest that, had it not been for the band’s politics, Voice Of Britain could have catapulted Skrewdriver into the national charts. The flip side, Sick Society, on the other hand, derives its strength not from its tune but from its words. It isn’t as catchy or commercial as Voice Of Britain yet, if anything, I prefer this side to the ‘a’ side. It is, in fact a modern-day folk song, regardless of its rock format, and would sound as impressive and moving if sung slowly with acoustic guitar and backing.
Sick Society was inspired by the murder of Albert Mariner in May 1983. Ian Stuart explains: “Albert Mariner, who was a pensioner from East London and a National Front member, attended a legal election meeting in Tottenham. The meeting was attacked by a mob of Blacks, who were wound up by the Labour Party, including the mayor, and they bricked the Nationalist demonstrators. One brick hit Mr. Mariner on the head and he died early the next morning in hospital. The authorities refused to hold and inquiry and said he died of natural causes, which, of course, is absolute rubbish. The song is about his life, and his death, and about why they refused to hold an inquiry.” The words of Sick Society serve as a fitting and moving tribute to this martyr to British Freedom:
“Now you have died while fighting for your country
Fighting against an enemy that’s within.
Now I’ll make a promise to your memory, Albert Mariner,
We’ll keep on fighting, until we win,
Yes, we’ll never forget you.”
Besides serving as a constant reminder of the sacrifice of Albert Mariner, Sick Society has served as an inspiration to countless Nationalists who gain enormous strength from its moving message. Neither is this inspiration confined to British Nationalists since the lyrics of Sick Society have also been published in foreign Nationalist journals such as The Spotlight in America. Voice Of Britain followed its predecessor, White Power, as a success in terms of both sales and popularity. Most important, it made the music establishment realise that they had failed dismally in the attempts to ban Skrewdriver out of existence and proved emphatically that an avowedly Nationalist band could succeed without the backing of communist music journalists or capitalist record companies.
Parallel to the success of Voice Of Britain, the success of the Rock Against Communism concerts carried on apace. Turnout at these gigs, recounts Ian Stuart, “was going up and up. Basically when we were playing the 100 Club we were getting crowds of three to four hundred and it was packed, but our crowds were going up to above five hundred by this time.” The full extent of Skrewdriver’s growth in popularity is even more remarkable when one considers that no Skrewdriver gigs could ever be publicised or advertised in the music press because of the universal banning of the group. News of Rock Against Communism was passed on by word of mouth along the skinhead grapevine, yet this alone, without any outside advertising, was enough to ensure increasing turnouts. The smears, and later the silent treatment, of the music media had failed dismally. The Skrewdriver cult was spreading like wildfire!
The growth of Rock Against Communism was reflected early in 1984 by the release of the This Is White Noise e.p. which featured four different bands. The full track-listing was The Return Of St. George by Brutal Attack, White Working Class Man by the Die-Hards, Nerves Of Steel by ABH and, last but not least, When The Boat Comes In by Skrewdriver. Above all, This Is White Noise demonstrated decidedly that an increasing number of good bands were rallying to the Rock Against Communism banner. The most powerful track, and arguably the best on the e.p. was The Return Of St. George by Brutal Attack, with Ken McLellan’s vocals the high point. Yet, not to be outdone, the down-tempo Die-Hards number is catchy in an indefinable way and the lyrics of Nerves Of Steel by ABH are the best on the whole e.p.
But what of Skrewdriver’s contribution? According to Ian Stuart, When The Boat Comes In is about “the influx of immigrants into this country and the effect it’s had on Britain. The tune is sort of rock-n-roll, it’s a good tune although the mixing is diabolical.” Above all, however, When The Boat Comes In saw the sun setting on the old Skrewdriver. It was the last of the punky songs which had epitomised the Skrewdriver sound since 1977, with the notable and honourable exception of the Built Up, Knocked Down e.p. Another change of line-up was to follow, and the change of line-up signified a change of sound. Skrewdriver were ringing out the old and ringing in the new. They were hailing a new dawn!
HAIL THE NEW DAWN
In the beginning of 1984, the line-up of Skrewdriver underwent drastic changes. Mark French, Geoff Williams and Mark Neeson left the band to be replaced by new members. Mark Sutherland, Skrewdriver’s producer since White Power, had already been standing in for Geoff Williams on drums, both live and at recording sessions, because Geoff had begun to feel nervous about the pressure put upon the band members by the music press. At the beginning of 1984 Mark Sutherland, as well as remaining Skrewdriver’s producer, took over as the band’s permanent drummer.
An Australian called Adam Douglas took over from Mark Neeson as the band’s new guitarist, and a fellow Australian, Murray Holmes, joined the band as bassist. Previously Holmes had played bass for the Australian band, Quick and the Dead. Thus, the new look Skrewdriver took on an international flavour, with two Australians, an East Ender, and Ian Stuart representing the only original thread belonging to the group’s roots in Poulton-Le-Fylde in Lancashire. The first release of this new line-up was also the band’s first release on Rock-O-Rama Records, a West German company who had taken an interest in Skrewdriver following the phenomenal success of White Power in Germany and Europe. In Germany, in particular, the skinhead movement had mushroomed throughout the early 1980’s, a visible expression of deep-rooted Nationalism. An offshoot of this growth in the European skinhead movement was the snapping up of copies of White Power, which quickly assumed the status of being a rare and highly prized cult single. Rock-O-Rama Records realised Skrewdriver’s potential on the continent and gave the band a contract to produce one album and one single.
The first single on R-O-R was Invasion, a scathing condemnation of Russia’s incursion into Afghanistan. “Not that I particularly like Afghans” explains Ian Stuart, when asked about the lyrics, “but it’s their country and they’re quite entitled to defend it against communist invasion.” As regards the tune of Invasion, Ian Stuart and I differ yet again, inasmuch as he quite likes it whereas I feel it is not up to the remarkable high standard of their previous singles. It is, however, a notable departure from the previous punky style with the new line-up breaking new ground with a sound more akin to heavy metal than basic punk or Oi! music.
Invasion was backed with On Our Streets, a song about police harassment of skinheads on their way to gigs. Explaining his motivation for writing On Our Streets, Ian Stuart complains that “basically skinheads are an easy nicking as far as the police are concerned. They can nick a skinhead and no one is going to stand up for him like they would for a black. There are no left-wing lawyers or Labour politicians to stand up for a skinhead. Then, when a skinhead goes to court, the jury, believing all the lies they read about skinheads in the papers, automatically find him guilty. He’s got no chance. The song is about the police being a gang on our streets, which, when it comes down to it, is what they are.”
Whereas, personally speaking, I found Invasion something of a disappointment when compared with previous Skrewdriver singles, such as the excellent Voice Of Britain / Sick Society, I had no such reservations with regards to their second album, and their first on Rock-O-Rama Records. In fact, Hail The New Dawn exceeded all my expectations, constituting one of the best rock albums I’ve ever heard. More than that, it heralded a genuine ‘new dawn’ for the band. It was their coming of age. Skrewdriver, as a band, and Ian Stuart, as the writer of the band’s music, had waved goodbye to their punk past (or Oi! if you prefer) and had reached maturity as a powerful and pure rock group. As such, Hail The New Dawn was a highly appropriate title for the album. There was a new recording contract, a new line-up, and a new musical direction, a new beginning…
But what of the individual tracks on the album? Ian Stuart, as self-critical and candid as ever, has mixed feelings: “The mixing’s not brilliant but I like just under half the songs on the l.p.” In fact, such is Ian’s self-critical and modest approach, that one gets the distinct impression that he is actually pleased that he even likes nearly half the album’s tracks! When asked to sum up in one sentence what his overall impression of Hail The New Dawn is, he responds that “tune-wise it’s average, lyrically it’s good”. One suspects that his overall satisfaction with the album’s lyrics is due to their overt political content. On this album, indeed, he really goes to town lyrically expressing his idealistic impressions more lucidly than ever, as a run-down of the fourteen tracks on the l.p. indicates clearly:
Track one on side one is the title track, Hail The New Dawn, which is one of Ian Stuart’s favourites: “I like that one, it’s one of the best on the album. It means a lot to me.” Our Pride Is Our Loyalty, track two on the album, is, according to Ian Stuart, “the epitome of what I believe in – pride and loyalty in the ideal of the White race. I’ll never stop fighting for the White race and that song is about my pride in what I’m loyal to.” Track three, Before The Night Falls, is “about the threat to this country from immigration and how we’ve got to do something before the night falls, before it’s too late.”
Justice, track four on side one, is one of the few songs on the album where the lyrics were written by someone other than Ian Stuart. In this case they were written by Ian’s friend Nicky Crane. The lyrics of Justice, as Ian explains, are “about Nicky’s case, when he was sent to jail for four years for leading a British Movement gang who were retaliating for attacks by blacks upon themselves. Of course, the way ‘justice’ is in this country, they got the blame and they got sent to jail. But, although Nicky wrote the lyrics, the words apply to virtually all Nationalist political prisoners around the world.”
Race And Nation, track five, had lyrics, like Justice, which were written by one of Ian’s friends. In this case the lyricist was Matty Morgan who was one of the gang members sent to prison with Nicky Crane. The next track, Flying The Flag, is, as Ian explains, about the fact that “most skinheads love flying the flag, far more than any other cult about. Most have the flag on a badge, or a jacket, or tattooed on their arm – and flying the flag certainly means fighting Reds because Reds are totally against our flag.”
The last track on side one is If There’s A Riot. Ian describes the lyrics of this song as “another attack on the media because, should there ever be a fight anywhere near where a skinhead concert is taking place, it’s obvious the skinheads will get the blame even if they’re not involved.” Although, as usual, Ian disagrees with me, I think If There’s A Riot is one of the most powerful, exciting, and best tracks on the whole album. Certainly, it serves its purpose of whetting the listener’s appetite so that he turns over immediately to listen to side two. Speaking of the second side, it begins with a powerful rendition of Tomorrow Belongs To Me, the classic song from Bob Fosse’s Cabaret. Not surprisingly, continuing his penchant for preferring songs by other people as opposed to those penned by himself, Ian names this cover version as “personally my favourite song that we do.” Ian justifies this opinion by stating that, for him, Tomorrow Belongs To Me “signifies the beauty of Europe.”
Track two on side two is Europe Awake, which Ian explains as “something I believe in strongly, a Europe of the Peoples. My hope is Europe will awake and create a power bloc which can put policies into practise without fear of intervention by the Soviet bloc or the USA.” Thus, as if to emphasise Ian’s vision for Europe, the chorus of Europe Awake represents a battle-cry for the beleaguered nations of Europe:
For the White man’s sake;
Before it’s too late.”
The third track on side two is Soldier Of Freedom which, Ian explains unashamedly, is about mercenaries: “Mercenaries get a lot of stick but, having read the magazine Soldier Of Fortune, I think that, whatever they call themselves, many mercenaries are not merely ‘soldiers of fortune’. I think many don’t become mercenaries for profit but for reasons of ideology. Lots of them are anti-Communist and fight as such. They go and fight against communist-backed guerrilla’s and that song is for them. But it’s also for all those soldiers from regular armies that have ever died fighting against communism. It’s about soldiers wanting freedom for their own people.”
Skrew You, track four side two, is yet another attack on Ian Stuart’s pet hate – the music press: “It was specifically about Gary Bushell at the time but I don’t think it applies only to him because it could apply to any of those scum who write for the music press. Apart from the heavy metal writers, most of whom have got no interest in politics whatsoever or in fact probably are more politically aligned to us than they are to the Communist Party, all the ‘hip’ new wave writers are complete filth. They’ve been through art college and all that rubbish and go and support all the left-wing causes in the world.” No, Ian, it appears, does not like the music press! Track five on side two is Pennies From Heaven, a song which has little in common with the Bing Crosby song of the same name! In fact, the irony in the title is evident when one realises that the song is about signing on the dole. “Signing on, if you’ve ever tried it”, begins Ian, “is a joke. The song is about the pain you have to go through when you have to sign on. You go from office to office and you still don’t get your money. They make the mistakes and you’re the one who has to pay for them.”
Power From Profit, the next track, is “about the way multi-nationals and big business gain power through money. In this country, the way to gain power is by having a lot of money. That’s how these multi-nationals get such a say in the running of the British economy, by making huge profits out of people. It doesn’t matter if you are an honest bloke who works hard in this country, you still don’t have a say. The people who have a say are the ones with a lot of money.” The last track on the album is the excellent Free My Land, which is, personally and subjectively speaking, arguably the best song Skrewdriver ever recorded and Ian Stuart has ever written. It is, according to Ian, about “the land being taken over by people who shouldn’t be running Britain, many of whom aren’t even British. It’s about wanting our own back, our country back for the British people.”
In fact, amazingly enough, Ian and I actually agree that Free My Land is one of the best tracks on Hail The New Dawn, although he lists the title track and Tomorrow Belongs To Me as his two other favourites while I plump for If There’s A Riot and Justice. However, although we both like Free My Land, I suspect that Ian, being bashful, would be a trifle embarrassed were I to compare Free My Land with heavy metal classic Freebird by Lynyrd Skynyrd. Ian has a healthy respect for Lynyrd Skynyrd, the American group who were wiped out in a plane crash during the 1970’s, as a perusal of his sizeable record collection will demonstrate. This being so, comparing one of his merely mortal songs with the seemingly mortal Freebird may seem somewhat wishful. Nonetheless, I still make so bold as to make the comparison. Free My Land, like Freebird, is a slow rock ballad, which possesses power without needing speed. Furthermore, like Freebird, Free My Land has that instant charm and persistent catchiness which embeds the tune and the song in the memory. The only difference is in the lyrics. Those of Freebird, being tame, non-political and, therefore, acceptable; while those of Free My Land are rebellious, overtly political and, ipso facto, unacceptable. Thus, the former is generally accepted as a rock classic while the latter is relatively obscure to all but the privileged few who have had the opportunity to hear it on Hail The New Dawn. Indeed, had it not been for Skrewdriver’s resolute political stand, I am convinced that Free My Land would have taken its rightful place amongst the dozens of other classic tracks in the rock hall of fame.
As it is, Skrewdriver and Free My Land will have to wait until the New Dawn they dream of becomes a living reality before they receive the recognition they deserve. In the meantime, Free My Land is, on its own, a good enough reason for acquiring a copy of Hail The New Dawn.
In the summer of 1984, with Invasion and Hail The New Dawn hot off the presses, Skrewdriver and five other bands played the first Rock Against Communism festival in Suffolk. The Festival was a huge success, with people travelling to the wilds of Suffolk from all corners of the British Isles to attend. However, the most striking success about this festival was not so much the number of people attending, since large turn-outs had become commonplace at RAC concerts in London, but the large number of bands who played there.
The success of Rock Against Communism and White Noise Records had continued to attract many up and coming young bands who, like Skrewdriver, were prepared to nail their Nationalist colours to the mask. No longer were patriotic bands prepared to surrender their souls to either the music press or Mammon as a means of achieving recognition. Indeed, they no longer need to since RAC provided them with gigs, even if they were banned everywhere else, and both White Noise Records and Rock-O-Rama Records were providing them with recording contracts even if the major record companies refused to touch them because of their politics. The White resistance to the multi-racial music industry was growing. There would be no surrender to Red intimidation or capitalist financial pressure!
In fact, the situation was such in 1984 that, far from not having enough bands to play Rock Against Communism gigs, there were far too many jostling for the right to support Skrewdriver live! So acute had the problem become that the decision to hold a Summer Festival was taken in order to give more bands a chance of being seen live. Thus it was that six bands were billed to play the first festival in front of a crowd exceeding five hundred. These included – besides Skrewdriver – Brutal Attack, The Die-Hards and Public Enemy.
The success of the gigs, and RAC generally, was echoed by the success of sales of Skrewdriver records. In fact, Skrewdriver’s contract with Rock-O-Rama Records opened up a far larger market for the group’s records throughout Europe. This was so especially because R-O-R, based as we have seen in West Germany, began to distribute earlier Skrewdriver singles, such as White Power and Voice Of Britain, as well as the two records, Invasion and Hail The New Dawn, which were released on their own label. It is not surprising then that Ian Stuart describes the sales throughout Europe as ‘brilliant’.
Besides the continual healthy sales in Britain, sales were escalating in Germany, Holland, America, Belgium, France, Sweden and Australia. Skrewdriver’s success, it seemed, knew no bounds. The success continued with a new compilation album, No Surrender, the fruit of collaboration between White Noise and Rock-O-Rama. Skrewdriver contributed two tracks to the album but, as was the case with the This Is White Noise e.p., its main purpose was to give the increasing number of bands rallying to the anti- communist banner a chance to put their songs on record. No Surrender was recorded in March 1985 when I hired out Mark Sutherland’s studio for a week. Mark himself did the production on the album, and I was present at most of the marathon recording session during which eleven bands laid down twenty-two tracks, sixteen of which appeared on the album.
All in all I was extremely pleased with No Surrender. It proved, once and for all, that Nationalist bands could defy the music establishment and still get their songs on vinyl. Leaving Skrewdriver’s two contributions on the album to the one side for a moment, there is a great of good music on No Surrender. The majority of tracks are, as one might expect, traditionally ‘skinhead’, i.e. punk/Oi. The best of these are the two contributions each by Brutal Attack and The Die-Hards, Britain For The British by the Scottish band, New Dawn, and, my personal favourite, Disco Nightmare by Public Enemy.
Ironically, however, the best track on the album is neither Oi!, in the strictest sense, nor even British! For, in my opinion, the honour of the best track goes to the Swedish group Ultima Thule. Their rendition of the Swedish National Song (Du Ganla Du Frig) is quite simply quality with a capital Q! The melancholy piano intro to the song, and the singalong melody throughout, prompted someone to label Ultima Thule ‘the Abba of Oi’. Neither did they intend the label to be an insult, but merely a description of the universal catchiness of their sound, which can best be described as pop with power. In fact, if it wasn’t for the censorship imposed on Nationalist bands in our so-called ‘free society’, I believe, as with Free My Land by Skrewdriver, the Swedish National Song by Ultima Thule would have catapulted into the charts. Certainly it is as catchy and commercial as recent hits by their Scandinavian cousins, A-Ha and Europe. Besides the Swedish National Song, there is one other track on No Surrender which has undoubted commercial potential. Genetics by The Final Sound, a Southampton based band, is electro-pop at its best. It is in the same mould as, and of similar quality to, Love Will Tear Us Apart by Joy Division and Blue Monday by New Order. Why, then, does it not receive the same level of critical acclaim? The answer lies in the lyrics, with lines like ‘multi-racial societies just don’t work’ clearly distinguishable beneath the blanket of synthesisers. Lines such as that one and the repetition of ‘black pigmentation, genetic deviation’ in the chorus, ensured its being branded and banned as ‘dissident’ in the eyes of the multi-racial music establishment.
Setting aside the abundance of fruit provided by new and emerging Nationalist bands for the moment, what of the two contributions made by Skrewdriver to the No Surrender compilation album? By March, 1985, when Skrewdriver entered the studio to record their two tracks for the No Surrender l.p., Steve Roda, an Italian from Bologna, had joined the group as a second guitarist. Besides giving the group more scope musically, the addition of Steve made the band more international in composition than ever before. Skrewdriver now comprised two Australians, two Englishmen and an Italian! The new five-piece Skrewdriver recorded Tearing Down The Wall and Don’t Let Them Pull You Down.
Tearing Down The Wall was, Ian explains, “about the Berlin Wall which divides East and West Germany. It was built by the communists to stop people escaping their ‘paradise’, their ‘workers paradise’! That song was recorded for the album out of respect for our German comrades because we share their belief in a united Germany which can only help strengthen European ties.” Don’t Let Them Pull You Down, the second track, was a call for “British Nationalists not to let the establishment tear their flag from them”. The lyrics of Don’t Let Them Pull You Down are, in fact, quite clever, since they can be addressed both to the flag and to those who carry it.
The cleverness of Ian’s lyrics, however, was more than matched on the two tracks by the cleverness of the group’s musicianship. The musical maturity which manifested itself on Hail The New Dawn continued to stamp itself on Tearing Down The Wall and Don’t Let Them Pull You Down. Indeed, the addition of the extra guitarist gave the group a new dimension musically, making Skrewdriver’s sound heavier than ever. The metamorphosis from punk rock to pure was now complete! The one minor criticism I have of the two tracks on No Surrender is my belief that the songs, perhaps, are not as strong, tunewise at least, as previous Ian Stuart compositions. Nonetheless, the slick musicianship more than make up for this shortcoming, setting Skrewdriver apart from their rivals. In short, Skrewdriver had paraded their talent alongside ten other Nationalist bands on the No Surrender album and had come through with flying colours.
Consequently, No Surrender, the title of the l.p., acquired a whole new meaning in the context of the Skrewdriver story. In the wider sense, as we have already seen, No Surrender is an appropriate title since it signified that Nationalist bands could stand on their own two feet and no longer need surrender to the power of the music press or to the power of Mammon. In the narrower sense, relating specifically to Skrewdriver, No Surrender meant that Skrewdriver, while welcoming the opposition from the growing number of Nationalist bands, would not surrender their position as the world’s most popular, and best, Nationalist rock group!
BLOOD AND HONOUR – BLOOD AND GUTS
During the autumn of 1985 Skrewdriver began recording their third album, and their second for Rock-O-Rama Records. However, the album wasn’t actually released until December, a fateful month during which Ian and I were sentenced to prison for twelve months. Ian’s ‘crime’ was defending himself from attack by a group of blacks who presumably didn’t like his hairstyle. Needless to say the police, in their wisdom, refrained from prosecuting the blacks who instigated the attack. My ‘crime’, on the other hand, was daring to report accounts of black attacks, like the one inflicted upon Ian and his co-defendant Des Clarke, in a Young National Front magazine called Bulldog. Either way, Ian was convicted on December 11th and I followed him to Wormwood Scrubs the following day.
As a result, the first time I actually heard Blood And Honour was in the relative privacy of a prison cell. In fact, being able to hear the album was a considerable achievement in itself since only cassettes were allowed into the prison and BH was, and is, only available on record. This minor ‘inconvenience’ was overcome by arranging with a friend to tape Blood And Honour over a Black Sabbath cassette. It was my guess that the prison censor responsible for listening to all incoming tapes, being an aficionado of country and western music, wouldn’t know the difference between Black Sabbath and Skrewdriver. I was right and the tape was given to me without the slightest hint of suspicion.
I suspect that Ian Stuart, being a devotee of heavy metal music, will be flattered by the censor’s inability to tell the difference between Skrewdriver and Black Sabbath. However, I suspect he will be somewhat less flattered by the fact that the same censor couldn’t tell the difference between Skrewdriver’s Hail The New Dawn and Infa Riot’s Still Out Of Order album which another friend taped over for me! Anyway, returning to the musical content of Blood And Honour, it is, in my considered opinion, the best thing Skrewdriver have placed on record so far. It helped while away many a boring hour in prison and even now is seldom off my record player.
What is even more surprising perhaps is the fact that, for once, both Ian Stuart and I agree with one another. He, like me, rates Blood And Honour very highly. Indeed, to quote him precisely: “I like it. Personally, I think it’s the best thing we’ve done. It’s heavier and better produced than anything we’ve done before. The tunes on the album are more intricate, not so basic, though the music is still raw and powerful which is the way I like the band to be. There’s more to the tunes, more to the lyrics and better musicianship.” Certainly I agree with Ian that Blood And Honour is ‘heavier’ than anything the group had done beforehand, but does Ian now accept that the band is ‘heavily’ influenced by heavy metal?
“Yes probably. I mean most of the people who have been in the band liked heavy metal and really I think a lot of skinheads like heavy metal. After all, punk was based on heavy metal without the guitar solos.” The ‘intricate’ nature of the tunes, the ‘better musicianship’ and the more substantial nature of the lyrics can be gauged best by taking the album track by track. Track one on side one, appropriately enough, is the title track, Blood And Honour. It is, as Ian explains, “about Europe and about the way the capitalists and the communists co- exist. They are both working to destroy Nationalism and create, maybe in the end, a one-world government. If not, they are at least working to create a two-world government. Either way they will destroy Nationalism and the song calls for greater co-operation between the nations of Europe to fight both capitalism and communism.”
Mr. Nine To Five, track two on side one, is “about a man who is probably typical of seventy to eighty percent of British men who aren’t interested in the politics which runs their lives. All that they are interested in is going to work, doing a day’s work and reading the paper. Although in some ways it’s understandable I think it’s about time some of them looked around and thought of the future and the state of their country. They should take a little more interest in the way their country is run because eventually their children and their children’s children are going to suffer if they don’t stand up and do something about it now. “Basically Mr. Nine To Five is about the people who are only interested in the vacuum of their own little lives and don’t want to break out of that vacuum. They’re not even bothered about people such as the IRA blowing up British people so long as it doesn’t affect them. They may say how ‘evil’ it is but they are not prepared to do anything about it unless the problem actually lands on their own doorstep. Unfortunately, that attitude is probably typical of a lot of British people. In fact it is probably typical of a lot of the world’s people but Britain seems to be afflicted a lot more than many other countries.”
The next two tracks Don’t Be Too Late and When The Storm Breaks are both about the inevitability, as Ian sees it, of race war, not just in this country but in various parts of the world. The songs convey the message that people will have to choose sides fairly soon for, as Aneurin Bevan so rightly said, “we know what happens to people who stay in the middle of the road, they get run over”. Incidentally, Ian names When The Storm Breaks as his favourite track on the whole album. Although I don’t agree with his choice, it is likely that his affection for this track has much to do with its pure power and raw, rip-roaring riffs as with its lyrics.
Track five on the album is Prisoner Of Peace which is about ‘the lonely man of Spandau’, Rudolf Hess, who has now been in prison for forty-six years. That makes him the world’s longest political prisoner and, as the song makes clear, his release is long overdue. Poland, track six, is, to state the obvious, about that particular beleaguered nation. As Ian says, the Polish people are “under semi-marshal law all the time and are not able to live their own lives because they are being told what to do by Russia and her agents”. The last track on side one is Tomorrow Is Always Too Late. Again, returning to the theme of When The Storm Breaks and Don’t Be Too Late, this track urges people to ‘go out and do something today’ rather than wait until tomorrow because tomorrow could be too late. “It does”, Ian explains, “thank the troops of yesterday for fighting the communists and says that we must be the troops of today and carry on the same fight against the Marxist plague”.
The opening track on side two is The Way It’s Got To Be. It’s about “the struggle of the Nationalist and what he has to go through. It’s about the way he’s slagged down for flying the flag and so on. And”, Ian emphasises, “it puts over my view of the way that I’m going to carry on fighting and I hope it’s the way other Nationalists feel as well.” In fact, in this last statement, Ian has unwittingly put his finger on what it is that makes his songs so universally liked by Nationalists the world over. Indeed, what he really has his finger on is the pulse of Nationalism. Ian has put down in word and song what most Nationalists feel but can’t express themselves. His songs are an outlet for the spirit of every Nationalist who is touched by the music and lyrics of Skrewdriver.
To give a singularly subjective example of the point I am trying to make, I can vouch personally that The Way It’s Got To Be fulfilled Ian’s hope that “it’s the way other Nationalists feel as well”. It certainly expressed perfectly what I felt every time things began to get me down during my prison sentence. In fact, whenever waves of depression swept over me in prison I reached for my ‘Black Sabbath’ tape and listened to the defiant sentiments expressed in The Way It’s Got To Be. Then, within seconds of hearing the haunting hook-line of the chorus, the waves of depression were swept to one side by waves of defiance: ‘We’ll just keep on fighting that’s the way it’s got to be!’
The second track on side two is Jewel In The Sea, a down-tempo song in the same vein as Free My Land from Skrewdriver’s previous album. Nonetheless, although it is a good song, I don’t feel it reaches the same heady heights of excellence, as does its predecessor. The Jewel In The Sea is, Ian confirms, about what he feels about Britain. “I consider it to be the jewel in the sea” he says, “and people who move away from it always have that urge to come back, that urge to return to their homeland”.
One Fine Day, the following track, is somewhat profound making it more like the product of some art student rather than the leader of a down-to-earth skinhead rock band. “Yeah man, far out” Ian laughs when I make this observation to him. Seriously though, One Fine Day does make a valid, albeit a subtle, point. Ian explains “I wrote that quite some time ago actually. I was reading through the paper and it was a really beautiful day, sun shining, hot, and a clear blue sky, and there was nothing in the paper but death and destruction all over the world. It just struck me as being something to write about”.
Searching, the fourth track on side two, is arguably the heaviest on the album and certainly it is the most proximate to the classic heavy metal sound which Blood And Honour epitomises and which Skrewdriver as a group were evolving towards. This being so it is perhaps no surprise that it is one of Ian Stuart’s favourite tracks on the album. “That’s another ‘profound’ statement!” Ian explains jokingly about the lyrics of Searching, still amused at my observations of the preceding track. “It’s basically about what you’re looking for in life and will you ever find it. Most people never do. They always consider that they have certain goals in life but when they reach them they want something else. Nobody really knows what they are actually looking for I don’t think.” Profound indeed! G.K. Chesterton in Doctor Marten’s boots!
Searching is followed by Needle Man, one of my personal favourites on the album. As the title suggests the lyrics are about the drug problem. “It isn’t written personally about anybody I know” Ian points out emphatically, “although I have known people who have been on drugs and people who have died from them. Personally, I am totally anti-drugs and that song is about a person but not any particular person that gets on to drugs and ends up dying. It’s basically a warning about what can happen to those who dabble with drugs.”
The album’s penultimate track is Open Up Your Eyes, a catchy, almost singalong number. It is, Ian elucidates, “about a lot of groups who go playing for the left-wing because they can get a platform for doing that, not because they particularly believe in any of their policies. For instance, it would be tempting for a lot of groups to play in front of ten thousand people at a CND festival, not because they support CND but simply because it would allow them to play in front of ten thousand people.
“The song basically asks groups to think more carefully before they succumb to those temptations.” The final song on Blood And Honour is another ‘heavy’ track called I Know What I Want. Again, the theme is fairly self-evident from the title, being an affirmation of faith in one’s cause and a statement of intent to fight to the end to gain victory for it. During the same sessions at which the group recorded the fourteen tracks for Blood And Honour they also recorded two additional tracks which were initially intended to be released as a single. In fact, the single was never to be but the two tracks later emerged on the second No Surrender album, which was released jointly by Rock-O-Rama and White Noise Records in February 1986. The first of these tracks was Streetfight, a song which originally dates back to the group’s early days in 1977. Then it was about fighting at football matches on a Saturday afternoon. The recorded version, however, has different lyrics, which make it more relevant to the struggle for Race and Nation. Ian Stuart takes up the story:
“It’s about something which happened a couple of years ago at Jubilee Gardens on London’s South Bank when the communist GLC held on of their big anti-racist festivals. There must have been fifteen to twenty thousand ‘anti-racists’ down there, and a couple of gangs of skinheads and Nationalists, numbering only about eighty or ninety, attacked both stages because they are denied free speech all the time so why should the communists be allowed it? In spite of the massively overwhelming odds the skinheads and the Nationalists managed to come off best, beating up the communist, homosexual group the Red Skins. They got away with only a few injuries themselves and it was a good publicity coup and a great victory for Nationalism.”
The other track, Friday Night, is more light-hearted being, as Ian puts it, “about going out on a Friday night, having a good drink and trying to end up with some woman.” Ian readily admits that lyrically this song is not one of his more ‘profound efforts’ yet he doesn’t seem too concerned about being labelled a ‘sexist’. “It is”, he says, “the politics of waking up in the morning with a hang-over and a right old pig!” I doubt whether the Labour Party Lesbian Committee would approve! As with the album, Ian is happy with the overall quality and production of Streetfight and Friday Night. Together, representing as they do Skrewdriver’s contribution to the No Surrender Two album, they are the last two Skrewdriver songs to appear on record so far. Doubtless they will not be the last, ever.
Thus, with the Blood And Honour l.p. and the two tracks on No Surrender Two, we bring the Skrewdriver story right up to date – at least as far as their appearances on record are concerned. This being so, no one could possibly hope for a grander finale to the first ten years of Skrewdriver than the sheer excellence of Blood And Honour. Both Ian and I agree that it represents the best in terms of musical and lyrical achievement that the band have yet ascended to, the pinnacle of excellence.
Above all, Blood And Honour has real blood and guts. Taken as a whole it illustrates the culmination of the group’s metamorphosis from bare basic punksters to fully- fledged rockers, ranking alongside the best in the business, full blooded and worthy of honour. In short, Blood And Honour is the crescendo at the end of ten years struggle against those who have sought to destroy the country’s premier Nationalist rock band. It would make a worthy epitaph for a great band, but Skrewdriver don’t need an epitaph because Skrewdriver are not dead nor buried. Rather, Blood And Honour is a milestone representing the dividing line between ten battle-scarred years behind and hopefully ten years of glorious struggle ahead!
THE WAY IT’S GOT TO BE
Walk around the city,
And hold your head up high,
The sheep will try and drag you down,
With their repression and their lies
But life is just a struggle
‘Cos you’re proud of your country,
And we’ll just keep on fighting,
That’s the way it’s got to be.
‘Life is just a struggle’ growls Ian Stuart on The Way It’s Got To Be, the opening track on side two of Blood And Honour. Ian Stuart should know because his life over the last ten years has been a struggle. He bears the scars of those ten years struggle both physically and emotionally. Physically the scars on his head serve as a testimony to the time he was ambushed by a group of Marxists outside a friend’s house in north London. To the Reds Ian has assumed an almost legendary status, a modern-day Attila the Hun. They fear him and daren’t attack him unless the odds are twelve to one – and even then they must be armed and he must be defenceless. Such is the bravery of the Marxist left!
Emotionally, Ian can scarcely forget the six months he spent as a political prisoner in Wormwood Scrubs and H.M.P. Wayland during Christmas 1985 and the first half of 1986. Prison leaves an indelible stain on your character, scarring you emotionally for life. Needless to say, life for self-styled ‘rebels’ at the other end of the political spectrum doesn’t include the permanent risk of being physically attacked or the perpetual threat of imprisonment. For example UB40, most of whom are ex-members of the Communist party, are heralded as darlings of stage and screen for singing songs about South African terrorists. They are more likely to receive the OBE as opposed to imprisonment for their so-called ‘anti-state activities’!
So how is Ian Stuart standing up to the rigours of life as a rebel for Race and Nation? The answer can best be gauged by his irrepressible determination to continue the struggle regardless of the personal cost to himself. Such is his commitment to the Cause of racial survival. In practical terms, Ian is already looking ahead to his next Skrewdriver album, most of the tracks for which he wrote whilst in prison. There is also talk of a new single and even rumours about a solo tape on the horizon. For thousands of people worldwide who snap up every new Skrewdriver record, the new material will be welcomed enthusiastically.
For my part, I’ve enjoyed the small role I played in Skrewdriver – The First Ten Years. But, far more importantly, I shall be proud and honoured to play my part in Skrewdriver – The Next Ten Years! In the meantime, it is only right that Ian Stuart, through the lyrics of The Way It’s Got To Be should have the last word:
They’ll always put the blame on you
And tell the public lies,
But we’ll be here a long, long time
‘Cos the spirit never dies.
We’ll speak our minds,
We’ll fly our flags,
We’ll fight for victory,
And we’ll just keep on fighting
That’s the way it’s got to be!
DIAMONDS IN THE DUST
INTRO - MOTHER EUROPE'S SON
The White Race in its long and proud history has had an illustrious parade of heroes who have given their lives to the cause - the cause of loyalty to the White race. One such man is lan Stuart Donaldson. The memory of lan Stuart is the recollection of a real Aryan who gave no quarter and died for his values. lan Stuart was a special man, a person of noble character, honour, courage and gallantry. A true hero. lan Stuart did more for the cause than possibly anyone alive. As well as being the front man in the most acclaimed Skinhead band the world has ever known - Skrewdriver - he also formed his own movement - Blood & Honour. A movement which awoke and roused the shackled White youth around the globe with the ear piercing yell of Hail Victory. A shrill cry that has broken the web of lies and distortion propagated by the political and racial enemies of our race and nation. Even in death lan's voice and message is being heard all over the world, he left us numerous recordings with Skrewdriver, The Klansmen, White Diamond, Patriotic Ballads, and other solo efforts. The Aryan youth of the world are realising the truth, they are continuing to waking up with pride in their hearts and fire in their eyes as the Blood & Honour movement marches ever onward. Every Aryan has a choice: defy the anti-Aryan Zionist tyranny we are forced to live under, or accept the control of the Jewish masters, and so be docile and tame. The choice is simply between being Aryan or being a Jewish serf, a goy. lan Stuart led a life-long struggle against communist subversion and alien control, and despite government, police and left wing pressure he never gave up his ideals and refused to bow down to the ZOG. I have put together this biography as a tribute to lan's life, courage and sacrifice, and to keep alive the memory of the great man as a true modern day White warrior. lan Stuart opened my eyes, and many others to the Whiteman's cause. I can still remember the first time I heard his voice come growling out of my speakers, sending a shot of adrenalin through my body and from that day on my life changed. In track after track of hard hitting, boot stomping rock he sang of truth, of clenched White fists, the pride of our people's past, and the promise of a bright and glorious future for the youth who dared to dream and dared to fight. In every cause that men and women have dedicated themselves to throughout history, nothing serves to motivate and inspire revolution more than the loss of a dear friend and comrade who was loved and respected by his brothers and sisters. lan Stuart represents the indomitable spirit of courage and strength the surges through the veins of all National Socialists, his blood is soaked on our battle flags, adding fuel to the fire that burns deep within our hearts. National Socialism is for the brave of heart and the tough of spirit. As National Socialists we have something special - an inner strength of character. We should be resourceful and ruthless, be able to rise to the challenge and meet and match whatever obstacles are thrown in our path. lan Stuart's life was a struggle in the service of this mighty idea, a struggle for a new Europe, a new world. lan waved our storm banner before the globe - ever young, shining and glittering in the sun, rises the hooked-cross, the symbol of reawakening life.
I. GOTTA BE YOUNG
The decade of the 1950's was a time for new beginnings. Roger Bannister, a 25 year old medical student at St. Mary's Hospital, London, broke the four minute mile. A beekeeper named Edmund Hillary climbed 29,028 feet and conquered Everest. Queen Elizabeth II was crowned. The infamous Soviet leader Joseph Stalin died. Rocky Marciano became the world heavyweight boxing champion. 1950's Hollywood cult icons of the silver screen such as the disaffected James Byron Dean and the voluptuous blonde sex symbol Marilyn Monroe, aided and abetted by the hip swivelling Mississippi born Elvis Aaron Presley, and the newly discovered beat of Rock and Roll invented by Bill Haley are accounted as marking the beginning of modern youth subculture, the dawn of the first teenager. Dr. Herbert Funck and Dr. Klaus Maertens opened a factory in Munich making boots, and on 11 August 1957 at Nuffield Radio Astronomy Laboratories, Alfred Charles Bernard Lovell completed work on the worlds largest radio telescope. Only 50 miles away, at the same time, a child was born at Victoria Hospital, Blackpool, England. His name was lan Stuart Donaldson. If it was possible and you could have put your eye to the ocular on Lovell's telescope on that summer's night on 11 August 1957, looked towards the stars and proclaimed that child's destiny, you would have seen a life rich in rebellion, filled with an undying love for country and race, a man who would not back down, a man murdered for his beliefs. Whereas the 1950's adolescent was a rebel without a cause, herald the 1970's and the new dawn of Skrewdriver, the teenager was born again and from the smouldering coals of an unquenched fire, the flames of rebellion leapt to life once again. This time the adolescent was awake, a rebel with a cause, a youth mobilised Against Red Front And Massed Reaction.
'The enormity of our task is almost beyond comprehension. Sometimes state oppression, red opposition, and treachery by traitors in our midst makes us all feel like giving up - but at all costs we must continue our battle. Our fight begins in Europe, and spreads across the White World. Certain moments in our lives makes us realise the massive importance of our task. I have walked through Antwerp in the early evening as Nationalists gather in the bars. The beautiful architecture in the Flemish City embodies European genius - the evening in Rotterdam, as the lights of the great Dutch City sparkle as we have been made welcome by our comrades; an afternoon in Stockholm, frost upon the ground, then a journey on the train to Gothenburg as the beauty of Sweden and Scandinavia hypnotises me. I think of Germany, France, Italy and all the other great nations of Europe. Then I think of our cousins in the U.S.A., Australia, and beyond. White men made these nations and if White men do not stand up and fight their enemies our world will crumble. If this happens, when we are gone, someday and somewhere, the ghosts of the warriors who did fight will stand and accuse those cowards who did not. That will be the day of reckoning. We must all make some kind of contribution, and my songs are but a small part of what I hope to contribute to the survival of the White Race.'
lan's parents, Arthur Donaldson who was brought up in the industrial town of Wigan and Irene Whitehead who was raised in Hyde, Greater Manchester, married in 1953 and the couple set up home in a three bedroom semi in the Poulton-Le-Fylde area of Blackpool. An only child for the first five years of his life, lan was pleased to have a little companion to play with when his brother Anthony was born. Though, in later years the two drifted apart and became like chalk and cheese. Irene was at the heart of the family, keeping the house in order, busy being Mum. Whilst their engineer father was lucky enough, through hard work and determination, to own his own tool makers business in the district giving the family unit financial security. As a child lan was rarely at home but always up to something, usually climbing trees and other such mischievous games and pranks. When he did come home he was normally scratched and bruised from his adventures. Young lan's greatest passion was football, in fact lan was quite the little athlete and excelled in most sports. This bore fruit in 1968 when lan enrolled at Baines Grammar School, in Poulton. lan's nickname in class was Don or The Don and soon after joining Baines was picked to play for the school football team. lan thrived on the spur of a challenge and would put all his efforts and determination into fulfilling a certain ambition and meeting that challenge, as was the case with his flirtation with football. At school lan would train hard and put a lot of work in at football practice and he became a rather skilled player for his age. Several football scouts came to Baines to see lan play, a few of these were prepared to sign him up for their clubs, but lan turned them all down. Once lan knew he could meet the challenge and fulfil his ambition to become a football player, to lan the challenge no longer existed, he became bored with the idea and turned his attentions to something new.
No doubt there will be psychologists, psychiatrists, mind physicians and so-called "experts" reading this biography who will try to rationalise just how lan's brain ticked. They will endeavour to ply together aspects of his life and circumstances that transpired in childhood and reason that because of some imago or Freudian psychosomatic fixation z equals x so it follows factor y made lan become a twisted evil Nazi. Sorry Dr. Jung but as far as my research extends lan was a normal, compos mentis, healthy well adjusted child who grew up in an atmosphere of a stable, loving, caring family. Skinheads made their public debut in July 1969 at the free Rolling Stones concert in Hyde Park, London. The following year author Richard Allen (real name James) wrote a novel telling the tale of a young Skinhead named Joe Hawkins. The book sold in it's thousands and helped to popularise the cult. London should always be white, Cockney, true British. That was Joe Hawkin's philosophy. There were niggers in Brixton and Jews in Golders Green and immigration was a parasitic influx, and this made Joe flame with anger. He went to Brighton and kicked in some hippies with his boots. Then he fucked some bird and got dressed again: clip-on braces, new Doc Martens and skintight Levi's so that his boots could be seen in all their savage glory. In Joe Hawkin's world, women existed only for their tits (which usually jiggled). Men existed only to have their heads crushed in (by boots, with aggro) or to do the crushing. This was 1970. A nation cowered. By the end of the year "Skinhead" was in the Top Ten Best-seller's list, and was required reading for every self-respecting bower boy. It is interesting to note that in Richard Alien's third novel "Skinhead Girls" a Skin named lan Donaldson enters the affray, but sadly this is just one of those mad twists of coincidence and has no connection to our cardinal! The Don was now in the third year at school, and was gaining a reputation for being a bit of a handful, with the Skinhead cult at its height, and even Burton's stocking Ben Shermans and braces, lan wasn't going to miss out on any of the action, and was soon pulling on his Doc's and shaving his head.
Blackpool is a colourful town, and growing-up in the largest seaside resort in the North of England lan always found something to do. At the weekend lan and his mates, the McKay brothers who lived over the road from him, John Grinton who lived next door, and a gang of lads from school, would jump on a bus and take a trip down to Blackpool prom. The mob would amble down the golden mile, bumping into the tourists, loiter under the tower and swagger passed the rock stalls in their Harringtons and big boots. The hot summer air filled with the aroma of candy floss and hot dogs. They'd watch the birds on the Central Pier pigging down chips covered in ketchup in their Kiss-Me-Quick hats, and try their luck at fiddling the fruit machines. A sea of crops on the march looking for bovver - and usually finding it. Teenagers, young blood on the prowl, hungry for excitement and drinking in everything that the shit-hole had to offer.
lan left school with a couple of O Levels and found a job as an apprentice coach trimmer. By now the Skin fashion had drifted off, and large numbers of Skins started to grow their hair. lan and his mates were now getting increasingly into rock music, especially the Rolling Stones and The Who. This was probably connived along because Glam was now the latest new craze to hit the streets and the idea of wearing make-up and glitter didn't really fit into the lads' rouge lifestyle or appeal to their sense of Weltanschauung. "If I had to choose one band that influenced me the most, I would have to say the Rolling Stones. Many people disagree with me on this, but I always admired the way that the Stones did what they wanted, despite the media's often hostile reaction." - Don
Sean McKay had been playing the guitar for a while, and Grinny was getting into the drums. lan could do a few chords on an acoustic he had at home and Phil Walmesly, an old school mate of the lads from Baines, could play the bass and wasn't too bad a singer. So, the boys thought they'd have a go at forming a group. After a bit of messing about they started to suss out their instruments and began to bang out a couple of decent cover versions but it was decided a few line-up changes needed to be implemented. Phil took over lead guitar, Sean went on bass, lan did the vocals and Sean's brother Kev came in on bass. In early December 1975 the lads officially formed the band and called themselves Tumbling Dice, after the Rolling Stones song by the same name written in 1972 taken from the album Exile On Main St.
A BRIEF HISTORY OF TUMBLING DICE
Tumbling Dice did their first gig on New Year's Day 1976 at Newton Hall Holiday Camp. For 30 minutes the band belted out cover versions by the Stones, Free and The Who. It was a decent first gig, with the only complaint being that they played too loud. Payment received £0. Two weeks later, Thursday the 15th, Tumbling Dice where booked to play at a private disco at Cleveley's Philharmonic Society. The band did two 30 minutes sets, and the group earned their first wage. They were well received, but still inexperienced. During the second half of the set the Police were called in because of complaints the band was too loud! Payment received £3. Saturday 31 January, Hambleton Disco. The band was hampered by a small stage and a bad P.A. but, a strobe light added to the atmosphere. The cover versions Riot In Cell Block N° 9 and All Right Now went down very well. Payment received £10. On Thursday 5 February, the band entered a talent competition at the Brunswick Club, Blackpool. Three bands entered and Tumbling Dice came second, lan thought they were the best of a bad lot, and quite a lot of people thought they'd been robbed. A bloke outside the gig said he would arrange some bookings for the band, and advised them to invest in a van. Payment received £0. Hambleton Disco, Saturday 28 February. That small stage again, and a pathetic crowd. Some bloke who didn't like groups tried everything to put the lads off. It was Phil's first night with a new guitar and some geezer complained that the band were far too loud so lan ended up giving him a slap! Payment received £0. Wednesday 3rd March, Under 18's Teanlowe Disco, Poulton. The band did two 30 minutes sets, played well and went down well. Even some Soulmen were up dancing. Payment received £0. Two weeks later and Tumbling Dice were back at the U18's Teanlowe Disco. The lads played very well, and no one criticised them for a change. Moocher another band on the bill got booed off stage. Payment received £0. Tuesday 30th March, lan and the boys were at the Teanlowe Disco again for a Baines Grammar School 6th Form Association.
This time Moocher was the support band, but they didn't go down to well. Tumbling Dice did an average first set despite a bad P.A. and in the second they had the place going wild to Black Sabbath's Paranoid. Grinny put on a commendable performance and put his snare skin through by kicking his drums over at the finale. Payment received £8. On the first Saturday of April 1976, the lads had a bit of a fall out with Grinny over something and nothing. A mate of the band Steve Gaiter stepped in on drums. Wednesday 14th April, Tumbling Dice tried their luck at another talent competition this time at the Welcome Inn. Out of seven acts Tumbling Dice came sixth. Steve played well for his first gig, but lan thought the whole thing was a big hassle. The organisers didn't give the band any time to tune up, as a result all the guitars were out of tune and the group sounded awful! Payment received £0. Eight days later, Tumbling Dice were gigging at Papa Jenks, also on the bill were Eager Beaver and Jenks Revolution. The lads went down fairly well, but there was only a small turn out, and someone in the audience complained (believe it or not) that the band wasn't loud enough! The Landlord of the Dixon Bar was at the gig he liked what he saw and arranged a booking. Payment received £7.50. On the 14th May, the band travelled over to The Mill House Rock Club, Blackburn, lan had a few pints before the gig and ended up dancing about on stage. Someone from the crowd guested with a harmonica, and the band pulled off one of their best gigs yet. Payment received £20. Carters Arms Social Club, Preston. Sunday 16th May. The first set the band didn't play loud enough, but were tight. The second set they played a lot louder and better, and went down well. Payment received £18. Friday 21th May. The Landlord of the Dixon Bar kept his word and Tumbling Dice played his venue. The band didn't exactly play stupendously, but to give them their due the place was full of old timers and Rolling Stones' covers weren't really to their taste, the Landlord promised more bookings though. Payment received £20. Eight days later the lads were gigging at Grange Park Community Centre in Blackpool. The band were expecting a good turn out as the venue had forked out a few quid on advertising. Sadly, someone told the Gazette the wrong date. Friday instead of Saturday, so only a small crowd turned up. On the up side some bloke was really impressed with the band and wanted to manage them, plus to show he wasn't bullshitting he threw £100 in the pot. Payment received £25.
Wednesday 2nd June the band took a trip up the M6 to The Red Well Pub in Carnforth. They played quite well and went down very well with plenty of the audience dancing and clapping, lan was a bit pissed off with the microphone as he kept getting electric shocks! Payment received £20. Three days later the lads were back on the road, this time Preston at the Carters Arms Social Club. The band did three spots and came across very tight and professional with everyone playing well. Chris from Eager Beaver joined the lads on stage in Johnny B. Goode. Payment received £20. Knott End Social Club, Friday 11th June. Small crowd at first but filled up as the lads played. The band played excellently, with everybody singing and dancing, lan must have got a bit to carried away as he ended up falling off the stage. Payment received £20. Sunday 20th June, the boys travelled over to Burnley to play The Crossed Keys. They went down averagely, not too big a crowd, lan complained to the band that they needed a bigger P.A. amp. Payment received £20. Louise Anna Bell Disco Grand Hotel, St Annes, Wednesday 21st July. The P.A. amp blew twice, and the lads caused a bit of a riot afterwards with it kickin' off with a gang of Soulmen. Payment received £15. Three days on the band was back playing Grange Park Community Centre. The crowd danced and applauded. The lads went down well and included 5 of their own numbers at the gig. Payment received £30.
A week later the band did a two day mini tour of Whitehaven up in the Lake District. The lads thought they'd make it a bit of a do, and brought a few of their mates along. The first night they played Lowca Social Club, they played well, and everybody was up dancing through both sets. The group got 3 encores. Payment received £35. The second night the band gigged at the Whitehaven Social Club, the lads played very well again. People turned up from the previous night and were up dancing and standing on tables. The band got 3 encores again and everyone had a great night apart from the manager of the venue who said he wasn't going to pay the lads because the bands followers had disrupted his club. The group had a word in his ear and managed to persuade him otherwise! Payment received £40. When the band returned home a letter from a record label in London was waiting for them offering them a deal. If the lads were serious they would have to pack their bags and move down to the capital. lan was all for it thinking this was the break they'd been waiting for. In less than a year the band had gone from being a group of amateur musicians getting paid £0 to a tight little band who had built up a loyal following and could demand £40 a gig, plus now they had a London record company who wanted to sign them up. lan was ready to jump on the next train to the big smoke, but the rest of the band weren't so sure and to make the ultimatum final, Sean McKay refused to move and travel down to the metropolis. The band dissolved and Tumbling Dice came to an end.
II. BOOTS AND BRACES
When Tumbling Dice split, lan formed a new group and started perfecting the art of playing the guitar, lan played a little rhythm guitar in Tumbling Dice, but he wanted to write his own material and saw being an accomplished guitar player as the first step in achieving this goal. In the past most of the bands' songs had been written by Sean McKay. lan took most of his musical inspiration from bands like The Who, The Rolling Stones, Free, Lynyrd Skynyrd and Led Zeppelin. lan thrived on the energy and power of rock anthems like Freebird and Whole Lotta Love. In the Sixties, when times were good, young people were looking for something heavy to get into and progressive rock carried messages of protest and revolution. By the mid-Seventies, times were so bad that people were looking for something light to get into. There was a decline in music which attempted to carry any kind of message. Radical statements were out, escapism was in, and the bland were leading the bland. John Denver was big, the Stylistics were bigger, and Abba were selling more records than anyone since The Beatles. In 1975 Britain's biggest recently emerged group was Queen, who had about as much to do with Rock and Roll as Charlie's Angels had to do with private detection. A quartet of University graduates, Queen were bright, bourgeois and dull. Their albums took thousands of hours, and the lighting scripts for stage shows were as complicated as the lighting scripts for a stage play. Every faggot's friend Freddie Mercury, was about as controversial as a dead budgie.
For young people of lan's age, there was nothing original coming along. Overall, rock music was stagnating. It had once worshipped fashion, encouraged youth, and thrived on novelty, but it had become as flabby and middle-aged as it was before The Beatles. The music industry was just ripe for a wake-up call, and what better way than a kick in the bollocks. Sid Vicious was standing in the wings waiting to take his turn at capturing the rebellious spirit of the youth. The kids were bored to death, it was time for a change - and the youth of the time had no intention of waiting for the politicians to tell them what they already knew. History had taught them something - the establishment is hard to budge, but it is not immovable if the force of numbers are behind it. The year was now 1976, and this era brought with it the birth of a new sound, Punk and out it popped yelling and screaming! lan and the band travelled down to Manchester to see the Sex Pistols play supported by the Buzzcocks and Slaughter and the Dogs. The sight of Johnny Rotten hunched over a microphone at the Lesser Free Trade Hall, with his spiky red hair and green teeth shouting "Fuckin' Anarchy" to several hundred sweating, pogoing youths, was something the lads found hard to ignore. The band were greatly impressed by this new cult phenomenon - Punk, it was something new, fresh, full of aggression and smacked of raw rebellion.
The boys returned home and lan started to write a few Punk numbers, which the band tested out on the local Pub circuit. lan was busy learning the guitar and the band where still in the process of tightening up their act. When they thought they'd got their sound about right, they decided to tape a few of these new punkier numbers and try their luck with a load of record companies. lan crossed his fingers and hoped fate was looking down. A couple of places replied saying they were interested, but they wanted to hear a more professional recording, probably because the tape they sent was recorded in a metal factory. It seemed their luck might be in. Chiswick Records asked the band to come down to London and do a session in the studio. Ted Carrol, the former manager of Thin Lizzy, was the chairman of Chiswick Records and he signed the lads up. As the band didn't have a title at the time he came up with the name Skrewdriver. In the Spring of 1977 a new punk band was born! Skrewdriver did their first gig at Andrew Czezowski's club The Roxy, on Neal Street, WC2 on April 16, and not long after their debut single, You're So Dumb, backed with Better off Crazy, was released. The band - lan, Grinny, Kev and Phil - moved to London to be near their record label and set about promoting their name by playing regular gigs.
It was at one of these gigs a London Weekend Television researcher spotted Skrewdriver playing, and a couple of days later the lads were interviewed in a cafe by Janet Street Porter, the programme was called Year of punk. You're So Dumb, didn't go down to well with certain people, as it was an antidrugs song. At the time (as now) certain circles saw taking drugs as "the in thing to do", but it did gain the band support among the working class council estate punks who saw drug taking as something the middle-class posh kids did trying to be rebellious. You're So Dumb established Skrewdriver's credentials as a punk band, and Chiswick updated the record deal to two singles and an LP. In 1997 the Sun newspaper ran a small article under the heading "DJ Drum Secret" in which it revealed Radio One Breakfast DJ Mark Radcliffe once drummed for Skrewdriver. Mark did fill in for Grinny on the odd occasion when John was back home visiting his family. Drummers are hard to come by, not exactly Stop Press classified information! Anti-Social, c/w a cover version of the Rolling Stones song 19th (Nervous) Breakdown, was released near the end of 1977, as was the 45rpm LP All Skrewed Up. Soon after the single and the LP were recorded, guitarist Phil Walmsley decided to quit Skrewdriver, but his boots were quickly filled by an old mate of the band also from the Fylde, axeman Ron Hartley. It was around this time the lads where invited to attend the BBC studios in Madia Vale to put down a few numbers for the John Peel Sessions.
Skrewdriver recorded four tracks Anti-Social, The Loner, a song about football violence Streetfight, and NonBeliever, an anti-religion number. "I don't go to church or anything. I think my religion is my race." - Don All the band members were greatly impressed by the engineering and sound quality. Not long after Ronny joined the group the band decided to dump their punky image in favour of the sharp clean cut style of the Skinhead. Basically, all the band got fed up with punk turning more and more left-wing, whereas before, everyone came along and had a laugh and danced about, but soon it got to the stage where it became high fashion, and people would just stand there posing, seeing who had the most safety pins through their nose. A lot of the bands' mates who were coming to the gigs were Skinheads and all the members of the band had been Skinheads in the past, so they all just reverted. The band did get some fairly reasonable press coverage. Sounds gave the All Skrewed Up LP quite a good write up, and New Musical Express gave a decent review. Plus Melody Maker and Record Mirror said it was worth a listen.
Things were looking good and Skrewdriver's future looked bright, even one of the bands roadies Graham McPherson thought he'd try for his 5 minutes of fame and started singing with a local band - The North London Invaders. "When Punk started in London it was a great atmosphere. It was a new thing, it was shit hot. We used to go to a dub every night, get in free because we were in a band. It was a really good time to be there. We didn't get hardly any hassle except perhaps a little bit off the teds. I used to get on with most of the teds anyway, especially when we turned Skinhead, when we were punks they used to hate us though.' - Don.
The demand for All Skrewed Up and Anti-Social outstripped by far the popularity of their debut single You're So Dumb. Skrewdriver started to gig regularly around the London area, and began to attract a good following. They were supporting bands like Siouxie and the Banshees, 999 and The Boomtown Rats. The lads would often have drinks with Jimmy Pursey (Sham 69) and the likes. On one occasion when they played with the Police, they got pissed up at the bar with Sting and ended up lending their PA equipment to him. "We played with Motörhead, they were really decent blokes. We would always have a drink with the other bands' members if we were at one of their gigs. The Damned were really good blokes, we supported them a lot." - Don.
Now that Skrewdriver were officially a Skinhead band, an increasing amount of Skins started to follow the group. There was a Skinhead revival in the late 70's and the National Front made the most of this by forming the Young NF in 1977. Skrewdriver were pulling in crowds, achieving house records at the Roxy and at the Vortex. It looked like the lads were well on their way to success then at one gig a fight broke out involving one of the Skrewdriver crew and in the ensuing battle Bob Geldof got sparked out on stage! The band acquired a reputation for violence, and when a near riot kicked off at the Vortex, at which Skrewdriver was playing, the music media made the most of it by slagging off the group's audience as "thugs" and "National Front supporters".
Following further revelations in the press that many Skinheads were involved actively with either the National Front or the British Movement, the Marxist dominated music media began to demand that Skrewdriver and the other leading Skinhead band Sham 69 denounce their audience as racists, or get banned. Skrewdriver refused to condemn their loyal followers, many of whom were friends, and as a result got banned. Banned from playing, banned from advertising, banned from press coverage, banned from radio play, banned from gig promotion, everything! Sham 69 on the other hand complied willingly to the demands of the press, and Sham's front man and one time Wimpy Bar worker from Surrey Jimmy Pursey danced happily to the music media's tune. "The geezer (Jimmy Pursey) has never been a Skinhead, he sings about it, but he's never been one. There was only one Skinhead in that band ever, and that was their first bass player, Alby. He was the only Skinhead that's ever been in Sham 69"' - Don.
In the Autumn of 1978 Chiswick Records asked the lads to change their image and sent them to a farm in Peterborough to prepare for a new LP. On their return Skrewdriver had a big row with the management and told Ted Carroll to fuck off. The management at Chiswick didn't like the way Skrewdriver wouldn't bow down to the media and denounce the Skinheads. Faced with nowhere to play, and unable to get a new recording contract, the pressure took its toll and Skrewdriver split. Disillusioned with the corrupt set-up of the music industry in London, the lads returned to Blackpool and set about trying to find work. Most, eventually found work hod-carrying and labouring on local building sites, whilst lan ended up working at a car wash. Chiswick Records later released the LP Catch A Wave, featuring a couple of Skrewdriver's numbers amongst other artists on the Chiswick label, lan was so disgusted at the way the Marxist left controlled the music scene in London that he began to take an active interest in Nationalist politics. lan wanted to find out what it was that the music press were so frightened about, and why they were so terrified of National Front involvement in the music business. During the latter half of the 1970's, the National Front was well on the march, and its ranks swelled to an estimated 18,000 card-carrying members. The Front contested 174 seats in the May 1976 local elections, and 80 of their candidates each polled more than 10% of the vote.
By October 1977 the Front had grown to 44 London branches and 187 provincial chapters. In the Greater London Council election of 1977, National Front candidates out-polled the Liberals, Britain's third largest party, in 33 of 91 districts and won 119,000 votes. In November 1977 the NF mobilised 6,000 members and led by a forest of Union Flags marched through London in recognition of Remembrance Day and in the local elections of the same year managed to field hundreds of candidates to secure 250,000 votes. The news of this startling increase in the Front's strength made headlines in newspapers around the world. lan began to purchase NF publications and attend their meetings in Blackpool. Convinced that he liked what he heard at these meetings, he wrote to the National Front headquarters at Excalibur House, 73 Great Eastern Street, London E.C.2. and joined up as a full member in April 1979. The music media, in their efforts to browbeat lan into submission, had made him into a formidable enemy who would still be haunting them many years later. "You have to do your bit for Britain, some of you in here tonight may not be members of any political party, but you just do your bit for Britain, gather information of all the parties and choose who's right for you, but don't do nothing." - Don.
Due to the massive growth of the National Front, the opponents of Nationalism started several groups. Skins Against The Nazis began in Hackney in July 1978, and the Anti-Nazi League (ANaL) was also formed. ANaL was financed by Jews and secretly run by the notorious Trotskyite Socialist Workers Party, which openly called for a communist dictatorship. ANaL would, from time to time, put on the "odd" concert under the banner of Rock Against Racism (RAR). With the formation of ANaL and its musical offshoot RAR, the Young National Front came up with its own mirror organisation Rock Against Communism. After denouncing their loyal followers, Sham 69 were asked if they would like to play Rock Against Racism benefit gigs. Sham left no-one in any doubt on their stand in politics, and they played a RAR gig at the Central London Polytechnic with reggae band Misty in February 1978, and in April, Jimmy joined The Clash on stage at an ANaL carnival. But, by the end of the year, Sham had to pull out of similar events because their presence might have attracted trouble.
In interviews Pursey would say: 'Every gig we play is a Rock Against Racism gig'. Once their colours had been firmly tied to the RAR flagpole, there was an increase in right-wing activity and violence at Sham gigs, particularly in the London area where support for the Front and the British Movement was at its strongest. Promoters wouldn't touch Sham with a 20 foot barge-pole for fear of trouble, and despite the band's appearances on Top of the Pops, Sham 69's days were numbered. The band couldn't play in the UK without fear of violence and Jimmy didn't want to play abroad, so the decision was taken to call it a day. Sham's final gig took place at the Rainbow Theatre, London. The two support bands. Little Roosters and The low Numbers had already had a hard time of it, but the best was being saved for Jimmy and the boys. Sham took the stage to the strains of the theme to 2001 and opened the set with What Have You Got? All was going well, but by the fourth number, Angels With Dirty Faces, things began to go wrong. A Skinhead tried to get up on to stage and was stopped by security. A scuffle ensued and in a bid to quiet things down, Jimmy Pursey let the Skinhead join the band. That was the signal for other Skins to climb the barriers and storm the stage. The security curtains came down, and Sham ran for cover. Over 200 Skins, allegedly organised by the British Movement, surged back and forth through the crowd like a runaway Panzer tank, while others joined in the chants of 'Sieg Heil' and 'Skrewdriver' from the stage. So long, Jimmy the backstabber!
The following day, a hundred Skins smashed a Young Socialists' Jobs For The Youth gig featuring The Ruts and Misty. 'Sham cut their own throats by slagging off those people, because that's what destroyed them in the end.' lan soon got fed up with washing cars so he packed his bags and returned to London. lan was still good mates with Graham 'Suggsy' McPherson, one of Skrewdriver's roadies back in 1977. Now, two years later, Suggsy was the lead singer in the band Madness. Madness had built up a reputation on the London Pub circuit and in the summer of 1978 were well on their way to fame and fortune when their debut single The Prince zipped up the charts to number 16, and a month later their follow up 45 One Step Beyond reached the dizzy heights of N° 7. Whilst in London lan stayed at Suggsy's mum's flat on Warren Street. Suggs had just bought a house, so lan moved into his old room. It was during this period lan met the Young National Front organiser and Bulldog editor Joe Pearce. Joe tried to talk lan into reforming Skrewdriver, but it wasn't to be. lan stayed in London for around seven months, then moved back to Lancashire. Back in the Fylde, lan managed to secure a job as a clerical assistant at the nearby Premium Bonds office, but that isn't to say he hung up his boots, lan hooked up with his old mates and was soon getting into scrapes. Poulton and Blackpool had a history of fisticuffs and rival gangs from the opposing towns would regularly meet up at the weekend and have a battle in defence of their turf.
On one occasion a gang of Poulton lads who lan was with went on the rampage down Blackpool. Heads were cracked and windows broken, shit and blood everywhere. The following week The Ramsden Arms Public House on Tabolt Road, had a photo of lan behind the bar with the words Wanted Dead Or Alive scrawled above it. lan's reputation as a handful at school was now following him and maturing in adulthood. On another occasion some NF supporters (Tweety and the Cannon brothers) who lan was friendly with asked lan if he'd like to go and see The Stray Cats who were playing at the Norbreck Castle, in Bispham. The Stray Cats were quite big at the time and in the charts, lan tagged along and at the gig the lads did everything they could to put the band off. lan thought they looked like a bunch of puffs. The result was a kick off in the car park with the band and their roadies after the gig. The Stray Cats got a slap and Brian Setzer's hair needed requiffing, plus as a finishing touch lan slashed their van tyres. That wasn't even a one off.
lan was always having a go at some cunt he didn't like the look of, and once ended up giving punk leg-end Iggy Pop a boot in the crown jewels! Before long the wanderlust hit lan again and he and Kev McKay ventured down to Manchester. The lads rented a rundown one-room bedsit in the Cheetham Hill district (the Jewish part of town) which later turned out to be infested with rats! Towards the end of 1979, lan and Kev met up with two local musicians, a drummer called Martin Smith and a brilliant young guitarist by the name of Glen Jones. The four of them set about reviving Skrewdriver. The new look Skrewdriver gigged in and around the city, supporting Motorhead at King George's Hall in Blackburn and playing regularly at the Mayflower Club near Belle Vue. The lads soon picked up a good local following, and eventually got a recording contract with the Mancunian based record company Tony Johnson Music (TJM).
On the TJM label Skrewdriver brought out the Built Up, Knocked Down EP, a Skrewdriver classic. The musicianship of Glen Jones shines through on the EP and even though he was destined to remain with the band for only a short period, he stamped his mark on the music of Skrewdriver forever. 'Glen was a brilliant guitarist, he really was good. He would have been wasted on doing punk music. The guitaring on Built Up, Knocked Down is amazing.' IAN STUART DONALDSON After the Built Up, Knocked Down EP was released Skrewdriver continued to gig at the Mayflower and other local venues, but any hope of making the big-time was being hindered by the music media who still hadn't forgiven the band for defying them two years earlier. Unable to advertise their gigs in the music papers, the band couldn't make any progress outside of the Greater Manchester area. In the end frustration set in and Skrewdriver folded for a second time in the Autumn of 1980.
lan and Kev returned home to the wind-swept shores of Blackpool thinking the acclamation they desired was maybe just out of grasp. Back in Poulton, lan got a steady job as a machine operator at his Dad's toolmakers shop and stepped up his involvement with the National Front, regularly carrying out activities with his local branch. The Blackpool unit, when not out and about selling papers and peddling Front propaganda, would most often be found in the pub sinking a few jars. On 5 May 1981, lan and the lads had reason to celebrate that little bit harder: Bobby Sands the Provisional IRA hunger striker died after 65 days without food in the H-block of Belfast's Maze Prison. He should have had his chicken supper!!! Two months later the big social event of the year took place with Charles Philip Arthur George, the eldest son of Queen Elizabeth II and Prince Philip, marrying Lady Diana Frances Spencer, the younger daughter of the 7th Earl Spencer, at St Paul's Cathedral. "I've always thought that the Royal family should be kept as a British tradition, and I never think that they should ever have had a political voice. They're a hell of a tourist business, they've always been a British tradition. I never think we should get rid of the Royal family. It's something that people always think about when they think of Britain. They think of the Royal family when they hear about Britain. It seems to me that most of the people that want to destroy the Royal family are either Irish or commies. I don't want to destroy them, but I wouldn't let people like Prince Charles be telling people what they ought to do. My personal opinion is that it would be better to have Prince Andrew as the King rather than Prince Charles. At least Prince Andrew fought for his country - We should get rid of a lot of the ding-ons. I feel strongly that we can't get rid of the Royal family. It's always been something special about Britain." - Don
lan often travelled the length and breadth of Britain to attend NF rallies and marches. On one such activity lan and five or so mates were in London for a National Front march and needed a place to stay for the weekend. They were walking around Argyle Square looking for a hotel, and as all the lads were wearing Union Flag patches and the like, a bloke came over and asked if they were NF supporters. When they replied they were, he recommended that they stay at the Ferndale, as it was the cheapest hotel in the area and the only one under British management. The blokes name was Maurice Castle, and it turned out he was the manager of the hotel. From that time on whenever lan was down London for a while he stayed at the Ferndale. Back home in the Fylde lan became increasingly bored with the mundane 9 till 5 and started to get itchy feet again, so in the Autumn of 1981 he boarded a south bound train destined for the bright-lights of London. lan soon settled into life in the capital, on his arrival he booked into the Ferndale, and after coming to an agreement with Maurice ended up staying there permanently as a long-term guest. lan started visiting a Skinhead shop in Petticoat Lane Market called the Last Resort and there he hooked up with some old comrades and got to know the shop's owners Mickey and Margaret.
Madness were now doing extremely well for themselves with eight top-ten hits under their belt, and when lan met up with his old roadie Suggsy over a pint or two, Suggs told lan that he had started reading a script in April about a Madness full-length feature film and asked lan if he'd be interested in having a bit part in the movie. In October 1981 Madness released their third album Seven and this reached N° 5. The same month saw the release of the Madness film Take It Or Leave It. The film covers the early days of the group, ending before their first hit record with a scene in the Dublin Castle, a Pub in Camden Town. Suggsy was quoted in Melody Maker: "We don't want to come across as anything we aren't and that's why we're doing it in this Pub. We gave out tickets to as many original people as we could remember and everybody will get pissed and smash a few glasses." lan didn't have a big starring role in the film, in fact he was on screen less than a minute, first off getting pissed on a garden wall outside a house party and the next chasing the Nutty boys out of a boozer. Blink and you'd miss it, not exactly Oscar winning stuff! "The Madness film was done in about 1981 or something like that anyway because I didn't have much money at the time, they just got me on the film, that's all. I got the agency fee which was about EGO or something, and that's why I was in the film." - Don.
III. NO TURNING BACK
When lan was born and gasped his first breath, he must have swallowed with that sea air a little bit of the Blackpool spirit. For his life was filled with more ups and downs than any rollercoaster ride you could hope to find at the Pleasure Beach, more colour than the illuminations and the high hopes and dreams of the Tower. He had been built up, knocked down! But, as ever lan would rise to the challenge and carry on the fight. Nationalism played an increasing role in his life and the adrenaline of playing live on stage coursed through his veins. lan wanted to reform Skrewdriver for the National Front and Rock Against Communism, but he never got the commitment from the NF he needed. It had been four and a half years since the All Skewed Up LP was released, and in that time a new batch of Skinheads had appeared on the scene desperate to acquire early Skrewdriver records.
Skins coming into the Last Resort shop would regularly ask Mickey and Margaret how they could get hold of Skrewdriver material. Mickey French, the shop's proprietor, would often discuss with lan Skrewdriver's music and the chances of lan putting a new group together. At first lan was reluctant to reform the band, not least because of his past experiences at the hands of the music industry, but because, lan didn't have the necessary backing he needed to commit to such a project. Mickey persuaded lan that there was still a groundswell of support for the band and a very healthy demand for Skrewdriver's music. Mickey further convinced lan by promising to help out anyway he could, financially or otherwise, if lan reformed the band. It was around this time the Falklands War kicked off, and patriotic consciousness was on a high. Spurred on by the support of the Last Resort shop, lan quickly set about reforming Skrewdriver. Word soon spread through the Skinhead grapevine that Skrewdriver was being resurrected. Martin Dean, a freelance photographer who used to frequent the Last Resort, told lan he knew a bass player who maybe interested in joining Skrewdriver.
His name was Mark 'Frenchy' French. Frenchy used to play for the Skinhead band The Elite, a band no stranger to the NF themselves. Frenchy then introduced lan to The Elite's former drummer Geoff Williams. The band was starting to take shape, but they were still in need of a guitarist. The lads placed an advertisement in the music press and for the duration lan sang and played guitar at rehearsals. The advert was soon answered by a Mark 'Lester' Neeson, who passed the band's audition with honours. After a few rehearsals lan thought the band was ready for the studios and sure enough Mickey French kept to his word and the band released the very popular Back with a Bang maxi-single on Last Resort Sounds which found its way into the independent charts. Riding on the success of the Back with a Bang single, it wasn't long before the lads were back in the studio recording for the United Skins compilation LP, another Last Resort Sounds project. lan and the lads laid down two tracks: Anti-Social, the old Skrewdriver classic and a new number called Boots and Braces. Boots and Braces soon became a crowd pleaser at gigs, but lan wasn't to happy about the song believing it to be bland with a very basic tune and boring to play.
Support for Skrewdriver grew and the band was now regularly packing out the 100 Club and Skunx, but as support for the band grew so did the hostility of the music press and lan became increasingly pissed off with the constant attacks by music journalists branding the group racist and their supporters as morons. In the end it was obvious they were never going to praise Skrewdriver for anything and in any case, Ian saw nothing wrong with being a Nationalist, it came totally natural to him anyway! Skrewdriver started to take a more openly Nationalist stance and at a gig at the 100 club one night lan raised his right arm and proclaimed "This one's called Tomorrow Belongs To Me." The crowd roared and thus began the true legacy of Skrewdriver. The music media continued to have digs at the band and tried with very limited success to get venues to ban them from playing live. It was around this time lan travelled over to Islington to watch a young punk band called Brutal Attack. The front man for the group was a tattooed Skinhead living for kicks by the name of Ken Mclellan. lan was impressed with the band's material and Ken's stage presence and asked them if they would be interested in supporting Skrewdriver the following week. Ken was all for it, but others in the band weren't so keen. The band had a ruck resulting in two members of the group leaving the band. Replacements were soon found and a week later Brutal Attack was rocking for Race and Nation with lan and the boys.
The owners of the clubs were content with Skrewdriver filling their venues, plus they were making plenty of money from the partnership, so the media hounding came to no avail. But that Summer things went slightly pear-shaped when Skrewdriver had a kick off at the 100 club with the Rock Against Racism band Infa Riot from North London and their roadies. The music papers jumped on the situation and told the clubs if they continued to book Skrewdriver they would suffer a media ban and be unable to advertise any of their events in the press. It was the straw that broke the camels back and the 100 Club caved in and banned Skrewdriver. Much to the annoyance of the press, Skunx in Islington continued to book Skrewdriver who were then their biggest attraction, but at the end of the year due to Police pressure the club was forced to call it a day. It seemed to the band history could be repeating itself, again they were faced with a gig ban and no media publicity, but this time things were different: lan was now an active member in the National Front and had a good working relationship with the NF cadre. lan remembered his discussion with YNF organiser Joe Pearce 3 years earlier in the Hoop & Grapes Pub in Farringdon Street and lan met up with Joe again and the two of them reactivated Rock Against Communism.The first RAC gig for nearly 4 years took place in Stratford, East London. Skrewdriver supported by The Ovaltinies played to over 500 people. The National Front were keen to exploit Skrewdriver's popularity, seeing it as a great opportunity to recruit new members into its ranks. The NF set up Britain's first Nationalist record label - White Noise Records - and produced Skrewdriver's first political tracks in the form of White Power, Smash the I.R.A. and Shove the Dove.
"I like White Power. The lyrics, for me, apart from Tomorrow Belongs To Me, mean more than any other song we've ever done. It's such a stark statement. It's there. It's very direct." - Don. The EP sent a shock wave throughout the music industry with one paper claiming that White Power was "The most evil record of all time." The reds in the media were intent on crushing Skrewdriver and the Skinhead movement, but with reviews like that lan and the boys couldn't wish for better publicity. Sales of the White Power EP were enormous with the single selling like hot cakes not only in Britain, but France, Belgium, Holland, Germany, Sweden and as far afield as the USA and Australia. Owing to Skrewdriver's success new patriotic bands emerged and flocked to the Nationalist music scene. Skrewdriver played several Rock Against Communism gigs in and around the London area with attendance's averaging 500. Bearing in mind that the concerts could not be advertised and the bands' supporters only got to know about the gigs by word of mouth via the Skinhead grapevine only added to the prosperity of the RAC movement.
This was a real kick in the gob for the music press because here was an underground movement thriving right under the noses of all who had tried to destroy it. Due to the massive turnouts at Skrewdriver gigs, it was decided that some form of security needed to be implemented. This was not so much for the protection of the band, but to stop the hordes of drunken fans from killing each other in the frenzy of stomping and Sieg Heiling on the dancefloor. Put in charge of Skrewdriver Security was a Skinhead by the name of Nick Crane. He was a British Movement organiser from Bexleyheath, London and a bouncer by trade. In 1981 Nick appeared on the front cover of the second Sounds compilation LP Strength Thru' Oil, which later gave Gary Bushell cause for embarrassment when he found out about Mr Crane's political beliefs. Meanwhile, Geoff Williams, Skrewdriver's drummer, was becoming increasingly unreliable by letting the band down at rehearsals and not turning up at gigs. Luckily, Skrewdriver's producer Mark Sutherland could play the drums and he helped the lads out by standing in for Geoff at various RAC concerts. Eventually, Geoff quit Skrewdriver due to outside pressures and Mark took over permanently. With the increased popularity in Rock Against Communism, the NF youth magazine Bulldog, whom Joe Pearce was the editor, started to cover Skrewdriver's progress within its pages.
White Noise Records released Skrewdriver's second vinyl offering on their label: Voice Of Britain, a fast, catchy number with lan growling out his call for a British rebirth, and on the B-side Sick Society which is best described as a modern day folk song inspired by the murder of NF member Albert Mariner. At 7:45pm on Tuesday 3rd May 1983, old-age pensioner and National Front member Albert Mariner was walking to an NF election meeting when he was struck on the head by a brick hurled from a "mainly black" mob of rioters. They had been mobilised by an unlawful election leaflet issued by Labour Councillors of the London Borough of Haringey. Albert was taken to hospital where he died the next day. The police refused to investigate the events which led to Albert's death. Throughout 1983 the RAC concerts carried on apace with the lads gigging on average once every month, lan carried on his work for the National Front handing out pro-White leaflets and newspapers on the streets of London. In the studio Skrewdriver recorded When The Boat Comes In, which was put out on WN3 - The This Is White Noise EP - along with three other up-and-coming RAC bands the Diehards, Brutal Attack and ABH. The band finished the year off by doing a RAC gig in Kensington on the 19th of November and a White Xmas gig in Barking on the 16th of December. I don't know if lan made any New Year's resolutions but 1984 brought with it many new beginnings. Lester waved goodbye to Skrewdriver, and then Frenchy left the band and went on the join the Para's.
IV. WHEN THE NORTH WIND BLOWS
From the British Brothers League founded in 1901, past Rotha Linhorn-Orman's British Fascists, to Oswald Mosley's BUF and onward the British right has led a curious life. In the late 1960's there were six organisations of any note in the field of Nationalist politics in Britain. Apart from the Racial Preservation Society, there was John Tyndall's Greater Britain Movement and the League of Empire Loyalists, under A.K. Chesterton. There was the British National Party led by John Bean and Andrew Fountaine, and there was the British Movement. The British Movement was founded in the summer of 1968 by Colin Jordan, a former school teacher who built up his die-hard reputation in the 1950's. In 1962 Mr. Jordan and the American National Socialist leader George Lincoln Rockwell settled a blueprint for all future National Socialist activity. It was called the Costswold Declaration. It reflected their assessment of N.S. direction after 1945 and the death of Adolf Hitler and the role of National Socialists as a worldwide political movement.
THE COTSWOLD DECLARATION
WE BELIEVE that an honest man can never be happy in a naked scramble for material gain and comfort, without any goal which he believes is greater than himself, and for which he is willing to sacrifice his own egotism. This goal was formerly provided by fundamentalist religions, but science and subversion have so weakened all traditional religions, and given man such an unwarranted, short-sighted conceit of his "power over nature", that he has, in effect, become his own God. He is spiritually lost, even if he will not admit it. We believe that the only realistic goal which can still lift man out of his present unhappy selfishness and into the radiance of self-sacrificing idealism is the upward struggle of his race, the fight for the common good of his people. WE BELIEVE that society can function successfully, and therefore happily, only as an organism; that all parts benefit when each part performs the function for which it is best suited to produce a unified, single-purposed whole, which is then capable of out-performing any single part, the whole thus vastly increasing the powers of all co-operating parts, and the parts, therefore, subordinating a part of their individual freedom to the whole; that the whole perishes and all of the parts suffer whenever one part fails to perform its own function, usurps or interferes with the function of another part, or like a cancer, devours all the nourishment and grows wildly and selfishly out of all proportion to its task - which latter is exactly the effect on society of the parasitic Jews and their Marxism. WE BELIEVE that man makes genuine progress only when he approaches Nature humbly, and applies her eternal laws, instead of arrogantly assuming to ignore and conquer Nature, as do the Marxists with their theories of the supremacy of environmental influence over the genetic truth of race, special laws of biological equality for humans only, and their insane denial of the primitive and fundamental human institution of private property. WE BELIEVE that struggle is the vital element of all evolutionary progress and the very essence of life itself; that it is only method where by we have won and can maintain dominion over the other animals of the earth; that we must therefore welcome struggle as a means of testing and improving us, and that we must despise weaklings who run away from struggle. We believe that life itself is awarded by Nature only to those who fight for it and win it, not those who wish or beg for it as a "right". WE BELIEVE that no man is entitled to the service or the products of the labour of his fellow men, unless he contributes at least an equal amount of goods or services of his own production or inventions. We believe that the contribution by a member of society of nothing else but tokens called "money" is a fraud upon his fellows, and does not excuse a man capable of honest work of his responsibility to produce his share. WE BELIEVE that it is to the advantage of society to see that every honest man has freedom and opportunity to achieve his maximum potentials by preserving his health, protecting him from unforeseeable and ruinous catastrophes, educating him to capacity in the areas of his abilities, and guarding him against political and economic exploitation.
WE BELIEVE that Adolf Hitler was the gift of an inscrutable Providence to a world on the brink of Jewish-Bolshevik catastrophe, and that only the blazing spirit of this heroic man can give us the strength and inspiration to rise, like the early Christians, from the depths of persecution and hatred to bring the world a new birth of radiant idealism, realistic peace, international order, and social justice for all men. THESE SEVEN PRINCIPLES are the rock of our faith. With them, we shall move the world. The political party program we adopt, based on these principles, can and will change as events and facts change, as we discover better methods. But these seven principles are fundamental, absolute, and timeless truth. They will not change. We bind ourselves permanently and without reservation to these idea, and the battle to establish them as the only scientific and realistic basis for human society. Mr. Jordan is a remarkable man of vision who has set his face implacably against the national death-wish. Many have come and many have gone, but Mr. Jordan is to be hailed for his steadfastness of belief and action over so many years. The British Movement kept the ideology of National Socialism alive and functioning in Britain, and in 1975 Mr. Jordan handed the leadership of the organisation to the then National Secretary and Merseyside organiser Mike McLaughlin. Mr. McLaughlin slowly but steadily built up the Movement by redirecting its recruiting tactics, and soon the BM began to overshadow the National front. Then in late 1983 without warning Mr. McLaughlin resigned the leadership and closed down the national offices at Shotton in North Wales. He did not appoint a successor and simply put the organisation 'on ice'. "This one's for the British Movement and it's called White Power." - Don.
To add too the global influence that Skrewdriver was having on the White World, two Australians said G'day to the band and took over the vacant positions. Adam Douglas on guitar and ex-Quick and the Dead bassist Murray Holmes hopped in Frenchy's boots. The international limelight was now shining on Skrewdriver, with not only the European pan-Aryan press taking an interest in the band, but the Nationalist journals in the USA also doing articles on the band. Most noticeable being Willis Carlo's ultra conservative newspaper The Spotlight interviewing lan in their March issue under the heading "UK White Youths Proud of Heritage". lan was now regularly getting fan letters of support from all over the White world. The NF decided that their coverage in Bulldog magazine was not enough and launched White Noise magazine and an organisation to run it. In June 1984, the Greater London Council held a Jobs For A Change festival at Jubilee Gardens on London's South Bank. Billed to play in front of eighteen thousand teenage morons high on mind-bending drugs; student floozies with their heads stuffed with universal brotherhood; perverts and queers of every conceivable stripe; freaks and misfits; bleeding hearts and racial masochists; every modern miss and liberal trendy, were the communist, homosexual group The Redskins, Aswad, Billy Bragg and The Smiths.
Skrewdriver Skins along with a firm of Chelsea Headhunters, numbering only around eighty, took umbrage at this outrage. Skrewdriver were banned from playing their music and voicing their democratic rights to freedom of speech, yet these bands were actively encouraged to take to the stage and sing their lungs out at huge open air festivals and peddle their shitty opinions and vile political viewpoints. The Redskins were in the middle of Lean On Me, when a beer bottle was thrown at them, just missing Chris Dean. This acted as the signal, and our boys stormed the stage. To the sounds of Sieg Heil, breaking glass and feedback, The Redskins were soon beaten down, covered in blood and begging for mercy. Heads were cracked and bones broken, the bass guitar even ended up going through the drums. Despite the massively overwhelming odds the Skinheads and Nationalists reigned triumphant. Running battles followed in the streets around Jubilee Gardens along Waterloo Station and it even kicked off in St. Thomas' Hospital where the injured commies had been taken. The Redskins, their supporters and the rest of the race-mixing degenerates shit their pants. The casualty ward certainly lived up to its name that day! Following the phenomenal success of the White Power EP in Europe, a West German record label Rock-o-Rama began to take an interest in Skrewdriver.
Herbert Egoldt, Rock-o-Rama's chairman, realising the bands potential on the continent, contacted lan and offered him a contract to produce one LP and a single. A few months earlier Rock-o-Rama released Combat 84's album - Send In The Marines, which boosted sales of their recordings across Europe. 'I am not the type of person to creep and crawl to a bunch of weak-kneed, pacifist lefties and two-faced Zionists. One must be honest to people about one's beliefs and especially when the survival of our very race is a stake. I have no doubt that anyone who expounds patriotic beliefs has a little black mark put against his name, and by now I must have a massive black mark near my name.' IAN STUART DONALDSON lan accepted Herbert's deal and Rock-o-Rama was able to give Skrewdriver far more revelation and exposure than White Noise Records. The new look Skrewdriver recorded the Invasion/On Our Streets single and at the same time laid down 14 tracks for their second LP Hail The New Dawn. Hail The New Dawn, which was released in the Summer of 1984, contains some of lan's finest work including what has been termed as Skrewdriver's greatest song Free My Land.
Free My Land was lan's rendition to the six point master plan and Zionist dream of Eric Arthur Blair's (aka George Orwell) book Nineteen Eighty-Four which, published in 1949, told the story of Winston Smith and his rebellion against the ruling party, of his hatred of Big Brother, Doublethink, Newspeak and Thoughtcrime. 1984 is Blair's vision of a brutalised and manipulated humanity by a totalitarian state, which although over 50 years old is still gripping and supremely relevant today. Hail The New Dawn contains nearly all the songs Skrewdriver did live in the early eighties and registered how the band was moving away from it's humble Oi! beginnings and progressing into the earthy realms of rock. Mad Matty Morgan of Skrewdriver Security contributed to the album by writing track five - Race And Nation. Nicky Crane, also administers by not only doing the artwork for the cover design, but penning the lyrics to the song Justice, which tells the tale of Nick's own dished out British justice when he was sent down for four years for defending himself, along with a group of friends who happened to be British Movement members, against a bunch of rampaging Negroids who were attacking them.
Following the alliance with Rock-o-Rama Records, massive inroads into the booming German Skinhead scene were made and a far larger market for Skrewdriver's recordings was opened up, plus sales of the bands records, including repressed earlier singles were now thriving. On the 29th September 1984, the White Noise Club organised a Rock Against Communism open air festival on a private estate in Suffolk, which was in fact Nick Griffins' fathers farm. The amount of patriotic bands emerging from the shadows due to Skrewdriver's prosperity and lan's accomplishments at this time can only be described as amazing. Due to the success of RAC, groups of NF supporters were forming their own bands and the White resistance to the multiracial music industry swelled and developed. No longer did patriotic bands have to submit to communist intimidation or capitalist financial pressure and become Mammon's play thing. The formation of RAC signified that Nationalist bands could now stand on their own two feet and did not need to dance too the tune of the music press.
At the first RAC open air festival Skrewdriver supported by six bands, including Public Enemy, Indecent Exposure, Brutal Attack and the Die-Hards, played to nearly six hundred Nationalist Aryan youths with not a hint of trouble, unlike The Redskins event three months earlier. Just proud White folk raising their voices and their right arms in the glory of Nationalist rock. At the gig, Skrewdriver's line-up comprised of two Englishmen and two Australians but, in March 1985 the band brought in a second guitarist, adding even more of an international flavour to the group introducing an Italian into its ranks by the name of Steve Roda. The Skinhead from Bologna played his first Skrewdriver gig at a RAC concert in East Ham, London. Before long the new five-piece Skrewdriver was in the studio recording two tracks for the compilation LP No Surrender, a joint White Noise / Rock-o-Rama project involving eleven bands. With Steve now on second guitar, more scope was added to Skrewdriver's musical compositions, and a heavier sound was evolving. Skrewdriver contributed Don't Let Them Pull You Down and Tearing Down The Wall to the album. 'Tearing Down The Wall was about the Berlin wall which divided East and West Germany. It was built by the communists to stop people escaping from their "paradise", their "workers paradise"! That song was recorded for the album out of respect for our German comrades because we share their belief in a united Germany which can only help strengthen European ties.' IAN STUART DONALDSON Not long after the release of the No Surrender LP, Skrewdriver was dogged with yet more line up changes with Murray Holmes leaving the band. Lacking a bassist Steve filled in and Paul Swain joined the boys.
Swainy was the ex-axeman with the Oi! band the 4 Skins, and was no stranger to the Nationalist cause himself. The 4 Skins were involved in the race riot at the Hambrough Tavern, Southall in 1981. The band were doing a gig at the Hambrough Tavern, along with fellow Oi! boys The Last Resort and The Business. The 4 Skins were in the middle of belting out Chaos and the pub windows went through, bricks and bottles rained in and over two thousand of our Asian friends went on the rampage throwing petrol bombs about. Gary Hitchcock, the 4 Skins manager was also an ex-member of the British Movement. It is worth mentioning, even though Swainy used to play in an Oi! band and that Skrewdriver started life as a Punk group, Skrewdriver were now developing musically and evolving towards a sound more akin to Heavy Metal than Oi! music. In the 1950's the DJ Alan Freed coined the phrase Rock and Roll. In the 1980's lan Stuart pioneered the term White Rock. lan's musical roots lay buried within the semitones of The Who and the octaves of Lynyrd Skynyrd. Now, after nearly ten years of song writing lan's musical education was reaching maturity and this was beginning to bear fruit in Skrewdriver's work. This rings especially true of the band's third album Blood & Honour which marked a new beginning in the musical direction of Skrewdriver - it waved goodbye to their Oi! past and heralded the bands coming of age. "I like it (Blood & Honour). Personally, I think it's the best thing we've done. It's heavier and better produced than anything we've done before. The tunes on the album are more intricate, not so basic, though the music is still raw and powerful which is the way I like the band to be. There's more to the tunes, more to the lyrics and better musicianship." - Don.
Blood & Honour was recorded in the Autumn of 1985, along with two other tracks intended to be released on single. As well as showing the transition to more of a Rock sound, the album reflects lan's strong belief in National Socialism. Outstanding tracks on the album include Blood & Honour, The Way It's Got To Be, Prisoner Of Peace (to the memory of brave heroic Rudolf Hess, who on the 10th of May 1941 landed by parachute in Scotland seeking to end war between Britain and Germany and was imprisoned for forty six years to the everlasting shame of humanity), The Jewel In The Sea, and the anti-drugs anthem Needle Man. Needle man leads me nicely on to the album cover designed by Bugs Tattoo Parlour, which was then based on the Caledonian Road, North London, but has since moved. Many Skins visited the shop and had the Blood & Honour Viking etched into their flesh. I (Jäsä) got mine at the age of 17 in 1990.
The LP was released in December 1985, but eleven days into that month lan found himself, along with Des Clarke of Skrewdriver Security, in court and sentenced to a 12 month jail term. It would be six months before lan could hear the album again. "We were attacked by a mob of blacks after Searchlight (a left-wing magazine published by Jewish communist Gerry Gable) had been giving out leaflets with my face, my address, where I drink on them, we used to get trouble most weekends from gangs of blacks going past my house on the way home from college, and one particular night we got attacked by about eight or nine of them, we fought back, the police arrived and we got arrested. The blacks didn't even turn up at court for three days in a row and the police had to go out and bring them to the court." - Don. Here are some reports from various tabloids on what "allegedly" transpired: David Brown in the Sunday Observer: 'Led by lan Stuart who was jailed for 12 months in 1986 for a street attack on a Nigerian in the King's Cross area of London, Blood and Honour is planning to tour Holland, Belgium, France, Sweden and the United States later this year'. Garry Bushell in The Sun, 6 March 1986: Stewart, 28 - who changed his name from Donaldson - is serving 12 months in Wayland prison, Norfolk, for attacking a West Indian'. Chris Dignan in a local Derby newspaper, 1993: 'He was jailed for 12 months in 1986 for attacking a Nigerian woman on a London Street'.
lan spent the festive season of 1985 in Wormwood Scrubs working on the hot plate dishing up the porridge and in the new year got shipped out to Wayland prison. If the System thought incarcerating lan in their dungeons would weaken his resolve and make him submit they were deeply misguided. Although inspiration is arduous to come by in a smelly, deceased twelve by six cell, lan managed to write an article for National Front News, and pen the lyrics to many new songs. Whilst inside lan received more mail than the rest of his fellow inmates put together, and he would spend much of his time corresponding with comrades and supporters from around the globe. Apart from listening to the radio and writing, lan also read a lot; he found David living's books engrossing and helped to pass the time, but his favourite author was J.R.R. Tolkien and lan would study and pore over his magnum opus "The Lord of the Rings" for hours at a time. One of the main characters in "The Lord of the Rings" is an old wise wizard by the name of Gandalf the Grey. It is interesting to note that in book three, The Two Towers, Chapter V, Gandalf the Grey also becomes known as The White Rider, if this is just a facetious coincidence regarding the title of Skrewdriver's forth LP or no I can not be sure, but I do know lan read and reread "The Lord of the Rings" afresh over ten times! "I've no real regrets, I didn't like being in jail much. But that wouldn't stop me defending myself from a gang of blacks again if I had to." - Don.
The White Rider album was released in 1987, and included many of the songs lan wrote whilst in prison. Where Has Justice Gone and Behind The Bars was lan's venomous reply to the corrupt legal system. The LP was well produced, a mixture of gritty Rock anthems including lan's favourite Skrewdriver track I Can See The Fire, and the haunting ballad concerning the Waffen-SS and their endeavours on the eastern front - The Snow Fell. The cover design for the LP was drawn by a Skrewdriver supporter called Christian from Germany, which is an indication to the growing global influence the band was having on the World. In fact, on the back of the album cover, the band thanked people from America, Australia, Austria, Bavaria, Belgium, Denmark, England, Finland, France, Germany, Greece, Holland, Hungary, Italy, Poland, Rhodesia, Scotland, South Africa, Sweden, Switzerland, Ulster and Wales.
V. BREAK THE CHAINS
'Although it's a bit of a cliche, it is a way of life. I don't actually go around saying to myself - I'm a Skinhead. But I've been one since 1977, and before that I was one the first time around in 1971 when I was at school. I do believe in what the right-wing Skinheads have got to say, and on and off due to various reasons since 1977 I've been one. But that doesn't mean to say that everyone who comes to our gigs has to be one. We get a complete mixed audience.' IAN STUART DONALDSON Skinheads may have started off in the late 1960's, with bald Mods listening to Ska music, but by now the movement was a way of life for true, White people in its own right. The Skinhead movement had made it's irrevocable mark on Nationalist politics. To me Skinhead epitomises insurgence, militant White working-class rebellion; it makes the ruling powers in this country, and elsewhere in the world, petrified! Skinheads have their own way of life, and their own way of dealing with their enemies. They should not be condemned as nihilistic addle pates because they have short hair or by the way they dress. The Skinheads are an army, an army of patriotic self-respecting White people and like all armies they generate a harsh image to their adversaries and our enemies. Surely this is a good thing, isn't it? Read on...
After his release from prison, lan carried on his activities with the National Front, but it wasn't long before lan sensed something wasn't quite kosher and nurtured growing inner misgivings that not all the money raised via the White Noise Club was being circulated back into the movement. Simultaneously, the NF leadership, in an attempt to curry flavour and gain respectability with the British populace, tried to water down Skrewdriver's National Socialist image by censoring lan's lyrics and telling him what to sing about. The White Noise cadre (namely Patrick Harrington, Nick Griffin and Derek Holland) dictated that there was to be no Sieg Heil's and no derogatory references to blacks. To top it all, the National Front split again, and it gradually emerged that the White Noise Club had not been paying royalties due to the bands, had been ripping off supporters of the bands ordering records through their mail order service and that Rock-o-Rama in Germany was owed around £3000 for merchandise obtained via the WNC.
Rightly, Herbert, the chairman of Rock-o-Rama records, refused to release any new material by the WNC bands or supply any further records to the National Front until the debt was paid in full. Totally disgusted with the way Harrington, Griffin and Holland had gone about things with their gross dishonesty, lan handed in his letter of resignation to White Noise magazine and the National Front, with most of the other White rock bands following him. "It's us who do all the fighting in the streets. It's us who do the fighting, getting nicked. It's us who get harassed by the Old Bill all the time, not them cunts in suits. Fuck em all!"- Don.
As a direct result of the widely felt disappointment with the incompetent leaders of White Noise, lan launched a new independent organisation that would be run by the people that it would serve, on a street level basis. The organisation was given the appellation Blood & Honour, and within a year nearly all the Nationalist bands and their supporters in the country had joined the association, leaving Harrington and his cronies with only a handful of members and even a smaller amount of bands to cash in on. Nevertheless, the White Noise Club struggled on and started to pursue a strange path towards what they called National Revolution. Developments had been taking place within the NF for some time now with a few representatives looking to pre-Hitlerite national-revolutionary and Strasserite ideas as a way of taking the movement forward.
Michael Walker's magazine. Scorpion, provided a forum for these discussions. At the start of the 1980's, over in the USA, a group of our kinsmen had enough of talking and pussy-footing around and decided to take the war to ZOG. Robert Mathews banded together a group of fellow White men and went on a killing and robbing spree accumulating in dead bodies and a war chest of over 7 million "counterfeit" dollars repossessed from the Jewish banksters of America, of which only $500,000 was ever recovered! Meanwhile, in Europe a wave of extreme-right bombing took place. In Italy, the bombings, which took over 100 lives, were carried out by the Armed Revolutionary Nuclei (NAR), a cell structured organisation that advocated a style of fascist politics known as the Third Position. These terrorist activities proved inspirational to some quarters of the National Front. Italians wanted for questioning about a series of killings and bank robberies were provided with safe housing in Britain with the help of the League of St. George. Led by Roberto Fiore, the Italians made contact with Nick Griffin, Derek Holland and Joe Pearce. Fiore, Holland and others worked jointly on a magazine called Rising, which put across this new thinking, and Holland went on to produce a booklet, The Political Soldier, which became their guiding publication. "No longer will weaklings rule the White Man by lies and deceit but, the warrior will make his comeback and rule by honesty and love for his race." - Don.
The political soldier element of the NF made drastic changes to its policies, dropping public racism and replacing it with support for black nationalists such as Louis Farrakhan. Griffin and Holland even travelled to Libya, and this resulted in Colonel Gadaffi becoming an unlikely hero and the National Front News appearing with a black power fist on the cover with the words Fight Racism!! If you thought things couldn't get more confused and shemozzle'd accusations then started to abound that homosexuals and perverts had taken control of the NF. The Blood & Honour movement couldn't fathom or digest these prodigious turn of events, and ended up dubbing the Harrington, Holland and Griffin fragmented division of the National Front the uncourtly moniker - Nutty Fairy Party!
The Nutty Fairy's continued for a few more months, but it was only a matter of time before they died of death and went down the plug-hole. They only managed to stay afloat as long as they did, because the Geordie Odinist White rock band Skullhead refused to believe that it was a corrupt and dying organisation. Skullhead formed in 1984 and built up a strong following in the North. The bands' vocalist Kev Turner was in HMP Arlington at the time of the NF fallout, and on his release continued to remain loyal to the White Noise Club. In fact, much to the infuriation of the Consett MP at the time and the anti-fascist magazine, published by Jewish communist Gerry Gable, Searchlight, Kev even managed to gig with Skullhead whilst out on weekend leave! A TIME OF CHANGE Times are changing, everywhere, Our flags are raising, the time is near, Our lives are just a struggle, that we're fighting everyday, I know it can't be easy, It's a time of change, It's a time of change. Stood against us, are the scum, They are worried, because their time will come, One called himself a revolutionary, turned out to be a gay, Just a mummy's little rich boy, It's a time of change, It's a time of change. They call themselves political soldiers, But they have a massive yellow streak, A soldier has strength, But they are bent, limp wristed and weak, Pathetic little mummy's boys, there was nothing they wanted for, But come the day, when they have to pay, we'll see who they were working for. The other enemy, he held aloft a cross. And in his church that day, he prayed to be the boss. But all he wanted was money, And all he wanted was praise. Now he's gone, and the bands play on. It's a time of change, It's a time of change. In a bid to scotch rumours of corruption and allegations of foul play Pat Harrington took a trip to Bruhl, West Germany. There he visited Rock-o-Rama records and gave Herbert his long over due debt of £3000. Once the bill was paid Harrington then had the gall to ask if it was hunky-dory to take more records on credit. Predictably, he was told where to get off.
Harrington also asked for a letter from Herbert stating that he had paid the £3000 debt, so he could deny having ever ripped people off. He then had a little tantrum when he was informed that he could have this letter, but it would state the eleven-month delay in payment. In one last attempt to gain credibility, the White Noise Club dissolved and was replaced by a new alliance calling itself Counter Culture. Counter Culture was a medley of a whole sundry of musical tastes, which meant Skullhead and Cardiff's Violent Storm found themselves in a conglomeration with such unlikely companions as opera and classical music. To add insult to injury, the Nationalist bands were then told they needed to smarten up their image and assertively informed to hang up their 14 hole cherry reds and ditch the White Power T-shirts! This was all too much for Skullhead and the band quit the National Front / Counter Culture set up and formed their own association Unity Productions. Unity Productions, like Blood & Honour, operated independently and aligned itself to no specific political organisation, and it wasn't long before the two groups were co-operating together and holding joint Unity / Blood & Honour gigs. "Unity, when it first came out I wasn't so sure that it was a good thing because I thought that it might be distracting from Blood & Honour a little bit, but when it got of the ground, it was good. It worked alongside Blood & Honour. It's a good thing to have different organisations all working together, as long as there is no rivalry." - Don
The NF Flag group, which split from the Nutty Fairy Party at the very beginning, continued to be street active throughout all these developments. By January 1990, now led by lan Anderson, the Flag Group were able to claim the National Front throne as their own. By January 1990, the Flag Group were able to claim the National Front throne as their own. The whole White Noise debacle should and could have been dealt with more satisfactorily if the movement movers and shakers united in common bound and aired their grievances in a positive manner. Alas, this was not to be, and a quantity of mud, accusations and slanderous indictments were slung, not least by the zine editors of Welsh Leek and British Oi! adding fuel to the fire when there was no need, dividing the movement more and causing further ructions. 1987 saw the release of two Skrewdriver mini LP's: Voice Of Britain put out on White Power Records and Boots and Braces by Rock-o-Rama. The LP's were just a gathering of Skrewdriver's singles.
The band's singles had now become much sort after items and this was seen as a way of getting them out to the public. To commemorate the launch of the Blood & Honour movement and their magazine by the same name on the 5 September 1987 a gig was arranged in Morden, Surrey. Skrewdriver, Brutal Attack, Sudden Impact and scene newcomers No Remorse gave a bold account of themselves in front of a 500 strong crowd which included French, Italian and German supporters. Skrewdriver's line-up had undergone yet another overhaul, the band now consisted of: lan Stuart - vocals, Merv Shields - bass, Martin Cross - guitar, and John Burnley (brother of Paul Burnley from No Remorse) on drums. The B&H Founding Statement is reproduced below:
BLOOD & HONOUR IS:
An independent National Socialist movement supporting all active NS / Nationalist parties and groups in the White world. A magazine promoting NS ideals, NS music, be it rock. Oi!, metal, etc. A cog in a movement that has divisions in most countries. A no compromising stand against all we consider corrupt. OUR AIMS: To unite White youth. To promote White Power through positive ideals and a positive message. To create units in every city hi every town in every country. To promote our culture and our traditions. To help any worthy political organisation either financially or with manpower on the streets. To win our nations back, once and for all.
Blood & Honour was an immediate success and within the space of only a few months was a very stable organisation. Circulation of Blood & Honour magazine was massive and there was a huge increase in the number of gigs being organised. On a cold winter's night in 1987, South London, nearly 300 supporters turned up to watch two of Britain's premier Nationalist bands, No Remorse and Brutal Attack, belt out some White Power Skinhead Rock and Roll. At the same gig Skrewdriver decided to do a guest spot of five numbers and were filmed by Belgium Television. lan was intrigued by the growing interest from the European community and arrangements were soon under way for a Blood & Honour gig to be held in Scandinavia. There had been a spurt in Nationalist fervour in Sweden around the mid 1980's and a rise in popularity in the Skinhead scene and lan deliberated that it would be too good an opportunity to be missed and the perfect time to spread the credo of the Blood & Honour movement.
Skinheads first appeared in Stockholm, Sweden back in 1979. The first Skinheads used to meet in a rock club called the Underground, which was in the heart of the city. After that was closed down the Skins found a new venue near the subway station in Gamla Stan (Old town), the Shopter Plate. 'Most of Europe seems to be doing quite well as regards to anti-Marxist movements. The only two nations who are being left behind are the USA and Britain. The reason for this as far as I am concerned is the complete control of the media by the Zionists. Also the legal system of this country is also more or less completely run by Zionists. The control of the media is an extremely powerful means with which, a large percentage of the people are force-fed exactly what Zionists want to tell them.' IAN STUART DONALDSON On 29 November 1987, after a lot of messing around and hard work, Skrewdriver finally got to Stockholm. First the PA didn't turn up, then the original hall got cancelled. The police tried their best to give the organisers the run around, however against all this pressure an extremely small PA was acquired and the gig went ahead. As a direct result of the concert, Blood & Honour established new units in Stockholm and Gothenborg. Visiting supporters from Finland, Denmark and other countries from the Northwest European peninsular saw Blood & Honour bands Dirlewanger, Vit Aggression, Agent Bulldog and Skrewdriver sing their message of White Pride/White Unity.
Supporters snapped up copies of Blood & Honour Issue N° 2 and returned to their native shores with the doctrine of the Blood & Honour movement, the doctrine of hope. The seeds were being sown! "What we are fighting for is the survival of the White race and no vermin will ever sway us from our historic course. Long live White Pride, Long live Blood & Honour!" - Don. We now come to a stage in the proceedings not yet broached in this biography lan's love life. lan was a busy man, heavily involved in British Nationalism, touring around the country / Europe with Skrewdriver, writing for and replying to zines and recording albums. This is not to say lan had no time to fit in a girlfriend or three, on the contrary lan had his far share of female admirers, but as yet that special person had not entered his life and twanged on his heartstrings. Most people associate Paris as the city of romance, but to lan the love capital of the world was the Swedish port of Gothenburg. Gothenburg is where lan met a maiden by the name of Agnetta, and the two of them started a relationship. At first comrades thought lan and Agnetta's fling was just a bit of fun, but it quickly transpired things were getting serious and rumours started circulating that lan may stay on in Sweden after the gig to be with Agnetta.
As it goes lan returned to Blighty, and the brief, but passionate relationship came to an abrupt finale. "I love Sweden, the country is brilliant. Germany is Brilliant: If it ever came to the stage where I had to move out of England, I'd have to be a country where you wouldn't get so much hassle being a Nationalist, and I think at the moment Germany is far from that. I'd probably go somewhere like Antwerp in Belgium. It's a nice city, there is a hell of a lot of Vlaams Blok MPs in the Antwerp City itself. It's probably the most right-wing city in Europe at the moment." - Don.
Copies of Blood & Honour magazine were now coming out at regular three month intervals, and the size of the paper increased from eight to sixteen pages in the space of only a few issues. The magazine included regular features such as gig reports, band interviews, readers letters, RAC charts and a White Whispers column. In practically no time at all the subscription only magazine rocketed its circulation to 5,000. A mail order service was also soon to be found within its pages selling Nationalist albums. Flags, Loyalist tapes, T-shirts and Swastika pendants amongst other items. The name given to this distribution centre was Skrewdiver Services. The business of Nationalist merchandise sales was a fertile and fruitful profession and it wasn't long before money hungry businessmen saw that juicy profits could be accumulated. Stores in London's fashionable Carnaby Street began to stock neo-Nazi regalia, including Skrewdriver wares.
One such shop was Cutdown, owned by a business named Mr. Andrew St. John. Cutdown set up a mail order outlet, and found the Nationalist scene a rewarding and lucrative venture. The shop not only stocked patriotic produce, but also Ska, Mod and Oi! Merchandise. In a bid to cream more money from the Skinhead scene, Cutdown organised a Oi! concert at the Astoria Theatre titled The Main Event. The police allowed the gig to proceed at the Astoria only if tickets were sold by mail order, and limited to one per person per address. Booked to play were Section 5, Vicious Rumours, The Magnificent, Condemned 84, Judge Dread, The Business and the Angelic Upstarts. Back in the 1970's the Angelic Upstarts played numerous Rock Against Racism gigs, and now their lead singer Mensi was a violently outspoken red.
In June 1979, the Upstarts played a concert in Wolverhampton but present at the gig were 50 National Front members who thought Mensi and his merry band needed putting straight on a thing or two. Bottles and glasses rained in on the stage, the band shit their pants and their manager at the time Keith Bell took a pint pot around his napper and needed six stitches. Now nine years on Mensi and the boys were regularly playing Anti-Fascist Action gigs, attending commie activities and red functions. It seemed the band had not learnt their lesson and needed a refresher course. 1,500 people turned up to The Main Event paying £8.50 a ticket. Alex Hughes had finished singing one of his rude numbers, and the Upstarts came on. Blood & Honour activists in the crowd took umbrage at Mensi and his commie cohorts and started to liven things up.
As a result the management of the Astoria called the police, brought the gig to an abrupt halt and got 16 people arrested. "Blood & Honour has took off so well because of it's idea. There has been no other magazine that promotes the advancement of the White Race and that does not tie itself to any political party. Blood & Honour is not tied to any party, it is mainly run by the bands. The bands are popular so the magazine is popular. It's main achievement has been to get more people involved in the White cause and to push the music of the bands over to a lot more people than would be possible otherwise. At socials we invite people from the NF, the BNP, the Klan, the League of St. George and everybody socialises and gets on.' - Don.
Regardless, the White Power Rock and Roll bands rocked on, and the European Skinhead Army of Blood & Honour took a tour of duty in France. In May, No Remorse went over to Brest. Paul and the boys were suppose to be topping the bill at a five-band concert which included Legion 88, Skin Korps, Brutal Combat and Bunker 84. However, Inspector Clouseau and the French police in their wisdom decided to cancel the gig an hour before the doors were due to be open, leaving the 300 or so Skins who had journeyed from Italy, Germany and the UK aground. Violence soon erupted with teams of Blood & Honour supporters storming through the Britanny town stabbing, cutting and coshing any brown faces they saw.
A new compilation LP named Gods of War was released on White Power Records, the same label that did Voice of Britain. Gods of War is in much the same vein as the No Surrender LP's, 4 bands appeared on the album with Skrewdriver contributing three songs: Land on Fire, I'm a Free Man and lan's response to the NF episode The New Boss. Soon after Gods of War, Skrewdriver became a five piece band again, with Ross McGarry joining Crossy on guitar and in the autumn the lads were busy in the studio recording a new LP for Skrewdriver entitled After The Fire and at the same time did the hard-hitting single The Showdown. The Showdown, also known as Race War, was the last proper single by Skrewdriver, financed independently by lan and Cutdown, and put out on the new record label. White Pride.
The Yuletide of 1988 saw the release of Rock-o-Rama N° After The Fire. The 75, album could be compared to White Rider, but with more aggressive vocals. The songs that stand out are the excellent 46 Years, which, like Prisoner of Peace on the Blood & Honour LP, is about Hitler's deputy Rudolf Hess, Retaliate, Win or Die and Land of Ice, a song about our Nationalist comrades in Sweden. Also, on the LP are two cover versions, the ballad Green Fields of France by Bogle and some ole honk - Sweet Home Alabama from lan's favourite son's of the South Lynyrd Skynyrd. The cover artist for the album was again Skrewdriver Security man Nicky Crane. Also released in 1988, much to lan's indignation, was a live Skrewdriver bootleg album called We've got the Power. The LP is of very poor quality, and was put out on the Viking Records label operating from a London box number. 'Fuck the Beastie Boys.' - Don.
The start of 1989 began with a bang for lan. Blood & Honour organised a private function in Swiss Cottage, North London. Before the gig, lan and Brutal Attack vocalist Ken Mclellan were having a quiet drink in a local pub, when a group of around twelve reds burst through the doors and attacked the two with CS gas, knives and bottles. Despite being injured lan and Ken valiantly fought back and the commie cowards were sent scuttling down the road, several sporting bloody faces, lan had been stabbed in the face and badly gashed by a bottle, but rather than go to the hospital and let the crowd at the gig down, he went straight ahead and did the concert. The commies, albeit unwittingly, were driving lan on.
Just like when the Don was at school and playing football, once he knew he could meet and match the challenge, he would turn his attentions to different concerns. But, this was lan Stuart Donaldson, he would not back down. No Surrender! lan had to push on, onward to victory, meet the challenge and break it. If you tried to stop him he'd just push that much harder! THE MEAN STREETS It's not easy outside, looking in, Never being part of things, they say that we have sinned, We stand alone, those precious few, they knew that we won't hide, We're surrounded by red mobs, and the police who take their side. Chorus: We're on the mean streets, out in the city, We're on the mean streets, everywhere, We're on the mean streets, out in the city. We're on the mean streets, the fighting is there, What's that smell? What's this hell? It's democracy, Who owns the press, we can guess, the ones with the money. One man, one vote, but they still gloat, the media has control. Three party state, decides our fate, the TV owns our souls. Chorus We're attacked behind our backs, we're doing all we can, If the knife should take our life, at least we never ran, We know the reds are in the beds, with the police tucked by their sides, The real scum are the ones who run, and once we believed their lies. lan's answer to the reds was to organise the 1989 Break The Chains tour.
In April 1989, Skrewdriver were to play in Eskistuna in Sweden. A week before the gig Gerry Gable, the Jewish communist with a criminal past, and one of his goons from Searchlight, Graham Atkinson, travelled to Sweden and gave a press conference. Gable apparently told the newspapers that he was a journalist and said that Skrewdriver were not going to do a gig. He told the listening reporters that lan Stuart was going to speak at a political meeting and the gig was just a cover. By his outright lies and blatant fabrications Gable managed to get the hall in Eskilstuna closed by the police who were worried at Gable's threats of violence in the streets. The police brought in an extra 120 officers to Eskilstuna from Stockholm to meet two dozen anti-fascists led by weirdo Gerry and his funny little friend Atkinson. Meanwhile, realising that Gable, Atkinson and others of their ilk were against the freedom of choice of Swedish people to watch bands that they chose to watch, Blood & Honour organisers had booked a standby hall. Gable and company had wasted thousands of Swedish taxpayers money for the extra police, and Skrewdriver were holding an extremely successful concert (not a meeting) in Stockholm. Over 300 supporters from Sweden, Finland and Germany enjoyed a great musical evening with no trouble and no arrests.
April also saw the release of The Showdown single released by lan and Cutdown. By now lan was a bit of a cult figure in the Carnaby Street area with the stores attracting large numbers of disaffected White youths acquiring Skrewdriver merchandise. Numerous Jews tried to get the Cutdown shop shut down including the head of Westminster Council, Lady Porter, Councillor Paul Dwimoldenberg, Gerry Gable (Searchlies) and Liz Kafete of Anti-Fascist Action. Plus, on the back of all this the British Board of Jewish Deputies declared lan to be the worst anti-semite in Britain. Due to this sudden surge in popularity Mr. Andrew St. John and two other businessmen operating under the name of The British Performance Company asked Skrewdriver and other Blood & Honour bands if they would be interested in doing the 1989 Main Event concert. From the off, lan had concerns over the security arrangements. The gig was not a Blood & Honour event and the promoters were in charge of all the logistics. However, it was agreed to do the gig, not least because of the publicity that could be generated towards the Blood & Honour movement, and the promoters assured B&H staff that there would be no complications and everything would run like clockwork.
The gig was billed The Main Event - Chapter Two, and the bands lined up to play were Skrewdriver, Brutal Attack, Sudden Impact, No Remorse, Squadron, Vengeance and Bunker 84. The concert like the Oi! one a year previously was an all ticket affair, and they were selling for £7.50 a go, and could only be obtained via The British Performance Company. Over 1200 tickets were sold giving Mr. St. John and his friends a reasonable return on their investment. The promoters in a bid to ensure the concert went ahead booked three venues for the night, all under different names, and told people before buying tickets that the crowd at the gig would be video recorded and that all trouble makers would be identified and reported to the authorities. Plus, as an added security bonus the concert goers were told to rendezvous at Speakers Corner in Hyde Park were they would be told the concert venue and directions how to get there, lan still had concerns regarding the security arrangements and told the organisers to send leaflets to ticket buyers to transfer the redirection point to Euston Station, so as to avoid trouble with reds who were meeting at Hyde Park, and stop Blood & Honour supporters getting provoked into giving the commies a good hiding.
All the security assurances from Mr. St. John that the gig would run like clockwork were correct, if you purchased your timepiece from Poppadum Street flea market that is. As it turned out lan's concerns were just, and despite all the promises from the organisers the Reds and their allies discovered the locations of all the concert halls and through Zionist pressure got the proprietors to cancel their obligations. Blood & Honour staff found out about the cancellations on Saturday 27 May, the day of the gig, and undeterred through hard work and a bit of luck, managed to find a small venue in Kent. If things were not strained enough, if then transpired that Mr. St. John never sent out the new rendezvous leaflets as promised. Luckily, most people heard by word of mouth to meet at Euston, but unfortunately a few people in one's and two's went to Hyde Park. At odds of a hundred to one the brave Reds attacked a few people, which included the beating up of a fifteen year old girl. Against all the odds the gig when ahead, but lessons were learnt never to work with outsiders again. In the aftermath of The Main Event - Chapter Two, it emerged the owner of Cutdown, Mr Andrew St John was really Mr Andrew Benjamin, a shady Jewish businessman who ran the shop just to make money. Obviously Ian and Skrewdriver cut all connections with Benjamin and his business immediately.
VI. NAPALM IN THE MORNING
In Pulaski, Tennessee, on a cold December evening in 1865, six young Confederate veterans whiled away the evening. One of them hit upon the idea of founding a social club to relieve the drabness and misery of postwar existence. The club was to be purely for amusement, drawing on college fraternities and secret societies for it's rituals and by-laws. As the night wore on and the embers in the fireplace died down, the six outbid each other in enthusiasm for the projected society. It's members would be initiated with weird rites and each of the men assumed a grandiloquent title for office. The founders devised a grotesque costume, consisting of flowing robes, a peaked hat and an eerie mask. One member proposed the name Kuklux, inspired by kyklos, the greek word for circle, and another completed it with the alliterative Klan, doubtless called to mind by the founding members' Scottish ancestry. The first six Klansmen, McCord, Lester, Kennedy, Crowe, Jones and Reed, began the circumspect recruitment of friends for the embryonic fraternal group. Soon the Kuklux Klan was large enough to stage a bizarre procession through the streets of Pulaski.
The Klansmen mounted on horses, wrapped in sheets decorated with mysterious emblems, greatly heartened their fellow Whites by their zany skylarking and evident good humour. But, the Klansmen observed a curious reaction among one segment of Pulaski's residents. The town's Negroid population, frightened by the masked apparitions, fled to their homes in terror. The fledgling club's members were not long in taking to heart the lesson of this incident, and they quickly recognised the Kuklux Klan's potential for restoring order among the disobedient blacks in the area. By April 1867 the Ku Klux Klan as it was then known blossomed with dens throughout central and western Tennessee. The membership continued to grow rapidly during the late 1860's with General Nathan Bedford Forrest, one of the leading tacticians of the Civil War, accepting the leadership of the movement and taking the fanciful title of Grand Wizard. George Gordon drafted a constitution known as the Prescript which laid down the Klan's purpose and procedures and at one time the Ku Klux Klan had a strength of over 4 million activists.
Adolf Hitler once said "Somewhere in a faraway place, a Nazi band is playing Dixie and Suwanne River, the blood will run in the streets of America and Great Britain, then my spirit will rise from the grave and the world will know that I was right." lan must have read this quote and took it to heart! lan wanted to reach out to other youth cults and to expand and promulgate the message of Blood & Honour the way Skrewdriver had with the Skinheads. Taking inspiration from the Ku Klux Klan he started to work on a project that would involve the Rock-a-Billy scene - lan teamed up with the leading Psychobilly group Demented Are Go and together they formed the studio band The Klansmen. The Klansmen were Jeb Stuart, Bones, Jed Clampett and J.B. Forrest. They mainly did songs about the US Civil War, Vietnam and the Klan. It was pure Rock and Roll Nationalism with a deep south flavour for those with quiffs and confederate flags. In early 1989 The Klansmen released their first album Fetch The Rope on Rocko-Rama and soon Psychobilly clubs and Rock and Roll discos about Albion were Reich and Rolling. "Tonight we are armpit deep in broken glass, solidifying sweat and braindead soulless psychobillies with tattoos on their foreheads and bloodlust in their eyes all hunting for live brains to nourish their rotting flesh as every horror in London assembles.
Things quickly get out of hand as huge evil mutant flat top monsters take over the dance floor to wrench and claw at each other in the tenffyingly violent ritual of rockabilly dancing. I try fighting my way down the front but I'm beaten back by a hideously malevolent deathwalker messily devouring a weaker victim." 'Back, you evil spawn of hell,' I scream. You are blocking my view of the lead guitarist' I clutch my crucifix but against these creatures it is of little use. A few, the dim light of pronto-intelligence shining feebly in their eyes, battle with equally foul bouncers and intestines fly in the ensuing carnage as more zombies pile on top, naked flesh gleaming with raw blood and splattered human remains. I am backed into a comer and resolve to sell my life dearly. Four of the creatures start eating my girlfriend. 'Don't kill her,' I protest. She is paying my bus fare home.' Mercifully the gig ends and the walking dead shuffle off, shoulders hunched, flesh dribbling from mouths. I find I am limping. One of my feet has been bitten off. Never mind, it's a small price to pay.
The Guana Batz were fab." Review of Psychobilly gig at the London Clarendon Klubfoot by Martin Millar in the MME. Soon after the release of Fetch The Rope, The Klansmen brought out the 12" maxi single Johnny Joined The Klan, which was a take off from Chuck Berry's Johnny B. Goode. And on the B-side Tomorrow Belongs To Me was revamped and done deep South style. 'We have had several requests from Germany for the Klansmen to play live over there. We normally do a couple of Klansmen songs at most Skrewdriver gigs anyway. The Klansmen haven't actually been a steady line up anyway, we tend to use musicians from other bands. It's good for them, as they get to record which a lot of bands don't manage to do, and it also gets more people involved in our cause.' IAN STUART DONALDSON The Klansmen took off really well, and many people thought the diversion into the Rock-a-billy scene could have been a colossal success, if only Rock-o-Rama had put enough backing and investment into the venture. By the Spring of 1989 The Klansmen project was in full swing. The Break The Chains tour had just been accomplished and in May lan decided to venture out alone to release a solo effort No Turning Back. lan was writing so much material doing a solo album seemed the obvious way to get his songs out to the fans. No Turning Back is in much the same vain as previous Skrewdriver albums with songs like Triumph Of The Will, Red Flags Are Burning and Firepower, but it was also a slightly more personal album (I feel) with lan trying to convey how difficult it is to continue playing in a White Rock and Roll band and putting up with all the pressures of Zionist intimidation everyday by including No Turning Back and the cover versions It's A Hard Road and the Who's Behind Blue Eyes to the LP.
1989 was an incredibly busy time for lan. It must have seemed he was forever on the road touring, writing new songs or in the studio laying down tracks. White Power Records released their seventh accomplishment Gods Of War -Volume 2, with seven bands doing twelve songs. Skrewdriver's contribution to the album were the tracks Rising and We Can't Be Beaten. Plus, the mysterious hooded figures The Klansmen added their versions of White Power and Tomorrow Belongs To Me to the collection.
Skrewdriver were now back to being a four-piece outfit, with Martin Cross going over to Paul Burnley's cluster and aiding the No Remorse spin off band Public Enemy (not to be confused with the earlier Nationalist band who brought out the England's Glory LP), as well as teaming up with the Mitcham crew and playing bass with Brutal Attack on a habitual basis. As the year rolled by, so did the Blood & Honour movement and the printing presses at Gables fables factory. The British / American Oi! Compilation No Surrender - Volume 3 hit the streets, and so did copies of Searchlight magazine filled with lies and libellous accusations. "Searchlight is now going so over the top that it's become more like a work of fantasy rather than a political journal. As an example, a recent Searchlight accused me of being an arms dealer, a drug peddler, an acid house party organiser, a child pomographer, plus, conspiring to murder Patrick Harrington. That was all in one issue as well. It is funny though, how Jewish people such as Gerry Gable are allowed to publish all these figments of their tormented imaginations, without fear of prosecution from the press control people. On the other hand when you discover the people who run the press and if control boards it's not so funny after all." - Don.
Continuing the prosperity of Fetch The Rope in August, lan met up with the Rocko-Billy band the Krewmen and recorded the second Klansmen album for Rock-o-Rama Records, titled Rebel With a Cause. It was on this album that lan paid tribute to Bob Matthews, the Order he led and the valiant sacrifices he made. Robert Jay Mathews was born on the 16th of January 1953, 29 years later we would tell an audience in a stirring speech at a National Alliance convention: "Ten hearts, one beat! One hundred hearts, one beat! Ten thousand hearts, one beat! We are bom to fight and to die and to continue the flow, the flow of our people. Onward we will go, onward to the stars, high above the mud, the mud of yellow, black and brown! Kinsmen, duty calls! The future is now! So stand up like men, and drive the enemy into the sea! Stand up like men, and swear a sacred oath upon the green graves of our sires that you will reclaim what our forefathers discovered, explored, conquered, settled, built and died for! Stand up like men and reclaim our soil! Kinsmen, arise! Look towards the stars and proclaim our destiny!"
On December 8, 1984 an assault team of nearly 100 US Marshalls, FBI, Secret Service and treasury agents bombarded a small house on Whidbey Island, near Seattle in which The Silent Brotherhood militia movement leader Robert Jay Matthews was making his last stand. A ruthless barrage of gunfire from handguns, rifles, and automatic weapons went on for two minutes, killing Matthews. Then the Zionist Occupation Government agents fired incendiary missiles into the house and burned it to the ground, thereby cremating the Aryan hero. Ten members of the Bruder Schweigen went to prison with sentences ranging from 40 - 252 years! "Against all the odds, danger's path you trod. You knew it could only end in tragedy - in tragedy. Chorus All end in devastation, for a man who loved his nation. Another warrior they took away, yeah they took him away. But in our hearts he did not die, Forever more his flag we'll fly. One day the land will stand in his memory, Robert Matthews" - Gone With A Breeze.
In the summer of 1989 the people at PO Box 189 were busy putting together Gods of War - Volume 3. The LP includes two songs by The Klansmen - What Happened and The Men Who Fly The Flag. Skrewdriver also appears on the album by contributing the crowd pleaser The Showdown, plus the flip side to the single Deep Inside. "The thing is that I write so much material that it is a way of getting songs on to vinyl rather than just forgetting about them. At present I have nearly completed the material for the next Skrewdriver LP which should be out by summer." - Don.
On November 9, 1923 Adolf Hitler launched what was to become known as the Beer Hall Putsch, 65 years later - to the day - the Berlin Wall was torn down. Since 1945 the Soviet Union had kept military forces in the countries of eastern Europe. Those countries had been cut off from the West by the Iron Curtain that Stalin had built in 1945-46. The most famous example of the Iron Curtain was the Berlin Wall, which had been built on Khrushchev's orders in 1961. These actions proved to be very expensive, and in 1989 Mikhail Gorbachev began to withdraw forces from the eastern bloc in an effort to save money. The West German government paid the expenses of the forces, which left East Germany. As Soviet troops withdrew, country after country left the Warsaw Pact and threw off Communism. Finally, in November 1989, crowds in Berlin began to dismantle the Wall, and by the end of the year pieces were being sold as souvenirs. "'The most memorable events of 1989 for me has to be the coming down of the Berlin Wall and the inevitable reunification of the German people. I have many good comrades and friends in Germany and I am happy for them in their hour of victory Also the crumbling of Marxism in Eastern Europe has been great to watch as Karl Marx's perverted doctrines have been toppled by national pride." - Don.
Slay The Beast followed No Turning Back as lan's second solo concern. His hatred for the Berlin Wall and all it stood for was shown several years ago in Tearing Down The Wall, now it was portrayed beautifully in Wall Of Tears. The Compact Disc was launched in 1983, and six years later Rock-o-Rama invested in their production. Included in this first batch of CD's was Skrewdriver's sixth musical offering Warlord. The musical relish of Warlord is very much in the cut of Heavy Rock and this is reflected in lan's translations of AC/DC's anthem Back In Black and Guns N' Roses One in a Million. The works of John Ronald Reuel Tolkien were not the sole writings lan gained pleasure from, he also enjoyed T. H. White's "The Once and Future King" concerning Camelot and the legends of King Arthur and the Knights of the Round Table. Indication of this is apparent on the tenth track of the Warlord album with the song Excalibur, a sword said to have mystical powers. Arthur who was born in Tintagel, Cornwall, in the 6th century, found the sword Excalibur whilst riding beside a lake with Merlin and suddenly Arthur saw rising from the water an arm clothed in white silk, grasping a sword, and a maiden coming over the water toward him. She offered to give him the sword, but made Arthur promise that on his death Excalibur should be returned. Arthur promised gladly, for even from far off he could see the sword was fine. He and Merlin rowed to the sword, and as Arthur took hold of it, the arm that had grasped it sank below the water and disappeared into the depths. The following psalm on the album The Warriors Song also registered lan's cherish of the finer things in life such as sinking an ice cold stein or dozen of the amber beverage.
Redbeard, Boss and Melvis the Pelvis assisted on the recording by way of backing vocals and their strains can heard on track 9 - Glory, giving thanks to German Blood & Honour stewards Thorstens Schedes and Krekeler. Stockholm activist Hasse is also shown appreciation for his sleeve design. "Searchlight even accused me of printing Swedish Nationalist magazines. God knows where I keep this printing press, under my bed probably! I can't even understand one word of Swedish! I must be a busy man!' - Don.
With lan voicing his concern for a White resurgence and our slumbering kinsmen on hearing his distressing calls becoming transient, the enemies of Aryan freedom decreed to step up their offensive in an attempt to halt the progress lan was forging. Gable continued his libellous assaults in Searchlies, but more alarming was the police harassment campaign lan had to undergo.'Don't start a Nationalist band unless your willing to accept a hell of a lot of harassment and a lot of hard work to get anywhere. You've got to be very dedicated to do it. If you want to make money just forget it, sing like Englebert Humperdink and get interviewed by Terry Wogan.'
VII. WHAT PRICE FREEDOM?
1989 was a very successful twelve months for the Blood & Honour movement with regards the amount of gigs, record releases and sales of LP's surpassing previous years. To grant lan more of an opportunity to effectively dedicate his time to pursuing Blood & Honour objectives, the decision was made to pass the editorial of Blood & Honour magazine on to new hands. A Skrewdriver Security personnel representative going by the pseudonym of Cat was made responsible for the publishing of Blood & Honour magazine. Issue N° 10 of the sixteen page, 50 pence paper saw the light of day in the fledgling months of 1990, the monograph included a Blood & Honour gig report from Germany, an account of No Remorse playing in Italy, an interview with Division S of Sweden, a Blood & Honour fact file on New Jersey band Doc Marten, Dirlewanger and the White Pride group Celtic Dawn from Eire. As well as the regular RAC charts, special notices, advertisements and White Whispers column. 'It seems that being Proud to be British is a crime.' To say lan had a turbulent time living in London would be a feeble understatement. It got to the stage where lan couldn't even go for a quiet jar in his local pub or eat his breakfast in peace at a cafe without pinko students and Red rabble following him around like lost puppies in an attempt to get him banned from various premises.
"I used to go into a pub and I'd only be drinking there for about a week and then the reds would start to hassle the landlord and then picket the pub, so obviously I got banned. All this was happening, and also the fact that there was literally nowhere we could meet and have a drink. Also everytime there was a left wing march in London, they used to visit my house, plus I was getting demonstrations outside my house every three to four weeks. The police always informed me that if I came out of my house while they were there I would be nicked for inciting them to cause violence!" - Don. If the commies were not enough to contend with, the police then had to get involved and stick their oar in. One night a queer got stabbed in the Kings Cross area, lan was in the vicinity, which was very probable seeing as he lived in the district. The police in their wisdom decided to drag lan in, even though they knew he had nothing to do with the incident, and charge him with a Section 18.
As a result lan got slammed in The Scrubs for two and a half months until The Crown Prosecution Service decided they hadn't got any evidence. In one sense it can be said that by imprisoning lan his enemies did him a favour by providing him with some peace and quiet, a luxury which his duties as director of Britain's premier National Socialist band and figurehead of the Blood & Honour organisation seldom, if ever, permitted. Similar to Adolf Hitler's incarceration in Landsberg Castle in December 1924, where the Fuhrer compiled the anthology Mein Kampf, lan's enforced leisure afforded him the opportunity to write a fantasy book called "The New Dawn", much in the spirit of his favourite author Tolkien. "It was basically a fantasy story about a land that was being invaded, all the tribes fought against each other, but in the end they all united to fight the invaders." - Don.
lan hoped to publish the book one day, and maybe even do a concept LP to go with it. Unfortunately, being the trusting soul that he was, lan lent the manuscript to a member of the Skrewdriver Security team named Del O'Connor, and the book was never returned. 'Whatever the vermin does, we'll be there with a pint and a stiff right arm!' IAN STUART DONALDSON Following his release from Wormwood Scrubs, the commies continued their picketing campaigns, and the police pursued their harassment offensive. In the end lan decided that it would be best all round if he upped sticks and moved away. 'One day, a load of British Nationalist Party supporters were attacked by IRA supporters. The police arrived on the scene and took all the BNP supporters names and numbers, they went around to their houses later on and asked them if they would testify in court and get their attackers charged.
"The only problem was that the police had made a mistake and thought that they were the IRA supporters. I was tipped off by these BNP people that the police officer in charge had actually said to them (still thinking that they were IRA) that they should say that they saw me (lan Stuart} causing all of the trouble. Basically, if they hadn't got the IRA and the BNP muddled up they might have got away with the frame-up. So I thought if thats what's going to happen every time anything happens in London and I'm going to get stitched up for things, I mean, it was time to go. I wasn't too bothered about the commies because they were arseholes, it's when the police started to stitch me up. There's not a great deal that you can do." - Don.
Cat had friends and family in and around Derbyshire, with his parents owning a public house in the district and lan travelled up to the Midlands and found himself a residence in the pastoral hamlet of Heanor. lan relished his new found freedom away from the stresses, stains and smog of the metropolis. It wasn't long before lan established himself in the area, and he imminently found a loyal company of friends who he could enjoy a beer and a laugh with, including a girlfriend. Meanwhile, Merv Shields abandoned the good ship Skrewdriver, and was substituted for Jon "Icky" Hickson of Rochdale band Lionheart celebrity prestige. Skrewdriver's guitarist Ross McGarry also left the band for pastures new, and lan was busy looking for a replacement. As it happened, lan's girlfriend Diane Calladine had a brother named Steve, also known by the handle Stigger, who played guitar and had previously gigged with local rock bands, lan gave him a go, and despite his long hair and rumours of vague nepotism he passed the audition and was signed up as the neoteric Skrewdriver axeman.
Stigger played his first Blood & Honour gig with Skrewdriver in the fledgling months of 1990 at a venue called Chimmlys in Warsaw, and was supported by Skullhead. Away from London lan was able to focus on his objectives anew, and Skrewdriver were soon gigging on a regular basis. The band picked up a large local following, and Cat's parents even benefited from the Blood & Honour concerts with the rendezvous point chosen for the gigs often being their boozer The Red Lion. For a time it looked like the police were going to leave lan alone to get on with playing music, but you know the old proverb about counting chickens, and soon the boys in blue were back up to their old jests. 'We were doing regular gigs around here, getting increasing audiences, getting a lot of locals interested, so the police firstly tried to stop the gigs, which they managed up to a certain extent by threatening the governors of the pubs with their licences.
Then we were rehearsing at a pub at dinner times, and people used to come in on their dinner breaks to watch, so the police spoke to the governor of the pub and said that they (Skrewdriver) are allowed to rehearse but they must shut the doors because no-one is allowed to listen to them. Then after a while of rehearsing behind closed doors they decided that we couldn't do it anymore, and then more recently they have tried to stop me and a friend from even drinking in the pubs, but they didn't really get away with that, and due to the governors sticking up for us the police have let that one drop for the moment, so we are not barred from drinking anywhere yet.' IAN STUART DONALDSON In 1964, White-despising Nelson Rolihlahla Mandela, a leader in the Marxist African National Congress, was arrested and given a life sentence on charges of sabotage and conspiring to overthrow the government.
In February 1990, the Jewish puppet government of South Africa sold out the White people of that country and released the communist terrorist. By April 1994, the votes were in and Mr Mandela, he who refused to renounce violence and his belief in armed struggle to execute power, was now in power as the new State President. R.I.P. the old South Africa, and welcome to hell. As well as being the world's murder capital. South Africa is also the world's HIV and rape capital
. The early 1990's saw a resurgence in Nationalist bands with the likes of Grade One, Blackout, Hobnail and the fine Razors Edge from Brum reinforcing the Aryan backlash. Frequent RAC functions were also being arranged with two or three concerts taking place a month. April 21, 1990, saw Blood & Honour and Unity Productions stage a gig in Newcastle. Over 400 followers were in attendance at the concert to behold familiar RAC favourites Skrewdriver, Skullhead and Brutal Attack, but also mixed in with these Nationalist die-hards were the new melodious talents of English Rose and Chelmford's Battle Zone to pump fresh blood into the scene. Ushering this White rising the Blood & Honour movement spread its wings and took flight to the USA with No Remorse playing at the Oklahoma Aryan Fest in July. Internationally Blood & Honour was now bigger than ever, and the Rock Against Communism cause had certainly advanced a long way since it's architects The Dentists and Coventry's White Noise of 1977.
Skrewdriver were refused entry into the USA on several occasions, and never did get to play in Uncle Sam's backyard, but this didn't stop strong bonds being formed between our too nations. Links were forged with the White Aryan Resistance, led by Tom Metzger, the Minnesota dragon slayers Bound For Glory, Hammerskins Nation, KKK, RAHOWA! (the Church of the Creator band that went on to found Resistance Records), and No Remorse even formulated an American contact point in Dearborn, Ml. Now lan was living in Heanor he was able to travel to Blackpool on a more frequent basis and visit his friends and relatives.
His mother's health had gradually deteriorated over a time due to malignant cancer, and under elegiac tones Irene sadly passed away. lan attended the funeral at a peaceful cemetery not far from where he was raised. Irene's eldest son looked on in tristful spirit as his mothers ashes were scattered on the sea breeze in the rose garden. If things were bleak in lan's personal life, happenings elsewhere did not improve matters as the police, acting on orders given by Alan Greene, the Director of Public Prosecutions, carried out a raid on the premises of Neil Parrish, the Skrewdriver Services co-ordinator. The outcome was to seize and confiscate masses of material housed there and arrest (and eventually imprison) two representatives of Blood & Honour. Alan Greene later had to resign from his post after being spotted canoodling with ladies of the night.
'Well, it's just unbelievable, being put away just for selling records. As far as I'm concerned and as far as anybody I knows concerned there has never been anything to say that you can't sell records, whatever they were. I mean, there's bands going around singing songs about killing God and loads of these anti-religion groups, they've all got a bit of stick, but there has never actually been any court cases trying to stop them selling records. Take American rapper Ice T, some stores said that they wouldn't stock it, but most stores do still stock it It was all a publicity stunt and has sold more records because of it He's never been charged. Obviously there is nothing wrong in singing about killing white people and police.
No-one was ever done by the law for selling Ice T records, and no one has ever been arrested either. Our records do not incite violence at all, our lyrics are basically about being proud of our white race. If it's illegal to be proud of your race, why isn't it illegal to be proud to be black, Asian, etc.?' Below is an example of the type of lyrics that if sung by a White band would be instantly outlawed, but because they are sung by the negroid Ice T you can purchase the recording at virtually any musical outlet: STRAIGHT UP NIGGA - DAMN RIGHT I'M A NIGGA, AND I DON'T CARE WHAT YOU ARE, CAUSE I'M A CAPITAL N-l DOUBLE G-E-R, BLACK PEOPLE GET MAD, BECAUSE THEY DON'T SEE, THAT THEY'RE LOOKED UPON, AS A NIGGA JUST LIKE ME, I'M A NIGGA, NOT A COLOURED MAN, OR A BLACK, OR A NEGRO, OR AN AFRO AMERICAN, I'M ALL THAT, YES I WAS BORN IN AMERICA TRUE, DOES SOUTH CENTRAL, LOOK LIKE AMERICA TO YOU? I 'M A NIGGA, A STRAIGHT UP NIGGA, FROM A HARD SCHOOL, WHAT EVER YOU ARE, I DON'T CARE, THAT IS YOU FOOL, I 'M LOUD AND PROUD, WELL ENDOWED WITH THE BIG BEEF, OUT ON THE CORNER, I HANG OUT LIKE A HOUSE THIEF, SO YOU CAN CALL ME DUMB OR CRAZY, IGNORANT, STUPID, INFERIOR LAZY, SILLY OR FOOLISH, BUT I'M BADDER AND BIGGER, AND MOST OF ALL, I'M A STRAIGHT UP NIGGA.
"We can't really win either way. Axl Rose from Guns and Roses can get away with saying that naughty N word, because he's a druggie and has got a black in the band, but I can't risk saying that N word, unless of course I smoke a joint at gigs and get a rasta bass player, then it's okay. That's how fucked up and hypocritical every thing is." - Don.
Whilst our armed forces were occupying their time fighting for Jewish masters in the Middle East in the name of International Capitalism, Skrewdriver were busy working on their latest musical sacrifice. Things were going well, the lads began to play regularly and build up a large groundswell of local support, the added agency of Stigger on guitar shining through. The boys journeyed to the Fatherland and played a gig in Stuttgart with local band Noie Werte. The powers that be tried their hand to halt the gig, but were thoroughly unsuccessful. Skrewdriver finished laying down the tracks for their seventh album, and left Meadow Farm Recording Studio with a dirty grin on their faces, this was Skrewdriver back at their very best - a howling Gibson guitar, thunderous drums, a right-hook of a bass line, lyric's like semtex and detonation box vocals, a mix of haunting ballads and vehement rock. The Strong Survive LP had it all.
Stuart Field engineered on the recording and must have twiddled all the right buttons. In Voice of Evil lan expressed his loathing for red teachers poisoning our children's minds with White self-hate. In Track 8, Backstabber, lan tells us to be awake to the menace of renegades in our midst and in Mist on the Downs, lan voices his love for our green and pleasant land. The Strong Survive, was an apt title for the bands latest release, having survived commie antagonism at gigs, the police censure to concerts and all the media slander.
Two months after the release of The Strong Survive, and after 15 years of being on the road Skrewdriver brought out a double LP Live and Kicking, recorded in Staffordshire. This was an official live Blood & Honour recording capturing the energy and raw electric atmosphere of the Skrewdriver gig. On the back of the Warlord LP Skrewdriver gave special thanks to amongst others The Cans Bikers, The Honkers, Black Hogs and Easy riders, plus the Flemish Motorcycle Clubs, lan met up with the Bikers Against Communism back in Belgium, 1988. A spin-off band for bikers was an idea he had on the back burner for awhile, now he though the time was right and White Diamond was composed. White Diamond and The Reaper LP they brought out was lan diversifying again, this time into Heavy Metal. Stigger even has a bash at singing Wishing Well, the number originally done by Free. "With the Klansmen it has brought in a lot of Rockabillies into the Blood and Honour movement, which is a good thing. Hopefully the White Diamond will do the same thing with a few bikers. Basically we are just spreading our wings and trying to appeal to everybody, not just Skinheads. People that I have spoken to about it (The Reaper) seem to like it, As far as I'm concerned the guitar could have been a little bit louder and the vocals a little quieter. The original mix of it the guitar was too loud and you couldn't hear the vocals, so we took it back to be re-mixed and it went the other way around." - Don.
Stigger brought another added dimension to the band, not only could he bang out rock riffs and power cords with the best of 'em, but he could also arpeggio, hammer-on and pick slide harmonics in the classical style. Again, lan was thinking ahead and increasing his ever expanding curriculum vitae, this time he came up with the notion of Patriotic Ballads. Patriotic Ballads was originally put out on tape, mixed and engineered by Mark Lilley at Meadow Farm Recording Studio, but was later released on compact disc by Rock-o-Rama. The foreword on the tape inlay card reads: "Everyday in the media we are bombarded with stories of injustice against minorities. What we never hear about are the many cases of oppression and discrimination by the state against us, the white majority, lan Stuart and Stigger of SKREWDRIVER have therefore put together some acoustic ballads to highlight this injustice, and to offer some hope to a much maligned people. Listen and learn."
Now that the Blood & Honour magazine had been passed on to other hands, lan was becoming dismayed at the way some of the movement was being ran. lan spoke with Chris Hitchin the editor of British Oi!, who was now also living in the East Midlands area, and the two of them discussed plans which included ceasing publication of British Oi! and relaunch the old NF journal New Dawn. Luckily, lan changed his mind, but he did however start contributing towards British Oi! by way of writing Skrewdriver News articles for each issue. This must have rattled some people into action, because the Autumn of 1991 saw issue N° of the 11 Blood & Honour magazine (complete with new editor) back on the streets after a break of nearly two years!
By the end of the 1980's the British National Party (BNP) had begun to emerge as the main British Nationalist association. In June 1989 the BNP held a Rights for Whites rally in Dewsbury, resulting in 82 commies and their great unwashed cronies being arrested. The BNP grew on the back of increased street activity and confrontation. The bringing of its Rights for Whites campaign to London in 1990 signalled a massive concentration of BNP activity in Tower Hamlets, East London. Every Sunday over a 100 BNP supporters would gather in Brick Lane to sell papers and leaflet.
In the Autumn of 1991, they expanded their campaign to Bermondsey and over 1,000 people took to the streets to smash a Black Power march. Meanwhile, as our adversaries tended to their wounds after the Battle of Bermondsey, Skrewdriver were busy waking up Europe over in Vicenza, headlining a four day Italian festival for the V.F.S. The Rittorno A Camelot festival was a huge success with contacts being made with Basse Autonoma, Movimento Politico, Avanguardia and Blood & Honour representatives Peggior Amico. Skrewdriver played a set of old and new songs including Red flags are Burning, Stand Proud, Back with a Bang, Street Fight, plus Suddenly and The Snow Fell were performed acoustically by lan and Stigger. Three weeks later lan and the boys were packing their bags again, this time on their travels to Cottbus in Germany. On 2 October 1990, the reunification of Germany took place, now a year on Skrewdriver were in the Fatherland to celebrate the anniversary of this much desired coming together. Fifteen British Blood & Honour supporters went on tour with Skrewdriver to watch the band headline the White Power concert in Werben, near the Polish border. Two days before the gig a mixed group of British and German comrades were relaxing, enjoying the mild evening air having a quite drink in a few of the local bars and Inns of old Cottbus town, when, suddenly, the German police appeared on the scene and started handcuffing our people and throwing them into waiting vans. Five of the British contingent were arrested and charged with grievous bodily harm, including three members of Skrewdriver. lan wasn't with the lads at the time of the incident, and the first he knew of the occurrence was when he was awoken in the early hours by the German police with a gun to his head. It transpired that a 20-year-old youth in the area had been stabbed several times in the back. The lads had nothing to do with the incident, but what can you do?
"The way that I see it is that Skrewdriver are being made scapegoats for the fact that the German government have brought too many immigrants into the country. So if we had anything to do with waking German feeling up, all the better for it Although I do not think It has got anything to do with us. It's just the German people rising against the influx of immigrants and I wish that the British people would do the same." - Don.
lan was later released, but the authorities refused to grant bail to the other Blood & Honour people - Jon Richard Bellany, Steven Calladine, Jonathan Hickson, Richard Brierley, Kevin Noon and a German comrade by the name of Bo. Come the night of the gig lan took to the stage and told the assembled audience about the previous night's events. Filled with anger and fuelled by lan's stirring words, plus the moral sense of injustice of it all, 300 enraged Skinheads marched on Cottbus police station and demanded the release of their kinsmen. When the authorities refused, our brothers attacked the jail and at one stage it seemed that they were about to be successful in their bid to free the captive Nationalists. "I think that it may have been aggravated a little bit by the fact that the police kept them all in prison, obviously I was still out which was a bad mistake on the police's side, cos I was able to go to the gig and tell everybody what had happened, and after the gig obviously there was some trouble with the police." - Don.
Shortly after the siege the 6 prisoners were transferred to the top security gaol of Moat Prison in Berlin. On his return home lan immediately set about organising a campaign to free his comrades which included the release of a six track mini LP recorded with Rough Justice entitled 'Justice For The Cottbus Six'. Two months after being arrested and left to rot in a German prison the 'Cottbus Six' were released on bail and the charges quashed after an agonising two years of intermittent trials. On a brighter note, Neil Parrish the Skrewdriver Services director, and his long time girlfriend Debbie got wed on Christmas Eve. Not to be outdone lan and Diane did the honourable thing and got engaged.
VII. EARLY WARNING SIGN
'Why are our government telling the South African government that they have to talk with Nelson Mandela, a dirty old fucking terrorist who blows White people up?' IAN STUART DONALDSON There are many who say the AWB "did nothing" to try and physically prevent the takeover of South Africa by the ANC - as had long been Terre'Blanche's war cry at AWB rallies. This criticism is based on ignorance of the facts, the truth is that out of all of the numerous right-wing organisations which threatened violence and uprising should the ANC take over, the only organised active physical resistance came from the AWB, and this was acknowledged in a strange way by the government of the time with the calling out of a state of emergency in the Western Transvaal in April 1994. After a series of diminutive bomb blasts in Western Transvaal towns such as Bloemhof and Sannieshof, the first indication of real trouble came with the destruction of the SABC broadcast tower serving the Western Transvaal during the week running up to the April elections.
On Friday night, 22 April 1994, a bomb destroyed the Department of Home Affairs offices in Potgietersrus in the Northern Transvaal, and an important petrol pipeline running from the Sasol complex in the northern Orange Free State was severely damaged, causing a spectacular fire, by a bomb the same night. It was however, a bombing campaign which occurred in the days immediately leading up to the election which caused international headlines, and for a while did cause many observers to seriously question whether the elections would go ahead or not. During this bombing campaign, the largest bombs ever to be detonated in South Africa's history were to go off, bombs four times as big as the biggest bomb that the ANC had ever been able to detonate during its 29 year long guerrilla campaign. The origins of the AWB lie deep in the psyche of extreme Afrikaner Nationalism, which dates back to the independent Boer Republics of the late 1800's.
After their defeat at the hands of the British Empire during the second Anglo Boer War of 1899 - 1902, Afrikaner Nationalism reorganised itself into formal political groupings, most notably the National Party, founded in 1912 by a Boer War General, JBM Hertzog. This was the National Party which (after a number of splits which resulted in its name being changed to the Herstigte National Party HNP - the reunited National Party) won the 1948 general election and formally introduced the Apartheid era in South Africa.
The HNP which won the 1948 election was however, by no means a single united party and consisted of a formal alliance with another party (the Afrikaner Party) and an informal alliance with several smaller Afrikaner National forces which dated from the Second World War. Amongst these forces were the remnants of the militant Nationalist Ossewabrandwag, (Ox Wagon Sentinel) which had actively opposed South Africa's involvement in the Second World War, and had tried to physically sabotage the war effort with a campaign of urban terrorism and violence; and the Greyshirts, an openly Nazi organisation whose emblem was an orange, white and blue swastika.
Very early in the new year of 1992, when most of us were still recovering from our Hogmanay hangovers and hoovering-up the pine needles, Skrewdriver were busy releasing the 12 track Freedom What Freedom LP. The album was due to be brought out at the end of February and called Back To Basics, but due to the Cottbus Six oppression in the Fatherland, lan gave the LP a title change and Rock-o-Rama pulled out all the stops and brought the release date forward. 'Right, fuck the Old Bill - Jewish tools. The fucking silly little boys in blue. Are we the Jewish puppets or are we fucking not!' IAN STUART DONALDSON lan certainly pulled no punches in this musical gift attacking in true rebellious form the police and the commie scum, furthermore he celebrated Skrewdriver's recent triumph in Italy at the Vicenza gig with Return To Camelot and Germany's reunification with the anthem One Land. "Dieses Album ist dem Deutschen Voike zum ersten Jahre-stag der Wiedervereinigung gewidmet." - Don. The LP also contains a splattering of Odinist matter reflected in God Of Thunder, When The North Wind Blows and the classic ballad The Road To Valhalla. To add a continental flavour to this truly European record, one of the songs Stolz is sung in German. "We sell more records in Germany than anywhere else. As the Germans support us and give us so much support, I thought that it was about time that we done something in German for them. I wrote the song in English, I got a German lad to translate it, put it on tape for me so I could here the accents and pronunciations and done it from that. Also Germany has probably got the biggest growing Skinhead scene in Europe, and German people have stood by the band almost as long as the English have. We've been on a German record label since 1982. It's a lot easier for the Germans to obtain our records in Germany too, a lot of normal record shops stock them, and even if they don't people can order them through the record shops. There not banned over there, as a matter of fact they are not actually banned over here either, the newspapers say that they are, so all the shops won't stock them." - Don
The Battle of Bermondsey emboldened the BNP leadership to a more confrontation approach, but if the BNP aspired a more offensive mode with the Reds they needed to be equally sure of their own defences. The spring of 1992 saw the formation of a new stewarding group that would provide this desired added security and defence. This stewarding group soon established itself as a street-fighting force in its own right. Soon the people involved within the task started to organise themselves into an ordered method of troops and began to produce a periodical targeting our foes entitled Red Watch. For years Searchlight printed the names and addresses of our people unavenged, with the arrival of Red Watch the boot was on the other foot and now it would be the commies who would experience intimidation and exposure. "Right, I'll like to dedicate this next number to a new group that's sprung up on our streets, I think the Reds have just found out about them. I've known a lot of them for a long time and their very good blokes and I would like to dedicate this number to a new group called Redwatch and especially to a little bloke called Charlie, looks like a schoolboy, but I've never known anyone fucking less like a school boy. And this is for Redwatch their doing a fucking good job and this is a number called When The Boat Comes In Nigger, Nigger.' - Don.
Back on the Blood & Honour battlefield lan had been in the studio again, this time working on his third solo activity the Patriot LP, and with The Klansmen laying down the tracks for the Rock N Roll Patriots CD, both recordings saw the light of day around February time. Patriot way outshone lan's two previous solo efforts, and should have really been released as a Skrewdriver LP. lan included a commendable cover version by his favourite band The Rolling Stones with Paint It Black, but the meritorious ballads of Ship Of Destiny and Down In The City alone turn the eleven tracks and twelve inch's of black vinyl into pure lan Stuart hallmarked gold. Rock N Roll Patriots was technology catching up with the Rock Against Communism ensemble with the recording only being released on CD. Added to this enhanced sound quality was a report which was meatier than the other Klans-men delights. Outstanding tracks include Route 66, Coming Up To Midnight, Get It Right and Freedom, What Freedom?
Following Skrewdriver's dramatic episode in Deutschland, Accion Radical, the National Socialist assemblage in Spain, threw caution to the wind and booked local Valencian band Division 250, No Remorse, Battle Zone and Violent Storm to play a gig for them on Saturday 14th of March 1992. The Cardiff based White Power band Violent Storm formed in 1986. Back then, bricklayer Billy was the vocalist and Casey played bass, their guitarist was Dennis and the drummer a Skinhead called Clarkey, but after about a year of getting nowhere due to lack of money for equipment and an absence of places to rehearse, Dennis quit the group and joined the Army and Clarkey moved to Stoke-on-Trent with his fiance. Soon after Brian took over on guitar and his brother Darren picked up the sticks. Now six years later, the band had a recording contract and had just completed putting the finishing spit and polish to their debut LP Celtic Warriors.
All the band were in high spirits due to their recent accomplishment in the studio and at the anticipation of playing at the first international RAC gig ever held in Spain. On the morning of Friday the 13th, as the lads made their way to the airport along the M4 near Bristol, the car they were travelling in suddenly went out of control and slid into a ditch. It resulted in the deaths of Casey, Darren, Brian and their friend Jason Oakes. Billy who was driving was the only survivor, dazed and covered in blood he clambered from the wreck and wandered down the motorway aimlessly until a truck driver found him in a state of shock on the hard shoulder. Surmising that Violent Storm would get the following plane to Valencia after failing to meet up at the airport Battle Zone and No Remorse flew in to Spain, only to discover the full extent of the incident. After much consideration it was decided that the gig would go ahead and it deemed fit to dedicate the concert to Violent Storm. A three minute silence was observed and Blood & Honour supporters gathered at the gig from France, Italy, Spain, Portugal, Austria, Germany, Britain and Belgium raised their right arms and paid homage to our fallen brothers.
The majority of the national newspapers carried the story, and only nine days after the incident the Wales on Sunday ran a report revealing the "real truth" about the "racist roots" of Violent Storm. It came as no surprise to see the name Searchlight mentioned in the article as the source for their information. Whilst family and friends mourned the passing of four young lives, the brave Reds under the cover of darkness daubed Violent Storm's local pub with the words "FOUR DOWN ONE TO GO". All this happened before Paul Casey had even been laid to rest. In April a benefit concert was organised in Leicestershire. Skullhead, Squadron and Skrewdriver played. A collection was made and well over a £1000 was sent to the families of the fallen. Pillu soon recovered from his injury's and hastily set about forming a new band. The new band was named Celtic Warrior, after the Violent Storm LP. Celtic warrior in a bid to keep the memories of Violent Storm alive continue to play their venerable songs in their set. I think it would have been what the lads would have wanted.
Just as the White Power music scene was struggling to recover from the Violent Storm tragedy, further pain beset the movement with news of the murder of Blood & Honour supporter Paul Carter. On the Easter Bank holiday weekend, Paul was attacked by a gang of Asians and knifed to death. His only crime was to be White. One member of the vile mob attempted to escape the law by fleeing to Pakistan, but fortunately he was apprehended by the police. "They keep sending us these fucking Niggers, they keep sending us these Paki's, they keep sending us these dirty Jewish fuckers to take over our fucking country, and it's about time the people in this country started putting their own fucking people first." - Don.
These were certainly dark times for the Blood & Honour movement, but further storms brewed on the horizon. Stigger abruptly quit Skrewdriver and lan was forced to abandon playing in Britain for a time and journey to Germany and use Storkraft as his backing band. Whilst there he played to over 1000 supporters in Cottbus. Hundreds of Reds turned up in an attempt to stop the gig but were unceremoniously booted back from whence they came. Then, just as you thought it was safe to go back into the water, a turd floated to the surface in the guise of Nicky Crane. In wasn't unusual for Channel 4 to air programmes attacking the National Socialist cause with the likes of "The Oprah Winfrey Show" and "Reportage", and even screen shows documenting queers.
"Out" was a series of one hour programmes about gays and dikes. Through the weeks it featured shirt lifters in cowboy suits, freaks dressed up in women's clothes and even had sickening scenes of mentally disabled men kissing and undressing each other. Skinheads was one of the subjects covered on the show, and who would appear on TV former Skrewdriver Security chief Nicky Crane. "!I feel more betrayed by him than probably anybody else, because he was the head of our security. I actually used to stick up for him when people used to say that he was queer, because he convinced me that he wasn't. I always used to ask him why he worked at these gay dubs, telling him that he'd get a bad name. He used to say that it was the security firm that he used to work with, that they used to give him the job there. I accepted him at face value, as he was a Nationalist. I was footed the same as everybody else. Perhaps more than everybody else. I felt I was betrayed by him and I want nothing to do with him whatsoever. He's dug his own grave as far as I'm concerned." - Don.
Nicky Crane died of Aids a year later. Following lan's recent visits to the Fatherland the multiracial backlash was near to boiling point. Hundreds of National Socialists and Blood & Honour followers sick and tired of Romanian gypsies and other non-Whites immigrants pouring into their nation demanding to be fed, clothed, given money and housed hit back by petrol bombing the refugee hotels and hostels. The youth of Germany yelled enough! The Rostock night sky lit up like the dawn of a new day and an aroma of smoky bacon crisps wafted in the breeze.
IX. HAIL AND THUNDER
As the flames of the multiracial nightmare roared into the Rostock sky, the winds of miscegenation, turmoil and violence approached the troubled shores of the USA and this time racial tension snapped on the streets of Los Angeles. The race riot ensued in reply to the acquittal of four White policemen charged with beating Rodney King, a black motorist who was deranged on mind bending drugs. Los Angeles exploded into racial violence. The LA race riot was the largest and most dangerous since the turn of the century, more than 60 people were killed and 2,383 injured by the time local and federal law enforcement personnel were able to restore order.
The race riot cost the city over $800 million in damages, but the greatest concern was the volatility of the black response, which included unprovoked attacks on White civilians and widespread looting and arson. "Many people feel that races and cultures don't mix. It might be touching nerve ends, but the truth is that blacks are taking our jobs and leaving the White man with unemployment. Then look at the Jews. Their staple diet is money and controlling everything that smacks of a pretty profit. Then you have the communists who want the nonsense of equality for all. Come on, where does the White man stand? He's at the end of the dole queue. He's on the wrong side of the larder cupboard. Look, governments come and go and still the country's sliding down the drain." - Don.
By September Stigger had rejoined Skrewdriver, and he and lan travelled to Germany to perform the Patriotic Ballads live. lan didn't know how the crowd would react to the slower numbers, but the gig went down very well and on their return to England the two entertained a Nationalist meeting in Mansfield with an assortment of jingoistic tunes including There Goes The Neighbourhood, The Devils Right Hand, The Snow Fell and The Green Fields of France.
Whilst the two troubadours lan and Stigger commuted to the Fatherland, Skrewdriver's bassist and drummer where also on their travels. Icky and Johnny B where standing in for No Remorse at the Aryan Fest 92, which was being held in a desert camp on the outskirts of Los Angeles. Again, links were assembled and fortified in the States with band members meeting the likes of CIS, Frontline and Aggravated Assault, plus a Blood & Honour USA was established in Garden Grove, California. The back page of Blood & Honour N° carried an advertisement stating 13 Skrewdriver plus support would be back gigging in London on Saturday 12th September.
A huge publicity offensive was arranged with posters and flyers being displayed on walls and buildings up and down the land informing people of the gig and the Waterloo Station redirection point. Obviously, the commies and the authorities were none to pleased with Skrewdriver planning to play in the Capital, plus with all the publicity Blood & Honour was generating, so our enemies constructed plans to stop the concert. Every Liberal do-gooder, mulatto mud slinger and tin pot politician voiced their sinful concerns. Put in charge of safety, order and assurance for the gig was the British Movement Leader Guard. Following Mike McLaughlin's resignation and the organisation being unceremoniously tossed in the freezer, the British Movement Leader Guard came together in 1984 to salvage the association and restructure the BM. The gig caught the attention of the media with the majority of the tabloids running an article on Blood & Honour and lan even got invited on radio which concluded with the interviewer wishing him well.
Things were looking good and the publicity campaign seemed to be working, over two thousand people were expected to attend the gig with Blood & Honour supporters travelling from all over Europe. Then the night before the gig whilst lan was relishing a pint in a pub in Burton upon Trent he was attacked by a mob of Negroes. "A gang of Nigger's walked in, first one glassed me straight in the fucking mouth. Three teeth less, a few stitches in the mouth and he said - Right, the gigs off tomorrow ya Nazi bastard." - Don.
For weeks before hand the commies had been handing out leaflets to every leftwing cluster, drugged-up anarchist and scruffy yahoo they could plum, vowing that they would stop the concert. Herald the Saturday, at seventeen hundred hours, a rabble of reds verging on 1,000 had mobilised and amassed at Waterloo. The police actually closed down Waterloo Station and the tube stopping a lot of people reaching the rendezvous point and hundreds more Blood & Honour supporters who had journeyed from abroad were turned back at ports in Folkestone and Dover. Most skins had heard by word of mouth that the actual venue was in Eltham, and made their way directly there, but a hundred or so Skinhead stragglers, mostly Europeans, massively outnumbered, clashed with the reds. Stuck on the embankment with only the Thames to cross our boys marched over the bridge with flags flying high and voices raised.
Missiles, bricks and champagne bottles taken from bins outside of South Bank restaurants rained in from all sides and for the next two hours running battles ensued. The red scum seemed quite willing to throw rocks and (when the champagne ran out) lucozade bottles on mass, but when it came down to one to one combat they just didn't want to know. Injuries on our side were slight considering the odds (one thousand versus one hundred), the morgues of London would have been doing a brisk trade if it was the other way around! Despite what the reds and their friends vowed, the gig went ahead and was a great success, the atmosphere in the venue was electric and all the bands played brilliantly. About 700 made it to the gig, and it is thought that police stopped another 800 - 1000 coming to the concert. "Do we want these sub-human black bastards in this country? Do we fuck! It's about time the lot of them were either gassed or fucking shipped out. Walk down the street in this country, what do you get? Some fucking big lipped, flat nosed black bastard walking along going 'rass man', fucking barging the Skinheads out of the way, he don't fucking do that if it was a fucking proper society. We'll have the black filth out one day, don't worry about it, and if we don't throw them out we'll fucking gas them." - Don.
lan dedicated Streetfight to those who had been at Waterloo, and at one point the police threatened to storm the venue. "Now we've got the fucking police outside telling us the gigs off, who's orders are them bastards taking? You know what I mean? We're British people and we're European people here to listen to a fucking concert, whilst them wankers outside telling us we can't have one. When down the road Public Enemy are playing going 'kill whitey', they're allowed to play! You've got the fucking Rouges down the other side of the road, singing bomb the British people up the IRA, their allowed to fucking play! So why the fucking pigs telling us we can't have a fucking gig in our own country? Fuck them!" - Don. lan played one of his best gigs since the 100 club days and some would say Skrewdriver's best live performance ever. The gig left the crowd riveted: There was no terrorism, no violence, no fighting or anything of the sort at the gig. People were there by their own choice, in this free country, to listen to the music,
talk with friends and enjoy the atmosphere. These are the common human values that the rabid protesters were trying to stop, the right for any man to do what he in his heart feels is right. This is what the reds are all about, robbing you of your freedom, robbing you of your choice. 'We, the Leader Guard of the British Movement send our congratulations to you, your fellow National Socialist Skinheads and other comrades that joined in the "Battle of Waterloo." Despite the best efforts of the Red scum that were well-armed, not searched by the Police and allowed to attack as a mob, the gig that they said would never happen went ahead and was a tremendous success.' The media termed the gig the "Battle of Waterloo", and it made international news, both in newspapers globally and on television worldwide. Thirty-six people got arrested, thirty-five of them reds, but it was the Blood & Honour movement that got the blame for all the trouble and held responsible for the violence. "The news coverage of this gig was both local and nationally put out on both TV and Radio, and on our TV screens we witnessed the scenes of police cowardice towards the reds, we will not forget! I expect the sort of coverage that we got. It's obvious that you're never going to get anything good said about you. It would have been nicer if a lot of the lads that came from abroad actually got to the gig. It made it a lot more awkward having so much publicity about it in advance. But in the end the gig went ahead, it was a good gig, everybody that made it their enjoyed it So basically it was a victory- But then again I did think that it was a bit of a shame that police acted illegally again by shutting down a main line train station, to try and stop people getting to the concert. They shouldn't have allowed a left-wing demonstration at the station on the day because it was pretty obvious that they were only there to cause trouble." - Don.
For a time the tabloid gutter press hounded Blood & Honour representatives, but slowly the aftershocks of the Battle of Waterloo palliated and the needle on the Richter Scale fell. If anything, all the agitation drove lan forward and stimulated him into resurrecting White Diamond. lan and the band, which now included a female drummer by the name of Zoe Briggs, recorded the album The Power and the Glory. Stigger sings two ballads on the recording: To Freedom we Ride, taken from the No Turning Back LP, and No Man's Land, which is in the same vein as The Snow Fell. lan also incorporated a couple of cover versions on to the album with the aide of the Rolling Stones number Jumping Jack Flash and The Only One obtained from Skrewdriver's first LP All Skrewed Up. lan also sings about corrupt politicians, senseless rap music and does a track called Refugee, a strong number about people who come into our countries and are given housing and jobs before our own needy folk. Following a lengthy delay the album was finally released by Glory Discs. The impact Patriotic Ballads had on the White World did not go unnoticed. The concept of the slower more thought provoking chorus gave birth to an abundance of our older, more mature following investing in Skinhead music and thus promoting and propagating the holy psalm of National Socialism and lan and Stigger were soon back in the studio laying down the tracks for the second instalment. The CD was entitled Our Time Will Come and the feel of the recording is much like the first Patriotic Ballads, but with a lot more to the music than the previous offering and with the added bonus of female accompaniment on vocals. Songs that come to the fore are: Another Pray For The Dying, Never Give In, Wasted Life and Our Time Will Come.
Again, like the first Patriotic Ballads, this is a peaceful, but powerful album likely to install pride in your heart and above all make you think. "We've got the guts to stand up and shout for what is rightly ours. We're not going to turn a blind eye on decent human beings being trampled on. Eventually there will be a race war and we have to be strong enough in numbers to win it I'll die to keep this country white and pure, and if it means bloodshed at the end of the day, then let it be." - Don.
Owing to the current publicity boost, and a rise in the lan Stuart offerings now being composed a Skrewdriver Services - Northern Division was opened. This coupled with the already well established Skrewdriver Services - London Division and a new Blood & Honour caucus operating in the East Midlands was testimony alone of the amplified evolution of the Rock Against Communism scene, but further to these commendable achievements the Blood & Honour magazine now accommodated within its pages a section dedicated to the ever expanding German contingent entitled Blut und Ehre. The traditional White Xmas gig was seen by many as the Blood & Honour gala party to round off the year. The newly formed Blood & Honour Midlands Division was put in charge of organising the 1992 Yuletide concert and all the booking and hiring procedures. They choose a working men's club in Mansfield to hold the festivities and on the 19th of December it wasn't just the turkeys that were feeling nervous as over 400 Blood & Honour supporters gathered at the venue to watch No Remorse, Razors Edge and of course Skrewdriver give it some White Power Rock and Roll.
Skrewdriver, as mentioned previously, were now back to their full line-up and had been gigging around the British Isles and elsewhere extensively. Through this continued touring they had administered their performance into a finely honed piece of craftsmanship and a sea of right arms filled the room as lan growled down the microphone to a backing chorus of 400 White youth hailing the new dawn. The Blood & Honour boys pulled a cracker and even when Paul Burnley failed to appear this didn't dampen the stirring atmosphere as a burly tattooed Cockney Skin named Jacko took to the stage and filled in on vocals for No Remorse.
As the New Year beckoned and Blood & Honour looked to the future, our cousins in the USA were delivered an uppercut in the form of murder. Erik Banks, a White Power Skinhead, who for a time sang with Bound for Glory, was shot dead in cold blood by reds on the 31st December. He left a wife and baby behind. The evolution of violence in the USA registers the marked difference between our two nations: in the UK a fight outside a boozer at kicking out time, or even a stabbing might be regarded as the general way of things, but a death in a street scuffle is still something that makes you sit up and take notice. However, over in the States, fists and blades are commonly substituted by firearms and munitions. Not so long ago a Skinhead in Sacramento tried to leave his gang and abandon the scene, as a punishment the fellow gang members nailed him to a piece of wood and crucified him. Plus, when a Skingirl from Chicago tried to do the same thing she was flogged and punched so efficiently in her own home that her blood was used to daub a swastika on the wall.
Back in Britain and one person who should have been flogged and crucified is Neil Parrish. Skrewdriver Services had for many years operated outside of the band without any problems. All of that came to an end due to one mans greed and betrayal! lan told us on The Strong Survive LP to be vigilant to backstabbers but little did we know that Parrish would be the one. He conned and ripped-off his fellow companions for thousands by pocketing their cash and not sending out ordered merchandise. Mick, Peter and others who helped out at the Skrewdriver Services - London Division hold no blame in the affair, it was Parrish who had his name on the bank books and he who gained at the expense of genuine Nationalists.
On 30 January 1993, the 21st anniversary of Bloody Sunday took place. About 1,500 pro-IRA supporters congregated on Hyde Park Corner to mark the occasion. Several hundred Nationalists and Blood & Honour supporters also flocked to central London to appose the parade. Police made 378 arrests, all the people detained were anti-IRA British Nationalists and Blood & Honour supporters. 'If the NF ever want to march, the police ban it straight away because of the trouble it would cause. It's the same with the recent Bloody Sunday IRA march, the IRA who kill British people were allowed to march while the police did all they could to stop the people against the march by arresting 378 people. It seems to be proud to be British is a crime.' IAN STUART DONALDSON By now the movement was getting used to the underhanded way the government, the authorities and their lackeys the police went about doing business. So maybe we shouldn't have been too surprised when the German government outlawed countless Nationalist musical benefactions in a vain endeavour to stem the tide of popularity that envelops the German RAC scene. German police raided the homes of 28 Blood & Honour bands and Rock-o-Rama Records was also raided. An estimated 30,000 CD's, tapes and records were seized. The band Radikahl even had a lyric sheet confiscated entitled A Nobel Prize For Adolf Hitler and just to put the cherry on top received a fine totalling more than £10,000. Indifferent to whatever our enemies could muster, Blood & Honour carried on, and by the summer Skrewdriver was ready to record a new LP. Johnny B how now been replaced on Drums by a fellow called Mushy, who used to play for the punk band Resistance 77. "We have reds and the police trying to find out were are gigs are so they can try and get them cancelled. It gets to be a pain sometimes and people have just dropped out over the years." - Don.
Skrewdriver entered the studio with "The Pint Pot Patriot Choir" and a cache of musical masterpieces. lan took stimulus for his lyrics from the recent Neil Parrish incident with the song Renegade, led the onslaught against unscrupulous MP's in the guise of House of Treason, as well as attacking Jan Ludvik Hoch alias Robert Maxwell the multi-million pound pension fund thief in the form of the biting track Vampire. The LP was called Hail Victory and from the opening notes of Diamonds in the Dust, through to the closing bars of Night Trains, Skrewdriver takes you on euphonious odyssey of dynamite rock and earth-shattering compositions and onward to spiritually and racially ennobling sonatas. From the emotional Old Albion, to the Angry Renegade this musical oeuvre is Skrewdriver personified, lan's magnum opus.
Despite his lengthy musical pursuit lan did not go in for the drugs and rock & roll lifestyle, he did not possess a luxury yacht moored in a Mediterranean quay or even a flame red Lamborghini, but he did have a semi-reliable automobile that just about managed to get him from A to B. "If I went to the press and told them that I've changed my ways I could be on Top of the Pops. I could make a hell of a lot of money that way. If I was only in it for the money I wouldn't be as dedicated as I am to the Nationalist cause. I would have sold out years ago." - Don.
lan relied upon his car to get him to his various functions and on more that one occasion he would awake to find the vehicle had been tampered with in some way. On top of this, during the past few months, mail and post he was expecting began not to arrive, his phone started to go on the blink and the answer machine would wipe messages. All very perplexing and lan mentioned his misgivings to a select few, but on the whole wanted to dismiss the individual events as bizarre coincidences not wanting to seem paranoid. Following the death of his mother lan tried to visit his ageing dad more frequently and would make the 120 mile drive to the Fylde coast at least every couple of months. Whilst in Blackpool lan would also try to meet up with some of his mates and have a night out. lan still enjoyed visiting his old haunts, going for a drink in the Poulton pubs and having a couple of pints in the Castle Gardens.
On one of these occasions following a knee's up at The Tash nightclub, lan stopped off at a chippy on Talbot Road and in the process bumped into a load of Queers leaving The Flying Handbag, a gay pub. Words were spoken and lan, having had a few glasses of lager, lost his temper. The police arrived and carted him off to Bonny Street Police Station, lan was given bail, but was due before the courts at a later date on a charge of GBH. 'Nationalism and homosexuality do not fit together, because Nationalism is a true cause and homosexuality is a perversion.' IAN STUART DONALDSON The Blood & Honour movement was always looking to the future, and in a bid to make the present triumphant they studied their past glories. The RAC gigs of the early 1980's were often reminisced upon and seen as the crusade’s heyday, through the Blood & Honour East Midlands Division plans were soon afoot to stage a huge open air festival and revive the summer soiree.
The gig was planned for 31st of July and booked to play was a conglomeration of Blood & Honour bands including a posse of our European brothers. On the day of the gig the sun would of shone, the beer would have flowed and a conductive and congenial time would have been had by all. A day to remember, but sadly it was not to be. The authorities were scared, they feared our growth and our message. lan was becoming to much of a threat, he was arrested and served with an injunction order not to play at the gig. The venue was totally sealed off by the police, they seized amplifiers and confiscated the sound equipment, helicopters buzzed overhead. It was the largest police operation in the area since the miner's strike of 1984. The authorities were beginning to panic, lan fought on. "Either put me in prison or kill me, there's no other way that I'm going to give up." - Don.
X. EPILOGUE - THE ROAD TO VALHALLA
During the early 1990's the Redwatch formation continued to grow, and began to develop an organisational identity of its own. Combat Group 18 was born. The group took their name from the first and eighth letter of the alphabet, AH - Adolf Hitler. C18 attacked our opponents on the streets and fire-bombed red bookshops. THE AIMS OF C18: 1) To ship all non-Whites back to Africa, Asia, Arabia alive or in body bags, the choice is theirs. 2) To smash the IRA and anyone else who kills British squaddies and civilians. There are NO legitimate targets. 3) To execute all queers. 4) To execute all White race mixers. 5) To weed out all jews in the government, the media, the arts, the professions. To execute all jews who have actively helped to damage the White race and to put into camps the rest until we find a final solution for the eternal jew. 6) To form a White Commonwealth containing Europe, America, Canada, South Africa, Australia, etc. 7) To build up our armed forces. 8) To stop killing White Babies before they are even born and return to traditional family values. 9) To make Britain as self-sufficient as possible by wresting back control of our national assets, and investing in British industry, banning foreign imports and only trading with like minded White countries. To go and plunder whatever raw materials we require from Africa, Asia, etc. 10) To hang all rapists and child molesters after chopping their bollocks off. 11) To re-educate and re-introduce decent White values and promote a healthy White community free from Jewish poison and phoney ideas of "freedom" and "democracy".
Ian agreed with the aims of C18 and maintained that the climate for electioneering had gone, and supported that a new approach needed to be implemented in these changing times. As the new millennium loomed ever closer C18 began to question traditional strategy and tactics. They studied guerrilla warfare, the art of terrorism, reflected upon the writings of Dr. William Pierce, especially The Turner Diaries, and reached the conclusion that leaderless resistance was the way forward. The concept of leaderless resistance was first proposed by Col. Ulius Louis Amoss, the founder of International Service of Information Incorporated, a tireless opponent of communism, and later enthused upon by Louis Beam, a former Klansman. Leaderless Resistance is a system of organisation that is based upon the cell network, but does not have any central control or direction.
Utilising the Leaderless Resistance hypothesis, all individuals and groups operate independently of each other, and never report to a central headquarters or single leader for direction or instruction, as would those who belong to a typical pyramid organisation. It becomes the responsibility of the individual to acquire the necessary skills and information as to what is to be done. Those idealists truly committed to the cause of freedom will act when they feel the time is ripe, or will take their cue from others who precede them. It goes almost without saying that Leaderless Resistance leads to very small or even one-man cells of sabotage. Those who join associations to play "let's pretend" or who are "groupies" will quickly be weeded out. The last thing the police and government snoops want, if they had any choice in the matter, is a thousand different small phantom cells opposing them.
It is easy to see why. Such a situation is an intelligence nightmare for a government intent upon knowing everything they possibly can about those who oppose them. "I would describe myself as a British National Socialist, not a German one, and so don't think I'm at odds with British patriots." - Don. By September, concerns regarding lan's outstanding court case were at the fore of everybody's mind as it seemed likely he would reap a custodial sentence. The Blood & Honour East Midlands Division organised a gig for the 25th and plans were in progress for Skrewdriver to play at the largest ever Nationalist festival in Europe.
Three days before the gig lan, Cat and a few friends travelled over to nearby Burton-upon-Trent in lan's car for a night out. Robert Sherlock was elected driver for the evening and put on the orange juice. Following an enjoyable evening and a few beers in the pub the quintuple journeyed home, lan sat in the front passenger seat laughing and joking with the lads about the BNP Millwall election victory, then on the A38 dual carriageway the steering wheel suddenly snapped from the driver's hands, lan grabbed the wheel, but the car span mercilessly out of control and ended up in a ditch. Rob received a broken arm. Cat suffered minor wounds and his brother severe neck trauma. Stephen Flint alias Boo a Skinhead from Nottingham was killed instantly, lan was cut from the wreckage and rushed to the local hospital with multiple injuries. He was later taken to The Queens Medical Centre in Nottingham and at 10.40am on the 24th of September 1993 lan was pronounced dead.
The following day one hundred Skrewdriver supporters travelled to the Blood & Honour social in the Midlands, not knowing anything about the tragedy. When Stigger informed the crowd of the news one Skinhead passed out and lay unconscious on the ground for over 5 minutes. 'The actual fans of the band have never let us down, and I don't think they ever will.' IAN STUART DONALDSON On the day of the funeral lan's father had to make the painful decision to cremate his son's remains so the reds couldn't dig up his body and desecrate the grave. lan's ashes were scattered where once his mother's were cast and in the sanctuary of the rose garden old band members, friends and associates mixed with new, and together they paid tribute to lan. Lemmy from Motorhead even sent flowers to the funeral. The pain, disbelief, anger and sorrow of grief hit everybody who had ever known lan and listened to the music of Skrewdriver. Comrades and supporters far and wide made the pilgrimage to lan's final resting place in the days and weeks proceeding the cremation and gave homage to their fallen hero. Many did not know the plot number in the crematorium and soon a mass of Celtic cross garlands, English roses and red, white and black wreaths engulfed the entrance of the graveyard.
An independent investigator was refused access to the car wreckage, but at the inquest Derby coroner Peter Ashworth concluded: 'We are still no nearer finding out what caused this tragic accident. All we can say is that because of the car's two defects the car became less easy to control. But there must have been some other factor which contributed to the crash, even if lan had not grabbed the wheel in a way many others in the same situation would have done.' The suggestion is that lan's car had been tampered with. Many people have their own views on conspiracy theories; some people believe fluoride is put in the water to soften our brains, others that the weather is controlled by the government, still others that we have all been hypnotised by the rapidly flashing light of the television.
It is my assumption that lan Stuart Donaldson was murdered. I believe he was murdered because: a) His car had previously been tampered with. b) His death was a carbon copy of Violent Storm. c) The threat he had become. d) The police and press cover up. e) He was about to play the biggest ever festival in Europe. f) The date of the "accident" coincided precisely to the 1939 Nazi law forbidding jews from owning a wireless and listening to music on the radio. Retorsion served ice cold by the Diaspora. g) lan informed C18 members that he believed he was about to be killed. He was right! The path we have chose to tread is beset with many perils: On either side of the trail runs the quagmire of prison and death. Hidden dangers lurk behind every corner and strangers we pass on our journey. Onwards we march. Sometimes we feel tried and want to rest, but we carry on. The trail is winding and long, but at the end awaits freedom and truth. A place rich in splendour, free from the race-mixing, drugs, crime, abortion, muggings, paedophiles, homosexuals, rape and hate. A place for White children to play and our people to live a happy and productive life. If our enemies even contemplated victory by murdering lan they were deeply misguided. lan is now a legend, a martyr, a hero, an idol and by killing him they have made him immortal. lan's deeds shall reverberate through time and his songs shall echo throughout eternity, lan Stuart Donaldson will never be forgotten, a true Aryan son. His fire still rages in our hearts. Through his music and his deeds he will remain a great inspiration to many people. We will continue his fight to win a brand new day!
DIAMOND IN THE DUST
Do you remember, the 24th of September? What happened on that cold autumn day? A man was slain, lan Stuart was his name, Zionist agents took his life away. Now the tears have dried, but the pain deep inside, It still lingers on, Gambled with Tumbling Dice, made the ultimate sacrifice, Against the house of treason. lan Stuart always in my heart, Just what did you do so wrong? Sang of love of your race, a green and pleasant place, Murdered just because of a song. You spoke the truth, to Aryan youth, That was your only crime, The pain I feel, it will never heal, No matter how much time. lan Stuart Donaldson, you will never be forgotten, Your name we will always cry, The lyrics that you penned, will live on until the end, Your memory will never die. We will carry on your fight, against the endless nights, Until all our peoples are free,
And on that fateful day, the bands will play, Hail Victory. So the battle rages on, for the sake of Old Albion, We will be the fools no more, We are awake from our sleep, no longer are we sheep., Can't you hear the lion roar? You made a stand, for your land, Sang with pride in every breath, Now you're gone, Big Brother still watches on, lan Stuart we'll avenge your death.
FOREVER IN OUR HEARTS!
We have reproduced this biography of Ian Stuart online so that this excellent publication can be read by the thousands of White comrades across this planet who remember Ian from the paper sales, leaflet drives, the fights with the reds, the marches, the fabulous gigs and the unforgettable evenings that we enjoyed in his company. It's also here for the many thousands more who never had the pleasure of meeting the great man in person or hearing his work life and have become followers of our Cause through the legacy he left us - his unique and beautiful music that will be an inspiration to many more Aryans in the years to come. Now, the author of this excellent publication is rotting in a British prison cell, gaoled merely for writing and distributing this book by the same scum who murdered Ian, the Zionist Occupational Government and their Shabaz Goy lackeys. Originally published in 2004, all known bulk copies of this document are now in the hands of the Thought Police and comrades have or are currently serving time for allegedly distributing it.