ItвЂ™s all in that fantastic knuckle-dusted rhythm, sparks flying as wildly and furiously as the sparks from a welderвЂ™s blow torch. Wilko doesnвЂ™t feel the need to break into flashy fretboard wankery. It cuts like a knife, cheese-grater thin, razor sharp and fat-free. WilkoвЂ™s simple choppy riff is centre-stage, a standard 3 chord progression employed before and since by all the greats. Reminiscent of those great Who and Kinks and Stones singles of the 60s that seemed to leap off the grooves one louder than everyone else, itвЂ™s straight out the traps and into your ears. Recorded (as is the whole of Down By The Jetty, its parent album) in pistol-packinвЂ™ mono, Roxette has a punchy, barely-contained self-restraint. Oh! To have seen this live in вЂ™75! Play it and play it again. The frantic part towards the end, when it goes double-time and the wailing harmonica clashes with the Animal-like drums and WilkoвЂ™s F-shaped riffing, is the sound of a Ford Cortina going from zero to 60 in 3 seconds flat, a screech of burning rubber and revving engine, tyre marks indelibly burned to the asphalt. When Wilko and his band Dr Feelgood crank into Roxette, itвЂ™s the sound of a car being hot-wired and stolen. His legs seem to work independently of the rest of him, juddering him this way then that, left and right, forward and backwards, a National Grid-powered, bowl-cut FrankensteinвЂ™s monster of six-string stupendousness. He wields that Tele like James Cagney with a Tommy Gun waist height, held to the side, pointing straight ahead, and he fires off lightning-fast bolts of ferocious punk blooze, his eyes as feral as Marty FeldmanвЂ™s without the squint, his gurning lips curled into a pout thatвЂ™s half way between rebellious Elvis and self-satisfied вЂњ I told you soвЂњ, his thousand yard stare focused somewhere off in the distance as he concentrates on fermenting his open-handed riffs. Plugged in, heвЂ™s the conduit for 2000 volts of white-hot electricity, half of it flowing from his guitar and out through his amp as freely as the tide in the Thames Estuary, the other half reserved for jolting the player, sparking wildly from fingers to fretboard and back again.

When pre-punk guitar hero and latter-day cancer survivor Wilko Johnson straps on that Telecaster, these words also apply to him. Words in the English language that borrow their root from ferox include fierce, ferocious, feral, ferment, fertile. Can be used to describe Wilko Johnson (b. Latin word: for strong, courageous, wild.Дў. Sex Pistols Number 1 (coregia/codirector John Tiberi, cm, doc., 1977), The Great RockвЂ™nвЂ™Roll Swindle (La grande truffa del rockвЂ™nвЂ™roll, 1980), Absolute Beginners (1986), Earth Girls Are Easy (Le ragazze della terra sono facili, 1988), Vigo (Vigo, passione per la vita, 1998), The Filth and the Fury (Sex Pistols - OscenitГ e furore, doc., 2000), Glastonbury (doc., 2006), Joe Strummer: The Future Is Unwritten (Il futuro non ГЁ scritto - Joe Strummer, doc., 2007), Oil City Confidential (doc., 2009), Requiem for Detroit? (doc., 2010), London - The Modern Babylon (doc., 2012), Rio 50 Degrees (doc., 2014), The Ecstasy of Wilko Johnson (doc., 2015), My Life Story (doc., 2017).1. In 2014 he received the Gran Premio Torino. He participated at the Torino Film Festival on multiple occasions, presenting the documentaries Joe Strummer: The Future Is Unwritten (2007), Oil City Confidential (2009), Requiem for Detroit? (2010), London - The Modern Babylon (2012), The Ecstasy of Wilko Johnson (2015). He directed several music videos, many feature films (including Absolute Beginners, 1986 and Earth Girls Are Easy, 1988), and music documentaries (such as The Filth and the Fury, 2000 and Glastonbury, 2006). He debuted with the short Sex Pistols Number 1 (1977), followed by the punk culture documentary The Great RockвЂ™nвЂ™Roll Swindle (1980). Julien Temple (London, UK, 1953) studied filmmaking at the National Film and Television School.

Fender wilko johnson