Monday, October 31, 2011

THE MOST FRIGHTENING THING....EVER!!!


But I'll come to that in a moment.  First up, some appropriately named tunes for today:-

mp3 : Lambchop - Scared Out Of My Shoe
mp3 : The Prodigy - Ghost Town
mp3 : New Order - Spooky

The most frightening thing ever?

Seeing a close friend dance to this and enjoying it..........




Eye-wateringly awful.

Sunday, October 30, 2011

THE STORY OF SARAH (Issue 16)




Tragedy queen... well, you set the scene'

Released in 1991, Sarah #45 - 'Torment to me' - was the second and final 7" single put out on the Sarah label by Leeds-based lazy pop-janglers Gentle Despite. 'Shadow of a girl' was also included on the compilation record 'Fountain Island' (#583). I've always thought this was just one of those B-sides that you kinda wish would go on forever and ever; I mean, it's over six minutes long as it is but it never feels long enough, somehow. You get to the end of the groove and you put it right back to where it all started. This is a perfect Sunday afternoon piece of vinyl, really - blissed out, serene and lovely (and there isn't an awful lot more to be said than that).

Gentle Despite - 'Shadow of a girl' (6.36)

Comrade Colin, Sunday 30 October 2011

Saturday, October 29, 2011

STILL VERY BUSY RIGHT NOW....


................far too busy to compose a post for Part 4 of the new Saturday series which this week was due to feature Alan Rankine.  It will appear next week.  Honest it will.

In the meantime, here's another repeat posting this time from 8th December 2008.  The words are still very apt almost three years on:-

ECONOMISTS......NO BETTER THAN ASTROLOGISTS

Much of the world is in the midst of a financial meltdown, despite the fact we seemingly have more people involved in economic forecasting than ever before.

Did no one see this coming??

I read something the other day that said:-

"astrology has repeatedly failed to demonstrate its effectiveness in numerous controlled studies. Effect size studies in astrology conclude that the mean accuracy of astrological predictions is no greater than what is expected by chance, and astrology's perceived performance has disappeared on critical inspection."

Substitute the word 'economics' for astrology and 'economical' for astrological and I think we have an equally accurate analysis.

mp3 : Teenage Fanclub - Star Sign
mp3 : Teenage Fanclub - Heavy Metal 6
mp3 : Teenage Fanclub - A cover that cannot be named for fear of a DMCA notice
mp3 : Teenage Fanclub - Star Sign (demo)

Happy Listening.

Friday, October 28, 2011

IS THERE ANYONE OUT THERE WHO DOESN'T LIKE THIS SONG?

I could never dream of calling myself anything other than a total novice when it comes to soul music.  There's not a great deal of it to be found in the collection.  But I did buy this CD single in 1992. I can't recall why it was released at that particular time but I'm guessing it might have had something to do with some sort of telly advert.

mp3 : Otis Redding - (Sittin' On) The Dock Of The Bay

It really is quite beautiful and as I said in the heading, I can't think of anyone who doesn't like the song.

There were three other tracks on the single which are all very fine examples of how good a singer he was:-

mp3 : Otis Redding - Sweet Lorene
mp3 : Otis Redding - Hard To Handle
mp3 : Otis Redding - The Glory Of Love

And finally today, a cover of a song that he co-composed and made famous:-

mp3 : Tindersticks - I've Been Loving You Too Long (To Stop Now)

See.....it's not all jangly guitars round these parts.

Thursday, October 27, 2011

VERY BUSY JUST NOW......


..what with running around Glasgow shoving up posters in a desperate attempt to draw attention to the upcoming Butcher Boy gig that I only have time to cut'n'paste some old postings right now. Here's something from 22nd February 2007:-

EVERYTHING BUT THE GIRLS:-

Despite my best efforts, I didn’t always pick up on great records from 2006 until the year itself had come and gone. As such, I am willing to admit that my so-called best of the year, put on the blog last December, is sadly lacking – but it’s still a more than adequate 70 plus minutes of stuff.

Despite my best efforts, I didn’t always pick up on great records from 2006 until the year itself had come and gone. As such, I am willing to admit that my so-called best of the year, put on the blog last December, is sadly lacking – but it’s still a more than adequate 70 plus minutes of stuff.

And while it is perhaps acceptable that I missed some lesser-known works by the likes of King Creosote and The Victorian English Gentlemen’s Club, I have no excuse for ignoring the phenomena that was The Fratellis who just last week won best new act at The Brits.

I also failed to pay enough attention to recommendations from other bloggers, including my sparring partner Colin, about the joy that could be obtained by listening to an all-girl band from Canada called The Organ.

All of the artistes I’ve just mentioned were picked-up on after I downloaded mp3s that came with various postings. If I liked the stuff, I would track down the record locally, failing which I’d send off for it by e-mail.

Thus I came to own, in mid-January 2007, The Organ’s Grab That Gun LP that I believed had come out on Too Pure Records the best part of 12 months earlier.

There’s all sorts of great 80s influences throughout its 11 tracks. Some cynics might say there’s nothing new on offer and that it’s simply a re-hash of the sounds that appeared on records by the likes of The Smiths, New Order and The Cure, fronted by someone doing a great take on the Debbie Harry delivery.

Maybe so. And while it’s not an LP that threatens to change the way anyone would ever feel about music, it’s the sort of record that I’m a bit of a sucker for. It’s not pure pop and it’s not pure rock. It’s catchy, melodic and right away it gets your feet tapping along in time. It’s one of those records that once you know the lyrics, you’ll find yourself singing along inside your head (or embarrassingly, out loud on public transport as you wear your i-pod). Trust me, you will:-

mp3 : The Organ – Basement Band Song
mp3 : The Organ – Brother

I was looking forward to finding out more about The Organ and hopefully catching them on tour over here at some point.

So you can guess my disappointment at discovering they had in fact already split up.

It turns out that the band had been together since 2001, and that the LP had in fact originally been recorded and released in Canada as far back as 2004. It was one of those records that seemingly grew in popularity without any huge promotion other than the band’s tours (including over here in the UK) and a couple of low-key released singles. The full story of The Organ can be found in an informative article over at wikipedia right here.

So I missed out on them. Shame – for me, and on me. So much for me trying to stay hip, trendy and with-it…..

I’d be as well getting my tickets for The Police and From The Jam and forgetting about everything else.

Make me feel better. Go and buy Grab That Gun. You can do it here if you’re so inclined.

2011 Update

It's a record I still love to bits.  But what the fuck was I thinking giving The Fratellis a bit of a thumbs -up? All that changed not long after when I went along to see them live and realised they were shite....

Anyways.  Here's some visuals of The Organ:-







Happy Listening

Wednesday, October 26, 2011

THIS IS WHY I LOVE TO BLOG.....


I got back from a weekend break in London on Monday night - this posting would have been up yesterday if it hadn't been keepingitpeelday.

It was an action packed weekend.  Saturday saw a trip out to Kingston-upon-Thames to watch what turned into a hugely entertaining football match and then a cracking and, for Central London, an inexpensive Italian restaurant that was even better than the on-line reviews that led me to make the booking had indicated.

Sunday saw a venture to Portobello Market followed by the main reason for being down there, a sporting occasion at Wembley Stadium with a full-blown regular season match-up in American Football (my team lost incidentally....)

Monday saw my first ever visit to Camden Market which was great fun and as quirky as I thought it was going to be, rounded off with a quick jaunt to Covent Garden before catching the tea-time flight home from Gatwick.

But even better than all of the above was how I spent my Sunday morning......fulfilling a long-held ambition to meet up with one of the top bloggers out there.

I don't get down to London much these days, and when I do it is inevitably in transit en route to somewhere else with any overnight stays being in hotels close to one of the big airports.  This time, knowing I was in the city for a couple of days, I was determined to do something that I had wanted to do for almost as long as TVV has been going and that was meet ctel, the genius behind the Acid Ted blog.

Newish readers who take a visit to Acid Ted will perhaps wonder why, given that there appears to be so little in common with the sorts of music featured there and what nonsense I inflict on you every day, that I have such an affinity with ctel.  But our links only have a little to do with music and so much more about love, life and the universe.....

Many many many moons ago ctel was one of the first to pop by and leave comments on TVV.  As he reminded me, it was while on a search for Bourgie Bourgie that he stumbled across my 'work'.  In those early days I was wont to follow a trail of folk who left comments if they had any sort of profile rather than just leaving an anonymous quote.  This led me to ctel's first blog which, to this day...and I suspect will always be the case.....remains the most moving, articulate and brave thing I've ever seen on the internet. For those of you not familiar with what I'm talking about, this was a very public diary of one little boy's fight against brain cancer and how mum and dad were doing there best to cope.  Ctel was dad.....

The use of the past tense shows that this was a fight that was ultimately unsuccessful and the little boy - L - passed away just over four years ago.  Even afterwards ctel kept the diary going for a bit and shared his feelings with how he was coping with the grief.  Please.....if all this sounds very voyeuristic then you've got it completely wrong.  Despite not having met ctel or any of his family, a friendship had developed....not one that was merely imaginary but one that very strong akin to the 21st Century equivalent of pen-pals from faraway places.  Him writing about his circumstances and others like me reading about them were very much part of the way to cope and to heal.  My own small tribute is to provide a permanent link to a charity that is researching ways to prevent these sorts of devastating illnesses.

Since then, the friendship has gone from strength-to-strength with ctel stepping in on more than one occasion when TVV ran into problems.  First of all he composed pieces when my PC crashed and I lost everything - albeit I was able to rescue old posts a few days later. Later on when I had personal tragedies of my own to deal with he helped me beyond a way I can adequately describe or do justice to.  There were a number of lovely and uplifting e-mails as well as the fact that he took it upon himself to run TVV for quite a few weeks.

I knew before I met up with him on Sunday that it wouldn't be a disappointment.  But even I was amazed by just what transpired over about 90 minutes that felt as if they had passed in ten.....

I had a gut instinct he'd be a top bloke and it was predictable that we'd have a fair bit to talk about music and blogging wise (and he was just as interested to hear stories about all those Scottish bloggers who I see on a regular basis).  I also had an idea that we would at some point reflect on the tragedies that have visited us both in recent years.

But what was truly amazing was just how the conversation flowed so very easily and comfortably, notwithstanding my occasional lapse into Scottish slang.

Before we knew it though it was time to move on to where we were due to be in the early afternoon.  This wasn't a case of two middle-aged blokes getting all maudlin and sentimental while either getting pissed or stoned.....this all happened at a street cafe in North London over breakfast where the liquids being consumed were coffee and tea.  It was just the most naturally comfortable feeling you could ever care to imagine.

There's a lot of things have happened in the five years of TVV and I've tried to highlight them within the various postings.  But right up there at the top was the couple of hours in a pavement deli/cafe in the Queens Park district of London on Sunday 23 October 2011.  When JC met ctel.

mp3 : Blink - Happy Day

And that's why I love to blog.

Tuesday, October 25, 2011

KEEPINGIT PEEL DAY 2011


Released back in March 2007, this 6 x CD box-set traces the history of The Wedding Present as much as it does the group's close relationship with John Peel who always enthusiastically supported and championed the group.

Commencing with their first session from February 1986, it typified the Wedding Present in the early stages of their career when they were releasing records on their own Reception label.  The Wedding Present went on to do 12 sessions for John Peel, the last recorded on the 21st September 2004 and previewing songs from the then, forthcoming Take Fountain album.

David Gedge has been the one constant member of the group. When the Wedding Present took time out between 1998 and 2004, he also racked up a further 10 John Peel sessions with Cinerama. This puts David Gedge on a par with Ivor Cutler's 22 and two behind The Fall, whose 24 Peel Sessions were also released by Sanctuary in 2005.

The 6 x CDs covering the groups sessions for John Peel fall neatly into three CDs of studio sessions and three representing live performances. Highlights include their third session from May 1987, previewing songs from the George Best album, six months before release, followed by two Ukranians sessions. Initiated by guitarist Pete Solowka, the group did two full sessions embracing their radical interpretation of Ukranian folk music. The sessions would make up their unlikely first album for a major label, RCA: Ukrainski Vistupi V Johna Peela which sold a remarkable 40,000 copies.

Via John Peel's show, The Wedding Present would also unveil songs from their Bizzarro, Sea Monsters and Watusi albums and a number of the songs from their Hit Parade series, when they assaulted the singles charts with 12 consecutive monthly singles throughout 1992, all chart hits, and earning them an entry in the Guinness Book Of Records. The live sessions include their performance for John Peel's 50th Birthday Party at Subterrania in August 1989 plus sparkling sets from The Phoenix Festival in 1995 and the Reading Festival in 1996.

And with such a vast choice on offer it was really difficult to pick out one particular session. But in the end its the one recorded on 14 October 1990 and transmitted exactly two weeks later, the eighth Peel Session by The Wedding Present that previewed tracks from Sea Monsters:-

mp3 : The Wedding Present - Dalliance (Peel Session)
mp3 : The Wedding Present - Heather (Peel Session)
mp3 : The Wedding Present - Blonde (Peel Session)
mp3 : The Wedding Present - Niagara (Peel Session)

And finally, a clip from a telly programme:-

Monday, October 24, 2011

APPROACHING KEEPINGITPEEL DAY 2011 (Part 4)


A wee apology.

I can't give you all four tracks recorded for a John Peel Session by Fire Engines on 23 February 1981 and which was broadcast on 9 March.  One of the tracks is listed as Untitled and I've no idea what is was, But here's the other three:-

mp3 : Fire Engines - Candyskin (Peel Session)
mp3 : Fire Engines - We Don't Need This Fascist Groove Thang (Peel Session)
mp3 : Fire Engines - Discord (Peel Session)

Tomorrow is keepingitpeel day 2011. Click here and get involved.  Thank You.

Saturday, October 22, 2011

SATURDAY'S SCOTTISH SINGLE (Part 3)



Since the break-up of Arab Strap some five years ago Aidan Moffat has been a busy man.  And while there's been a handful of albums and mini-albums there has only been the one single back in 2009:-

mp3 : Aidan Moffat & The Best-Ofs - Knock On The Wall  Of Your Womb
mp3 : Aidan Moffat - The Lavender Blue Dress

The single is a complete re-working of Lullaby For Unborn Child from the How To Get To Heaven From Scotland album and features the Mansionhouse Ensemble (which is basically Alun Woodward aka Lord Cut Glass and ex-member of The Delgados).

mp3 : Aidan Moffat & The Best-Ofs - Lullaby For Unborn Child

The cover of this limited 7" (500 copies all told) features an image courtesy of Leonardo Da Vinci while the back of the sleeve has a photo of Aidan in shock on the floor of the delivery room during the birth of his son.

The B-Side is again a bit different - a childrens' story.

And here's the promo....all actual footage of Mr Moffat at the time of the birth of his kid.....




Next Saturday's single features Alan Rankine.

Friday, October 21, 2011

APPROACHING KEEPINGITPEEL DAY 2011 (Part 3)


Peel Acres was the affectionate name John Peel gave to the family home in Great Finborough, near Stowmarket in Suffolk. It is an extended thatched cottage which was originally named 'Nan True's Hole', and renovated by Michael Halls in the 1960s: Hatfield And The North used this as the title of a track in their first session in 1973.

John and wife Sheila had moved there in the early 1970s. Sheila notes, however, that originally the name 'was simply the light-hearted title John gave to wherever he happened to be living' (he used it for his Fulham flat in his 1967-68 International Times columns), and that the first home they shared in Park Square Mews.

There was a basic studio facility in the house that had allowed Peel to record the shows for his overseas programmes since 1989 (e.g. BFBS, Radio Eins, Nachtexpress) as well as the occasional Radio 1 show (the first of these being broadcast on 09 June 1995). With the installation of an ISDN digital phone line in early 1999, Peel was able to broadcast live from home, typically done on a Thursday evening: the first such fully live show went out on 03 December 1998.

The first group to play at Peel Acres were Blur, recorded on 22 April 1997 and broadcast as a special show on 05 May 1997. Prior to this, PJ Harvey had visited and recorded a live four song set on 5 September 1996, which was broadcast on 21 September 1996.

The ISDN line meant that bands could be invited to play live on the shows broadcast from the house. The first to try out the facility were Tim and Charlotte from Ash, who played an acoustic set live on air on 15 April 1999.

From 2000 onwards, Peel's Christmas specials were hosted at the family home, with the exception of 2002, which was broadcast from Maida Vale.

And here's all six from the Blur show from 1997:-

mp3 : Blur - Popscene (live at Peel Acres)
mp3 : Blur - Song 2 (live at Peel Acres)
mp3 : Blur - On Your Own (live at Peel Acres)
mp3 : Blur - Chinese Bombs (live at Peel Acres)
mp3 : Blur - Movin' On (live at Peel Acres)
mp3 : Blur - M.O.R. (live at Peel Acres)

As I've said already this week, please please please play your part in keepingitpeel day on 25 October. Click here to find out how.

Thank you ever so much.

Thursday, October 20, 2011

APPROACHING KEEPINGITPEEL DAY 2011 (Part 2)


Please click here if you need a reminder what this short series is all about.

There are lots of things out there that remind me that I am getting quite old.  To think that I once lived for the excitement and adrenalin rush from protest marches, sit-ins and the occasional bout of mild public disorder.  The soundtrack of my generation was often provided by the Bard of Barking.  Loved him then. Love him still.

His first session for John Peel was recorded on 27 July 1983 and transmitted on 3 August.  Where most acts did three or four tracks, such was the brevity of Billy's early stuff that he squeezed in six songs. Every single one a stonewall classic.

mp3 : Billy Bragg - A New England (Peel Session)
mp3 : Billy Bragg - Strange Things Happen (Peel Session)
mp3 : Billy Bragg - This Guitar Says Sorry (Peel Session)
mp3 : Billy Bragg - Love Gets Dangerous (Peel Session)
mp3 : Billy Bragg - Fear Is A Man's Best Friend (Peel Session)
mp3 : Billy Bragg - A13 Trunk Road To The Sea (Peel Session)

Please please please take part in keepingitpeel day next week. You don't need to be a blogger or have some sort of music site. Twitter accounts and Facebook will do the trick. Webbie explains how over at the site highlighted in the opening sesntence

Wednesday, October 19, 2011

APPROACHING KEEPINGITPEEL DAY 2011 (Part 1)


First of all, a huge word of thanks to Mr John Greer for his superb posts of the last few days.  He certainly has a few fans out there judging by the very positive comments left behind and I promise he'll be back before too long with more words of wisdom.

Back to matter is hand..........

I hope some of you will recall that last year, Webbie from the hugely entertaining Football and Music blog made it his mission to organise keepingitpeel.

Keeping itpeel was a day to recall and remember the great and late John Peel but with this it being less about the artists who performed and more about those who listened over the years. Keepingitpeel  took place on 25th October 2010 on the anniversary of the date the day we lost the great man. Webbie did a fantastic job with bloggers all round the world joining in - my own contribution featured Bourgie Bourgie (thanks to the innkeeper at the Punk Rock Hotel) - and the entire day was just perfect in honouring John Peel's memory and legacy.

Keppingitpeel is back in 2011 and the plan is to make it bigger and better.

There's a real work of art and labour of love to be found over here. Please go and visit.

And please, if you are a blogger or have a twitter of facebook account, do something special Peel-related on 25 October. The website tells you how to go about it.

As in 2010, I'm going to build up to keepingitpeel with a few postings featuring stuff I have in the collection. Last year I did postings on Cinerama, Wire, compilation CDs, and the afore-mentioned Bourgie Bourgie. I promise no repeats.......

Seems appropriate to start with this lot.....

Orange Juice did two John Peel sessions, with 8 tracks in all including all three of their Postcard singles in the first session from October 1980. The second session came in August 1981 and is a joy for sad completists like me as two of the tracks put down for the session were otherwise unreleased:-

mp3 : Orange Juice - Dying Day (Peel Session)
mp3 : Orange Juice - Holiday Hymn (Peel Session)
mp3 : Orange Juice - Three Cheers For Our Side (Peel Session)
mp3 : Orange Juice - Blokes on 45 (Peel Session)

The second track is a cover of a Vic Godard track while the final track is a great wee bit of fun as the boys play a medley of all the singles in a manner that was briefly fashionable at the time.  Click here to recall the gruesome tale.

More John Peel related stuff tomorrow.

Tuesday, October 18, 2011

THE TUESDAY CORRESPONDENT

HIGH ANXIETY.....

I was listening to an interview, this morning on the radio, with former Liverpool and Aston Villa manager Gerard Houllier. He talked of the stress and pressure of the job that caused him to quit his position because of heart trouble.

It got me thinking about the musical artists that I know that have found that stress, anxiety and stage fright that has caused them to stop performing live and touring.

One of the first pieces I wrote for JC told of the problems that XTC’s Andy Partridge had with acute stage fright.

He suffered a breakdown on stage in Paris during a show on the English Settlement tour in 1982.

It was reported that his wife had thrown away his constant supply of Valium that he toured with. He been prescribed the drug as a teenager during his parents’ divorce and over the subsequent years he had become overly dependent on it.

He has never toured since.

The other person that I read about recently who had severe problems with the stress and anxiety of stage fright was Green Gartside of Scritti Politti.

So much so, that he was unable to tour while at the top of his game and riding high in the charts. He went 26 years between playing live gigs.

Green (real name Paul Julian Strohmeyer) was born in Cardiff and moved to Leeds to study art at the local Polytechnic College. He took the surname Gartside after his mother remarried.

The Sex Pistol’s ‘Anarchy Tour’ was launched at Leeds Polytechnic and this inspired Gartside to form his own band.

He has described the origins of Scritti Politti as a DIY squat punk band; he formed the band with school friend Neil Jinks and Tom Morley.

Their early gigs were supporting some of the more established local punk bands in Leeds and their set list consisted of Chelsea cover versions.

They relocated to London and moved into a squat in Camden Town. A single ‘Skank Bloc Bologna’ was self financed and released. It received some airplay from John Peel and this alerted Rough Trade records who signed the band.

At this point they were offered the opportunity to open on tour for The Clash, they declined the offer as they only had three songs.

Over the next year, they continued writing songs and released two EPs on the Rough Trade label that each came with their handmade sleeves, which included their home address for any feedback to be sent.

Now that they had built up a back catalogue of songs they were able to support any band that asked, they toured with The Pop Group, Echo and the Bunnymen, and the Slits.

It was while on tour with the Gang of Four and Joy Division that Green suffered a suspected heart attack while on stage at the age of only 23.

He explained, ‘on the day of a gig I’d wake up shaking, sweating, getting stomach cramps and vomiting. As we started playing more and more gigs, it became almost a permanent state of paralysis. One night, after supporting Gang Of Four, I collapsed and was taken to hospital. I thought it was a heart attack.

That’s when I decided not to play live again.

It was only much later that I realised it was an anxiety problem’.

He moved back to his hometown Cardiff to recover, it was here that he started writing the first album, which used the influences from the music he was listening to, reggae, R&B and soul music.

The first track to see the light of day was The Sweetest Girl and a version was available on a free cassette that was given with the NME called C81.

Scritti Politti’s new track was in good company, as other tracks featured included:

Orange Juice-Blue Boy
Aztec Camera-We Could Send Letters
Josef K-Endless Soul
Wah! Heat-7,000 Names of Wah!

The Sweetest Girl ended the year at No.22 in John Peel’s Festive 50 for 1981 (Joy Division’s Atmosphere was No.1).

When the first album ‘Songs To Remember’ was released, it received some very favourable reviews and sold very well, reaching No.12 in the UK charts, the highest position ever achieved at that point by an artist on Rough Trade records.

The next album ‘Cupid & Psyche 85’ saw Green starting his collaboration with David Gamson.

Gamson had also featured on a NME free cassette Jive Wire with a track called Turn On Red.

Gartside had spent some time in New York and had met Gamson; they started writing together and recorded some sessions with Nile Rodgers producing. From these sessions most of the singles from Cupid were drawn.

A lot of new techniques were used on the album, no other album at that point used sampling and sequencing as much and these were techniques that were only available to them in New York.

The album had a very American sound and feel to it.

Although the album was promoted extensively, there were no live concert appearances.

The album was very successful, reaching No.5 in the UK album charts with 3 top twenty singles.

The track ‘Perfect Way’ was released as a single in the US and reached No.11 and was then covered by jazz legend Miles Davis, this led to Davis featuring on next Scritti album ‘Provision’ on the track ‘Oh Patti’.

Promoting the two albums took their toll on Gartside, he explained, ‘I was in a poor state, physically and psychologically. I was living in various hotels and apartments in America. Cocaine was briefly a problem. After promoting ‘Provision’ that’s when the complete collapse happened’.

He returned to Wales and dropped out of the music scene for a number of years.

Strangely when he returned to recording 11 years later it was the urban sounds of America with hip-hop that he had been listening to, in his rural setting of South Wales that reinvigorated his love for making music.

He worked with Mos Def and others from the hip-hop scene to produce the album ‘Anomie and Bonhomie’, but commercially the album wasn’t very successful. It is best described as a fusion of rap, soul and rock.

For me the highlights are ‘Tinseltown to the Boogiedown’ and ‘Umm’.

A few years passed with only a few musical collaborations with various different acts and then a new album was announced.

In 2006, ‘White Bread Black Beer’ was released to great critical acclaim and with it a tour was announced. The lead single from the album, ‘Boom Boom Bap’ was a one of my favourite singles of that year.

26 years after last playing live, Scritti Politti was going to play live and one of the dates was at the Liquid Room, Edinburgh.

Green explained, ‘You get less anxious with age. What’s the worst that can happen? Even if it all goes tits up – and it has – the pleasure of making music always outweighs the anxiety. My band are all friends from my local pub, the George in Hackney, which is great.

Alyssa, our bass player, was working behind the bar and had never been a bass player before. They'd come into the pub and we'd occasionally talk about music so, when it came to putting the band together I thought why not ask the people there. I had no idea how good they are but I knew they were nice people. And because they were nice people, that is why it finally has became possible to play live’.

The album was nominated for the Mercury prize for 2006, an award that went to the Artic Monkeys.

The gig at the Liquid Room in 2006 was possibly Scritti Politti’s first visit to Scotland.

I went to the gig with JC and Jacques the Kipper, there was a real tingle of anticipation in the air.

The Scotsman newspaper’s review of the gig told of Green Gartside nervy state at the beginning of the gig.

‘Oh Christ!’ exclaimed the singer, after taking to the stage to a rapturous reception from the Capital crowd. ‘What a welcome . . . you've made me really nervous now’.

After that, he settled down to play a set, mostly comprising of songs from their recent album release with a few classics like ‘The Sweetest Girl’ and ended the set with ‘Wood Beez’.

I do remember a man in the audience calling out continually, ‘Play yer hits!!’.....I thought to myself, ‘does a man who has suffered from anxiety and panic attacks, need this prick shouting that!!’.

Earlier this year a new compilation album ‘Absolute’ was released with two Gartside and Gamson new tracks.

mp3 : Scritti Politti - The Sweetest Girl (demo)
mp3 : Scritti Politti - The Boom Boom Bap
mp3 : Scritti Politti - A Day Late and a Dollar Short
mp3 : Scritti Politti - The Sweetest Girl (live)

Mr John Greer, Tuesday 18 October 2011

Monday, October 17, 2011

THE MONDAY CORRESPONDENT

SUNSET NOW.......

So it was always Bob Last’s idea to have Martin Ware set up a production company and to that end B.E.F (British Electric Foundation) were formed.

B.E.F first release was a ‘cassette only’ release of instrumentals, called ‘Music for Stowaways’; so named as it was inspired by Sony’s first appearance of theWalkman, which was originally marketed in the UK as the Sony Stowaway.

With their second release ‘Music of Quality and Distinction Volume One’; Martin Ware and Iain Craig Marsh had a chance to work with their musical heroes and to select songs that appealed to them. They brought a fresh feel to some old classics and gave a new audience to some underground songs.

The whole concept was ahead of its time and in the years subsequently, we’ve seen the KLF record with Tammy Wynette and the Pet Shop Boys have worked with Dusty Springfield as well as others.

Ware explained, “We had already done a version of ‘You’ve Lost That Loving Feeling’ on The Human League’s first album. Making our album was like having a crash course in how to do cover versions.

Working with Tina Turner wasn’t in the plans originally, James Brown had been asked to sing ‘Ball Of Confusion’, but as they were due to fly to Atlanta to record his vocals, his lawyer rang to say that he wanted to have three tracks on the album. He was told to FUCK OFF!!

The Head of Finance at Virgin Records contacted us, when he’d heard what had happened with Brown and suggested Tina Turner, whom he knew. Now I was big fan and think that ‘River Deep Mountain High’ was one of the greatest songs ever recorded.

When she came to the studio, she asked, ‘Where are the band?’ and I pointed to the Fairlight (a computer music synthesizer).

The recording and release of ‘Ball of Confusion’ was the catalyst to a revival in Tina Turner’s career, as after hearing it, executives at Capitol Records offered her a record deal. Her comeback single, a cover version of Al Green’s 1972 hit ‘Let’s Stay Together’ and was produced by Martin Ware. It reached No.6 in the UK charts and No.26 in the USA.

It also gave Ware, Craig Marsh and Gregory the opportunity to appear as the backing band and singers to Turner on Top of the Pops.

The recording of ‘Suspicious Minds’ by Gary Glitter was also quite unique, as he recorded his track with the Glitter Band, who were in the studio at the same time, it was the first time they had ever recorded together even though they had 9 top five hits between 1972 and 1974.

The album now, in places sounds very dated.

The highlights for me are:

Billy Mackenzie’s soaring vocal acrobatics on David Bowie’s ‘Secret Life of Arabia’and Roy Orbison’s ‘It’s Over’, both tracks are great vehicles for the Dundonian’s vocal ability, with his extravagant and magnificent vocal style being a producer’s dream.

mp3 : Billy Mackenzie - Secret Life Of Arabia

Glenn Gregory’s version of ‘Wichita Lineman’ takes on a different tone to the Glen Campbell original, with the electronic backing track. His version of Lou Reed’s ‘Perfect Day’ was the only version I knew until it was re-released for the ‘Trainspotting’ soundtrack in 1996, 24 years after it’s first release. Again in my opinion Gregory turns in a very good vocal performance, with more subtlety and emotion than he was able to show on most of the upbeat Heaven 17 tracks.

mp3 : Glenn Gregory - Witchita Lineman

Paula Yates seemed a fitting choice to sing Nancy Sinatra’s ‘These Boots’. Her quirky vocal performance was just what was required, while Bernie Nolan’s attempt at the Supreme’s ‘You Keep Me Hanging On’ didn’t quite succeed and was surpassed by Kim Wilde’s superior 1986 version that reached No.2 in the UK charts and became her only No.1 in the USA.

It was 9 years later that ‘Music of Quality and Distinction Volume Two’ was released in 1991, again showing off the vocal talents of Tina Turner and Billy Mackenzie, who performed a wonderful version of Deniece William’s hit single ‘Free’.

mp3 : Billy Mackenzie - Free

Green Gartside of Scritti Politti produced the stand out track of the second volume with ‘I Don’t Know Why I Love You’.

mp3 : Green Gartside - I Don't Know Why I Love You

In March 2007, B.E.F played their first ever live gig as part of the tribute concert for Billy Mackenzie at London’s Shepherds Bush Empire. The gig featured guest vocal performances by Claudia Brücken of Propaganda.

In October this year, there is a chance to see a B.E.F festival, over two nights atLondon’s Roundhouse there will be two gigs featuring Heaven 17 and B.E.F. The first evening is a Heaven 17 concert of their album ‘The Luxury Gap’ and the second a B.E.F evening with guest artists including Boy George, Kim Wilde, Midge Ure, Elly Jackson and Sandie Shaw.

Mr John Greer, Monday 17 October 2011

Saturday, October 15, 2011

SATURDAY'S SCOTTISH SINGLE (Part 2)



All but the final para is lifted from wiki:-


Aereogramme were a Scottish alternative/post-rock rock band from Glasgow, consisting of Craig B. (vocals, guitar), Iain Cook (guitar, programming), Campbell McNeil (bass) and Martin Scott (drums). Prior to their split in 2007, the band released four studio albums.

Formed in April 1998, the band released two 7" singles in 1999 before signing to Chemikal Underground in early 2000, at which point they recorded two EPs before releasing their first full-length, A Story in White, in 2001.

Sleep and Release followed in 2003 but the band moved to Undergroove Records soon after for their third official release, Seclusion. However, the group re-signed to Chemikal Underground in August 2006.

Their fourth album, My Heart Has a Wish That You Would Not Go was released in Europe and the United States on 29 January 2007 and in Japan on the 14 October 2006, taking its title from the novel The Exorcist.

In an terview, singer Craig B. revealed the long delay between releases was partly due to losing his singing voice for six months. "We didn’t know if it was going to continue so everybody went their separate ways waiting for my voice to come back. I went to see a throat doctor and he told me to eat yogurt which I did and it did absolutely nothing. The only thing that made any difference was time 'cause I'd spent the previous couple of years screaming every single night and whisky and smoking and that was just a horrible combination. I think my body just said stop."

On 11 May 2007, in a message board post, Aereogramme announced they were to disband:

“ It is with heavy hearts that we tell you all that Aereogramme have decided to split up. Reasons are multiple and complex. It is however fair to say that the never ending financial struggle coupled with an almost superhuman ability to dodge the zeitgeist have taken their toll, ensuring that we just don't have any fight left in us.


We are immensely proud of the four albums that we made over the past seven years. We hope that they continue to grow in your hearts. We plan to honour and celebrate the beautiful friendships we have made along the way with these final shows over the summer."

The band played their last ever show at the Connect Festival in Inverary, Scotland on 31 August 2007.

Iain Cook and Craig B. have since formed another band, The Unwinding Hours, and released a new album on the 15th of February 2010. Martin Scott is currently working with Scottish rock band Biffy Clyro as tour manager and Campbell McNeil is working in the same capacity with The Temper Trap.

I was very late in discovering Aereogramme with my first exposure coming via a Chemikal Underground compilation LP around the time of their final material.  More fool me.  Other than the compilation material, there's just one rather splendid single from 2006 in the cupboard.  The a-side is lifted from their final LP but the b-side is a bit of a rarity:-

mp3 : Aereogramme - Barriers
mp3 : Aereogramme - Dissolve

It really is a quite brilliant single dontcha think??

Part 3 of this series will feature Aidan John Moffat

Friday, October 14, 2011

THE FRIDAY CORRESPONDENT


WHO’LL STOP THE RAIN………
I travelled home from work on dark and damp evening in February 2010 feeling as miserable as the weather, until I changed and put on the TV.

It was a Sunday evening and I switched on BBC1, to be greeted by Aled Jones presenting Songs of Praise, I didn’t want to watch that, but I needed to be on that station and press the red button to find out the football results…..

…. before I got the chance to see the football results, there was a message offering the chance to see Heaven 17 and La Roux’s session recorded for BBC Radio 6 presented by Steve Lamacq.

It turned out to be at the time, the BBC’s most successful ‘red button’ choice with 1.2million hits in a week (at least three times by me!!)

Now I’ve been a fan of Heaven 17 since first hearing ‘(We Don’t Need This) Fascist Groove Thang’ back in 1981.

The single was the NME’s single of the week when released, but was banned by the BBC Radio 1, as it was believed to be libellous towards President Ronald Reagan.

Despite the ban the single reached No 45 in the charts.

“Groove Thang” is a mixture of electronic funk with a socialist/Marxist message played with a very fast tempo and with a wonderful bass solo in the middle.

mp3 : Heaven 17 - (We Don’t Need This) Fascist Groove Thang

So that Sunday evening I sat and watched the Radio 6 session.

I was aware of La Roux, as I’d bought their single ‘Bulletproof’, I liked the electronic 80’s feel and sound.

mp3 : La Roux - Bulletproof

During the session they played Heaven 17’s ‘Temptation’ and ‘(We Don’t Need This) Fascist Groove Thang’ and La Roux’s ‘In For The Kill’ and ‘Bulletproof’.

They also did a version of Terrence Trent Derby’s ‘Sign Your Name’ that was originally produced by Martyn Ware.



Later last year, the BBC devoted a couple of nights to Heaven 17, to celebrate 30 years of the band, showing a documentary on the making of their first album ‘Penthouse and Pavement’ and the following evening they showed a concert where they played the whole album.

The documentary saw Martyn Ware and Glenn Gregory going back to their home city, Sheffield and revisiting their family homes and also their fathers’ places of work. Ware grew up in a council flat, while Gregory’s home was considered a lot posher by Ware, although it was also a council house.

As well as being a great piece on the origins of the band, it also captured the lost industry of Sheffield.

It was explained, how both were expected to follow in their father’s footsteps into the foundries and finishing shops of the steel industry, Martyn Ware described that prospect as hellish.

Gregory told, how his father was a shop steward in the steel industry and he waged war against Margaret Thatcher...and still does!!!

Both saw music as a way of avoiding the steel works.

They both grew up with the constant noise of the foundries that came with 24-hour production, which they felt featured mesmerically in their music.

Ware explained how Heaven 17 were formed.

He had formed The Human League with Ian Craig Marsh and their first choice as singer, Glenn Gregory was unavailable, so Martyn asked old school friend Philip Oakey.

They signed to Bob Last’s Edinburgh based independent record label Fast Products who released their first single Being Boiled.

They played regularly over the next two years including support roles to The Rezillos and The Undertones.

They then signed to Virgin Records with Bob Last taking on the role of band manager.

At this point, Bob Last took advantage of tensions in the group and engineered a split, calling Martyn to a meeting.

Phil Oakey said, “Martyn, we’re throwing you out of the band” and Ware replied, “I don’t think so, it’s my band!”

The feeling was that Ian Craig Marsh would stay in The Human League but he chose to leave with Ware.

Part of Last’s master plan was to get Ware to form a production company and that is when B.E.F (British Electronic Foundation) was formed.

Ware explained, that he was whisked away to Edinburgh, by Last, straight after the split, to stay away from Oakey, he said he was heartbroken as Phil had been his oldest and closest friend, but Last, insisted he was the talented one and he could work with other singers and that he’d negotiate a deal with Virgin Records.

The deal was to produce up to six albums a year (Which Ware felt was utterly ridiculous) Virgin would finance all the recordings and provide them with a certain amount of an advance on each album.

The first project was Heaven 17 and ‘Penthouse and Pavement ’.

They took their name from an imaginary band in Anthony Burgess book ‘A Clockwork Orange’, called The Heaven Seventeen.

Glenn Gregory explained how he was brought into Heaven 17, “I went back to Sheffield to take pictures of Joe Jackson for Sounds or NME and met Martyn who told me The League had split. He asked, did I fancy forming another band and two days later I was back living in Sheffield.

Ten days later we had recorded ‘Fascist Groove Thang’. There was that much fucking energy and enthusiasm and wanting to do it…for Martyn.

It was originally called ‘Brothers and Sisters How Much Longer Must We Tolerate This Fascist Groove Thing’ ”.

Glenn Gregory tells how they found their bass player who provided the scintillating bass on the album, “When we’d recorded ‘Groove Thang’s’ backing track, there was a gap in the middle and Martyn said ‘Why don’t we do have a disco bass solo?’ but all the bass players we knew were rubbish and could only play one note bass lines.

At the time, I had taken a part time job at the Crucible Theatre to get some money, as a stagehand. I asked in the green room if anyone who played bass and a nice quiet 17year old black guy called John Wilson said he played a bit.

At lunchtime, we caught a bus to his house where he picked up his bass, went to the studio and recorded it in one take.

He explained that as he was left handed and had never had his bass restrung, so he played it upside down! We were blown away!

He said, ‘Is that OK? Because, I’m better on the rhythm guitar’. We said can you go home and get you’re your guitar”.

Martyn Ware agrees, it was so amazing and so fast, 152bpm. Incredible.

The recording of the album was done under strange circumstances; they were sharing the studio with The Human League.

Glenn Gregory recalled, “It was like a race to us. We were in the same recording space that they were using to write and record ‘Dare’. There wasn’t enough room for everyone to work at the same time, so we decided to do shifts. We did two weeks shifts, one band on days, one on nights and at the end of the fortnight we’d swap over.

We would go in and find tapes that they’d been working on. We’d find bits of ‘Sound Of The Crowd’ on a tape, so we’d listen to it. I’m sure they found parts of ‘Groove Thang’ and thought, ‘What the fuck is this!!!!’

It was a race”.

The album had two distinctive sides; the ‘Penthouse’ side was a hybrid of electronic, funk and dance. The influence of Martyn’s musical likes of American funk with groups like Parliament and Funkadelic from his nightclubbing in Sheffield are evident.

mp3 : Heaven 17 - Penthouse and Pavement

It was a like a snapshot of the Britain that time. ‘Penthouse and Pavement’, ‘Soul Warfare’ and ‘Play to Win’ told of the rise of the “yuppie” with their focus on money, cocaine, Thatcherism and the beginning of the privatization of the country’s industries, something their fathers stood firmly against.

The ‘Pavement’ side was purely electronic. It dealt with issues that were important to the band like the Nuclear Non Proliferation Treaty with ‘Lets All Make A Bomb’.

Martin Ware explained, that they knew they were from the pavement but they wanted to head to the penthouse, it was a way of showing we could do well for ourselves.

There also was huge amount of ironic humour in the image of the album.

The iconic album cover by Ray Smith depicted the band members in corporate poses wearing pin stripe suits. His painting looked like a parody of a company’s annual report complete with its own slogan,

“That’s opening doors all over the World”

It also had the B.E.F logo and place names:

Sheffield-Edinburgh-London

When released it was well received although some critics could not see the humour in the artwork, instead they questioned the imagery compared to where the band came from and their background.

Its highest chart place in the UK charts was 14 and it was awarded album of the year for 1981 by the Melody Maker.

As for the race to see who would have the first release ‘Penthouse and Pavement’ came out a month before The Human League’s ‘Dare’.

It was always Heaven 17 intention never to play live and they never did for many years, as they claimed that the technology was such that they could never reproduce their recorded sound. Not playing live was part of their mission statement.

They did make the occasional appearance at nightclubs with Glenn Gregory singing to a backing track.

One such appearance was at the famous Studio 54 nightclub in New York after ‘Let Me Go’ went to No.1 in the US dance chart.

mp3 : Heaven 17 - Let Me Go

In 1997, during the Flux music festival that ran alongside the famous Edinburgh Fringe Festival, Heaven 17 were booked to play The Jaffa Cake Club. In the local papers it was proclaimed that they would be playing LIVE. No backing tracks.

The gig was a gathering of 40-somethings to see a band that had never played live in Scotland before.

The line-up included Martyn Ware, Ian Craig Marsh and Glenn Gregory, a drummer, a bass player and two backing singers. The set lasted one hour and twenty minutes and left the audience wanting more.

Ware and Gregory have recorded 3 more albums and now play regularly live.

In 2008, I travelled to Sheffield, it seemed appropriate to see them there, on the Steel City Tour with ABC and The Human League.

Recently in an interview Martyn Ware explained he is still angry that ‘Groove Thang’ was stopped from being a bigger hit by the BBC ban, “I still fucking hate Mike Read. He symbolizes everything that was wrong with Radio 1 in the 1980s, and is probably still wrong with it now. Creepy old out and proud Conservatives with Cliff Richard haircuts hanging round with teenage girls. It's just not right. It wasn't enough that he ruined the Icicle Works'entire career by saying that he had sex to 'Love Is A Wonderful Colour’”.

Mike Read also asked to be Ware’s friend on Facebook.

He declined.

mp3 : Heaven 17 - Penthouse and Pavement (demo version)

Mr John Greer, Friday 14 October 2011

(Sorry folks, all mp3s removed as a result of dmca notice - JC)

Thursday, October 13, 2011

THE THURSDAY CORRESPONDENT


Some Fantastic Place

On Friday 6th August 2010 JC wrote a piece on the Dundee band The View’s single Superstar Tradesman and included in the article was a track which was in my opinion the worst ever cover version I’ve ever heard….Up the Junction taken from their Zane Lowe Radio One show session.

Squeeze have been a favourite of mine for too many years to accept the minky Dundonians version as anything other than PISH!!

On a recent episode of the Sky Arts Songwriters series Tilbrook and Difford told of how they met after the nineteen year old Chris Difford placed an advert in the window of a sweet shop, around May 1973, asking for a guitarist to play in a band who had a recording contract and an upcoming tour, the applicant’s musical influences had to be the Kinks, Velvet Underground and Glenn Miller, which Glenn Tilbrook considered quite a strange mixture.

He wasn’t going to answer the ad, but his girlfriend forced him into the meeting. He called the number and a gruff sounding person answered and asked him to meet him at a pub in Blackheath and said he’d know him, as he’d be carrying a copy of the Evening Standard. He felt like he was meeting a spy. Glenn Tilbrook was 15 at the time.

They went back to Tilbrook’s house and played each other songs they’d written, it was obvious to Glenn early on that Chris’ lyrics were far better and outstripped anything he could write.

For about a year they would go to each other’s bedrooms to write songs together, funnily enough the recording contract or imminent tour was never mentioned again!!!

Chris Difford explained that Glenn was the only person to answer his advert; the embarrassing thing was there was no record deal, no tour and no band. He had written 30 or 40 songs.

Tilbrook introduced Chris to someone who had been described to him as an incredible pianist, Jools Holland. They decided on the name Squeeze after their first bassist Harry Kakoulli came up with idea of naming themselves after what they thought was the worst Velvet Underground album.

In 1976 they started playing the vibrant pub circuit in London along with the likes of Dr Feelgood, Kursaal Flyers, Eddie and the Hotrods and The Stranglers.

In 1977 they released their first self-titled album produced by Velvet Underground’s John Cale and without really trying they had turned into a new wave band but they felt they never had the right haircuts or clothes. They were signed to A&M records and were the labels first new wave signings since what they saw as their disastrous signing of the Sex Pistols.

For such a revered song writing partnership they had a funny way of writing together, they lived in the same house, top flat and basement flat, and Difford would leave lyrics out on a tray for Tilbrook to pick up in the morning when he went out to pick up the milk. He’d work on them with the melody during the day.

The greatness of the Squeeze songs to me, are that they are like little screenplays, back in the seventies the BBC showed little one hour dramas called Play For The Day and Difford’s lyrics are similar to these, small self contained stories.

Up the Junction is a prime example of this type of song. In fact the title comes from a novel by Neil Dunn and was made into a play by Ken Loach in 1965 for the BBC.

mp3 : Squeeze - Up The Junction

Between 1978 and 1984 they had 12 top fifty selling singles and 4 top fifty albums in the UK.

The band had seen various keyboard players come and go since Jools Holland had left to pursue his TV career in 1980, also Difford and Tilbrook felt his desire to play boogie-woogie style didn’t fit their needs.

In the States they had built up a very strong following through college rock stations and playing the American college circuit, in the summer of 1982 they played a sell out show at the famous Madison Square Garden, New York. The pressures of touring and recording without a break began to tell and they disbanded in the later part of that year.

At the time Difford said, of his relationship with Tilbrook, “While on tour there were times when we didn’t talk for weeks. We went through a dark period”.

They took a break from each other and then got together to release their own album, Difford and Tilbrook in 1984. The album had moderate success.

mp3 : Difford & Tilbrook - Love's Crashing Waves

A year later they reformed Squeeze for a charity event and this gave them the opportunity to get back in the studios. The line-up saw Jools Holland and Gilson Lavis, the original drummer re-join and the album Cosi Fan Tutti Frutti was written and recorded. It’s an album that received good critical acclaim but the band later looked back at it with some disappointment.

Tilbrook now says “We were all so excited about being back together, that we didn't put all that much thought into album. We were rarely actually in the room playing at the same time.”

From 1987 until 1998 they would produce 6 albums with very little success.

There were some outstanding tracks from these releases and every time I revisit them something else jumps out and hits me.

A few of the singles were outstanding This Summer, Electric Trains and the one that I consider to be the greatest song written by Difford and Tilbrook.....Some Fantastic Place.

mp3 : Squeeze - This Summer

After the album Play, it looked like the end of the partnership; Chris had said that most of his early song writing was written on a bed of a hangover. It was a lovely place between death and the next drink and on the eve of an American tour, he decided he couldn’t cope with six weeks of more heavy drinking.

Glenn went on the tour as the only original Squeeze member.

A few years later, Chris decided not to tour America again.

A rift appeared between the pair. Glenn didn’t know the extent of Chris’ drinking and how he was close to a nervous breakdown he was. Difford checked himself into a clinic in Canterbury, 12 weeks of intensive therapy revitalised him.

It was a very different Chris Difford that got together his long time friend to write songs in the same room, something they’d done rarely since their early days, but they did it when they wrote their last major “hit”, Hourglass.

mp3 : Squeeze - Hourglass

One song had been written while Chris was in the Canterbury clinic.

Some Fantastic Place was written as a tribute to Glenn’s first real girlfriend Maxine, who died in 1992, she was the girlfriend that bullied Glenn into the meeting with Chris.

She contracted leukaemia, but through her illness she never lost her positive outlook and sense of optimism. The house that Difford and Tilbrook shared in their early song writing days was owned by Maxine.

Glenn tells how, “When Chris gave him the lyrics it was obviously about Maxine, although typically he never told me this. I sat down at the piano and the music just came out. It’s such a lovely song and I remember playing it to Jane (Glenn’s wife) when we’d just written it and she burst into tears. It wasn’t a hit but it’s a powerful song and I’ve been told it means so much to many people. It’s my favourite Squeeze song and anything from the heart can’t be beaten”.

Chris explained it was a very spiritual moment when he was told of Maxine’s death. He sat in the garden of the alcohol treatment centre crying his eyes out. When he sat down to write the lyric, he wrote it without the pen leaving the paper from top to bottom. He was given a cup of tea and he remembers the taste to this day as the last thing he wanted to drink was TEA. He wanted to get over the wall and run to the nearest pub to get arseholed.

mp3 : Squeeze - Some Fantastic Place

After the release of Squeeze’s 12th album in 1998 Domino, which both describe as “not a very nice experience”, Chris again decided not to go to on tour in America and checked back into a clinic to fight off the depression that was overtaking him.

When Glenn returned, Chris asked for half of the profit from the tour as he owned half of the Squeeze name. Tilbrook felt he was taking the piss.

Chris called Glenn to a meeting at The Priory Clinic to tell him their 25 year partnership was over. It was upsetting for both parties.

Both had too much respect for each other to attempt to snatch the legacy of the band for themselves.

They continued to work separately. Chris Difford has released 3 solo albums and Glenn Tilbrook has also released 3 solo albums.

I first saw Glenn Tilbrook’s solo show at the Lochgelly Centre Theatre. He put together a great band called The Fluffers (named after the person on porn shoots whose job is to make sure the male penis stays erect!!)

His shows are always great fun. Audience participation is always encouraged and he normally starts the second half of each show coming into the crowd with the rest of the band, and leading some of the paying customers back onto the stage like the Pied Piper as he sings Black Coffee in Bed.

In 2005, Chris Difford appeared at the Edinburgh Fringe in a small room playing to around 100 people. He played old Squeeze songs, told stories of his songs and his song writing and played songs from his solo work.

Chris was due to play a solo set at Glastonbury in 2003 and Glenn went backstage to wish him good luck, Chris persuaded him to join him for two songs Is That Love? and Hourglass, the crowd went mad. This was the start of the rekindling of the friendship.

In 2007 Squeeze reformed to play major tours of the UK and America.

In October 2010 they released an album Spot the Difference, which is a re-recording of all their classic songs.

On the Danny Baker Radio Show, Difford and Tilbrook explained, “We re-recorded the songs as a way of empowering ourselves, we never owned the copyrights to our own songs, so now we own a little bit of our own history”.

mp3 : Difford & Tilbrook - Take Me I'm Yours (live)

Other bands have found this a way to be more selective on where these songs end up and how much they can charge for them being used.

Spot the Difference was released as a limited double album in the UK with a live concert recorded at the Fillmore theatre San Francisco on August 1st 2010.

There has been talk of a new album but as yet nothing has been forthcoming.


Mr John Greer, Thursday 13 October 2011

Wednesday, October 12, 2011

I'M ANNOYED AT MYSELF FOR THIS....


Back in March 2009 I went along to a gig celebrating the launch of You Can't Change The Boy, the debut LP from Glasgow indie-pop band Wake The President.  I had quite like from them what I'd heard prior to the gig which was being held in a great wee hall not that far from where I live, and Comrade Colin and myself decided to make a night of it.

Now I'm the type who likes to support these events through buying the album direct from the band on a night like this so the CD was purchased as I got into the hall, as well a couple of bits of vinyl that were on sale.  By the end of the gig though I was regretting my purchases as Wake The President were a major disappointment.  The live performance was limp and I'm sorry to say it had an adverse impact on my view of the CD. I went along anticipating coming home and raving about them but in the end stayed quiet as it's not my practice to put the boot into new and upcoming bands just because they're not to my taste.

The vinyl singles have also lain neglected and unloved in the cupboard but the other day I thought I'd give them a spin and see if my views had changed over the past two and a half years. One of the singles had Wake The President on one side and The Kingfishers on the other.  It came in a clear plastic sleeve with a sticker on to that acted as a seal....and my seal was unbroken.  So carefully peeling apart the sticker, I extracted the vinyl and thought I'd give The Kingfishers song a spin:-

mp3 : The Kingfishers - Make Me Sad

I listened.  I then played it again.  Then I began to slap myself around the head for being such an arse.  That I have had such a lovely piece of pop in the collection ignored for so long is a total disgrace.

Some of my blogging friends however, haven't been so daft. Here's what Drew said at his place away back in May 2009:-

While scouring the internet a couple of months ago for something a bit different, as is my want and much to L’s consternation I came across a review for a split 7″ single by 2 Scottish bands Wake The President and The Kingfishers neither of whom I had heard before.


On streaming the Wake The President track it became apparent that the band had been listening to a lot of post punk and Postcard in particular, not a bad thing.


The real find for me was the track on the other side, Make Me Sad. On listening to this I was transported back to the mid 80′s, it reminded me of Friends Again, especially Honey At The Core for some reason, although it sounds absolutely nothing like it. On further investigation it turns out that the song is a cover of a Vic Goddard song. Goddard’s band Subway Sect being a major influence on the Postcard bands. I played the track about 5 or 6 times and decided that the single had to be purchased.


This is when things start to get interesting. The single is on Aufgeladen und Bereit a German label out of Hamburg which seems to specialise in Scottish Indiepop with bands such as Found, Future Pilot AKA amongst others and is also Vic Goddard’s label. If Scottish indiepop is your bag then you should check the label out. There is a particularly good compilation album called Get While The Getting’s Good (another reference to Scottish pop as the title has been borrowed from the title of a track on The Orange Juice album) 19 tracks which cover everything from the afore mentioned indiepop to modern folk. I can vouch for the service as I got my 7″ within 4 days of ordering it, quicker than orders from down south at times.


This single was actually released in April last year and unfortunately is now sold out.

Like Drew, this was song that took me back to the mid 80s and got me all teary-eyed and nostalgic. It's exactly the sort of song this blog was invented for!!!

Thanks to the internet, I've tracked down a bit more info about the wonderful lead singer whose name is Sharon Martin:-

Sharon Martin is a full time singer/songwriter from Glasgow, UK.


She has been writing and performing for over 10 years as lead vocalist in bands including Handsome Dan, The Kingfishers and more recently as front-woman for Grammy winning record producer Stephen Lironi's latest project, ‘Flesh’.


Since late 2009 Sharon has been pursuing a solo career, forming her own band packed full of Scottish musical talent. It is with this band that Sharon regularly performs her self-penned tracks at venues around the UK. Her unique, edgy look and sound have led to recent coverage in The List, The Herald, the Daily Record and The Scotsman. Her own sound draws influence from respected acts such as The Rolling Stones,Tracy Chapman and The Killers. Sharon also modelled since age of 17 featuring in major newspapers, magazines and ad campaigns throughout the UK. In 2006 she was featured in the Guild of International Songwriters & Composer magazine after sending them her self-penned track ‘Too Late’ to be assessed by a leading panel of songwriters and A&R representatives – all cited the song as excellent and as a result, a follow up article was written stating that Sharon was a huge talent and one for the future.


From singing vocals for EMI, being a front runner for single of the week on BBC Radio 2 (The Kingfishers, ‘Make Me Sad’ in 2008) and recently working with a producer of Stephen Lironi’s calibre, Sharon has honed her craft over the past few years and will be one to watch for 2011. Look out for live dates! Band members: Greg Barnes (keys), John Carson (guitar), Paul Reece (guitar), Gordy Turner (drums).

(taken from a bio on Sharon's official site)

I've also tracked down footage of a great acoustic version of Make Me Sad which  recorded at the Scotia Bar in Glasgow, one of the oldest and most famous pubs in the city:-



The posting is good timing as I will tonight bump into Drew as we, along with a few hundred others, relive our youth and memories of the 80s at a Roddy Frame gig in Glasgow. I really can't wait....

But The review will be a wee while off as tomorrow at 6am I'm flying out of Glasgow for a few days. I've been invited to speak about my daytime job at a conference taking place in Rovinj, Croatia and I'm not back till the weekend. In the meantime, I will leave you all in the capable hands of my dear friend Mr John Greer who has penned a few guest pieces to entertain you over the coming days either side of the regular weekend features.

Happy Listening

Tuesday, October 11, 2011

THANKS FOR THE MEMORIES......


Many others will have commented elsewhere far more eloquently than I'm capable of.  Others will have dissected the career in a critical way and analysed them record-by-record arguing why the break-up has come a few years too late.  Me?  Well, I was just a fan who liked an awful lot of what they did, who enjoyed seeing them play live on stage and even on the so-called duff albums found one or two tracks worth holding onto.  And yet, for the first time in maybe 20 years , 2011 was the first time I never bought their latest LP within days of it being released.  It wasn't that I didn't like what little I heard of it on radio or music video stations just more I never quite got round to making the necessary effort.  And now that they've gone, I feel as if I maybe let the side down a bit.  But I'll make sure Collapse Into Now is on the list of stuff to come my way at Xmas.

One of the things I most liked about being a fan of R.E.M. was that they were the sort of band who got written about a lot and there's been some excellent books about their career - most notably It Crawled From The South by Marcus Gray as well as Adventures In Hi Fi by Rob Jovanovic and Tim Abbott (I don't know if I've mentioned it before but in addition to the vinyl and CD I've a reasonable sized collection of music biographies - I keep meaning to review some of them).  The books were a great way to learn so much more about probably the least American band to be so massive in their home country at the end of the 20th Century with their views on ecology, the economy and human rights seemingly at odds with the the political beliefs of those who governed for so long.

But of course it was the music that mattered most.  There are those who say they were never the same after leaving IRS after six critically acclaimed years and going to Warner Bros in 1988.  There are others who say the move to the major was essential to take them to the next level without which we wouldn't have gotten the smash-hit era of Out Of Time and Automatic For The People.  I'm happy to be counted in that camp....without embracing the majors it's more than likely that they would have stayed a cult act with moderate success (akin to the likes of The Go-Betweens with whom their sound had a lot in common).  The price to pay might have been arena and stadium tours and folk turning up just to hear Man On The Moon, Everybody Hurts and Losing My Religion and to hell with the rest of the set....but for a short while, R.E.M. were the most important and influential band on the planet and made indie-guitar music very important again.

I reckon we owe them a big thanks.  You might not like the fact that bands like Coldplay came along later on  to refine the stadium rock element and mostly turn our stomachs, but that's the music business.  And besides when someone else came along to satisfy the bosses's demands for arena shows, tunes to clap along and sing to (or even worse, hold up the lighters), then R.E.M. could move on to something new.

They have left with dignity and with their reputation unsullied by a drop in standards in the live arena.  And by the sounds of things, they're not prepared to go out there one last time and milk the applause one last time, not to mention grabbing the filthy lucre.  More credit to them.  But then again, they were always a class act in so  many ways.

mp3 : R.E.M. - Talk About The Passion
mp3 : R.E.M. - World Leader Pretend
mp3 : R.E.M. (featuring Chris Martin) - Man On The Moon (live)
mp3 : R.E.M. - Imitation Of Life

Enjoy the retirement chaps.

Monday, October 10, 2011

GIG REVIEW : BILL WELLS & AIDAN MOFFAT : PAISLEY ARTS CENTRE ; 7 OCTOBER 2011


The break-up of Arab Strap some five years ago was a sad day for Scottish music as it brought an end to one of the most innovative and entertaining acts of the late 20th and early 21st centuries.  It took me a couple of years to cotton on to the band - it was the Philophobia LP from 1998 that got me very interested.

What is hugely surprising but incredibly welcome is how the years since the break-up have seen some fantastic solo releases from both Aidan Moffat and Malcolm Middleton all of which have been quite different from the stuff with the old band.  I've mentioned Malky on umpteen occasions on TVV and always in glowing terms but haven't given as much praise to his old sidekick.  Time to redress that oversight...

There's a lot to like about the 2007 solo and largely spoken-word  LP I Can Hear Your Heart and likewise the 2009 recording How To Get To Heaven From Scotland with a band under the banner of Adrian Moffat & The Best Ofs.  But there's a huge amount to love about his latest LP released in collaboration with the jazz pianist Bell Wells.

Everything's Getting Older is an outstanding record.  Lyrically, it more than matches anything Aidan has released over the past 15 years since the early Strap recordings. For the most part they are short stories set in songs.  Musically, and I say this as someone who would normally run a million miles in the opposite direction than sit down with a jazz record, it is a joy to listen to - so it's not jazz as I understand it.  There are songs and tunes that will make you smile broadly and others that are as tear-jerkingly brilliant as classics such as I Know It's Over and Hallelujah.  There's even a song Nick Cave would tear what's left out of his hair to record with Grinderman.  There's philosophy and poetry in abundance all over the backing of some incredibly simple-sounding but hugely inventive piano playing, drumming, percussion and strings.  I bought the CD a few weeks after it came out and it has been on very heavy rotation since.  Indeed, I liked it so much I went out a wee while back and bought the more expensive deluxe triple vinyl set just for the extra tracks.

Last Friday, after a couple of false starts when I couldnt make earlier gigs, I finally got to see a full show live (I did see them perform a couple of songs at the Chemikal Underground 15th Anniversary bash back some 18 months ago but not a full set). Paisley Arts Centre is a lovely little venue with its raked seating giving great views no matter where you were (although the narrowness of the rows did cause my companion for the night the six foot and quite a bit tall cullen skink a fair bit of discomfort).

I wasn't disappointed.  The 70 minutes or so flew in as Bill and Aiden, backed by a three colleagues on trumpet, viola and double-bass entertained and entralled the 150-capacity.  Just about all of the current LP was played together with a cover version and some new stuff.  Set-list in full:-

Tasogare
Let's Stop Here
Ballad Of The Bastard
Dinner Time
A Short Song To The Moon
Cruel Summer
The Copper Top
(If You) Keep Me In Your Heart
Glasgow Jubilee
The Missing
The Sadness In Your Life Will Slowly Fade
The Greatest Story Ever Told

Encore:-

Man Of The Cloth
Box It Up
And So We Must Rest

Aidan told us that the band would normally feature a drummer but such was the intimate all-seated setting that they chose to stick simply to the percussion.  This meant that the songs very much relied on the double-bass for rhythm and beat and allowed much more of the piano, viola and Bill's extraordinary piano-playing to be fully appreciated.  Having said that, some of the more upbeat numbers, such as Glasgow Jubilee, lost something from the lack of drums, but the other quieter numbers, of which there are far more, certainly got even more of a lease of life in the live setting. And the version of the song offered up as an mp3 today was just majestic.

Particular highlights were the stunning and moving rendition of The Copper Top (that's the song I mentioned earlier as being worthy of Morrissey or Leonard Cohen), a startling rendition and re-invention of the Bananarama pop-smash so that it becomes a song of desolation, loneliness and misery and a bonkers and very extended version of A Short Song To The Moon in which the jazz trumpet makes you want to get out of your seat and grooooooove.  And the closing two songs of the main set followed by a very brave encore with two brand new songs which are as of the same high standards as the LP rounded off a hugely enjoyable and wonderful evening made all the better for being an audience which sat and listened to every single note without a bit of a chit-chat while the songs were being performed.  Bliss.

There's a UK and European Tour about to kick off.  If you live near any of these venues, get yourself along and into the company of a lyricist and raconteur who is getting better and better as he ages accompanied - not backed - by a set of incredibly talented musicians.

OCTOBER


Friday 14th: Edinburgh, Cabaret Voltaire
Saturday 15th: Aberdeen, Lemon Tree
Sunday 16th: Newcastle, Black Swan at Newcastle Arts Centre
Tuesday 18th: Manchester, Deaf Institute
Wednesday 19th: London, CArgo
Thursday 20th: Cardiff, SWN Festival
Friday 21st: Liverpool, The Kazimer
Thursday 27th: Copenhagen, Loppen
Friday 28th: Stockholm, Stacken (Nalen)
Saturday 29th: Oslo, Bla
Monday 31st: Berlin, Heimathafen


NOVEMBER:


Tuesday 1st: Frankfurt, Brotfabrik
Wednesday 2nd: Brussels, Botanique / Rotonde
Thursday 3rd: Amsterdam, Vondelkerk
Friday 4th: Paris, Fleche D’Or
Monday 7th: Rome, Circolo degli Artisti
Chiesa di Sant’Ambrogio
Thursday 10th: Barcelona, Razamatazz 3
Saturday 12th: Zurich, El Lokal

17th October also sees the release of the afore-mentioned Cruel Summer on an EP together with three new songs, including those performed during the stunning encore.

Now here's a thing of real beauty.......

mp3 : Bill Wells & Aidan Moffat - The Greatest Story Ever Told

Happy Listening