Euros Childs and Teenage Fanclub weekender

Usually, if I don't write a blog within a day or two of catching a live show, then the blog doesn't happen. My greatest regret is not writing a blog on Martha Reeves and the Vandellas playing BAaD back in August 2021. Not only was it an incredible show by a living legend, my sister Carla got backstage afterwards and sang with Martha! Sadly this incredible moment wasn't captured on camera and I had left after the gig so I missed it! But any time I hear Martha, I think of this. 

Anyway ... point being, this is just a short blog to belatedly document a lovely weekend of live music! Euros Childs in the tiny Hug and Pint on Friday and then Teenage Fanclub (with Euros on keys) in the gigantic Hydro on Sunday!

The Hug & Pint, on Great Western Road, is a small but beautiful bar/restaurant upstairs and basement venue downstairs that has live music on almost every night of the year. Run by 432 presents and named after an Arab Strap album, the venue promotes and hosts and eclectic melting pot of music. 

Euros Childs certainly have us an eclectic melting pot of a set on Friday night! Do you know what? This was probably my gig of the year. I was probably only aware of 2-3 songs in the set, but every song blew me away; personal and inventive lyrics, amazing melodies - sometimes loads of them in just one song, bridges, hooks, choruses, humour and a cracking band that could veer off on delicious tangents.

Stuntman opened the set, One Shoe was an early highlight, especially for one fan in front of me! At times Euros set was garage pop, other times psychedelia with a touch of electronica, while at others it was really beautiful ballads with sublime strings.

Euros is an energetic and entertaining front man, fizzing with energy, giving it 110%, total belief in his talent, his band and his songs. Everyone was captivated.

The middle of the set saw Euros and co perform a 20-minute song (I'm afraid I didn't catch the name) that continuously veered off on multiple tangents. There were mentions of orange skies and sunshine, I was spellbound and I am going to track this song down!

Spanish Dance Troupe by Euros' old band Gorkys Zyngotic Mynci was sublime, the strings, the harmonies, the melodies - just gorgeous. As an encore, Euros and co played his song Virgin Moon. This was stoned songwriting genius, a tale of Richard Branson owning the moon, what that meant, who went there ... barmy, bonkers and utterly brilliant. Melodies to die for.  

I am going to enjoy digging back into Euros extensive back catalogue over the coming months and wish I had explored it before now.

Then on Sunday night I headed back into Glasgow to see Teenage Fanclub supporting Vampire Weekend at the Hydro. I have to be honest and say that I was only going for the Fanclub. Vampire Weekend aren't really my thing. I caught them at the Barrowland when their first album came out, bought their second and then I don't think I have listened to them since. Very talented musicians, they just don't get me going.

Thankfully my brother sorted me with a pass, so I could add the Hydro to the extensive list of Glasgow venues that I have seen Teenage Fanclub play in. Not only that, my friend Lorna and I were in a box, centre stage and with access to a bar. Amazing!

Teenage Fanclub played a short set from 7.30-8pm and the vast majority of the crowd had arrived in time to see them. It was quite something to gaze out across thousands of heads to see Norman, Raymond, Dave, Euros and Francis on stage. There were no big screens, but we could still tell from our distance that Norman was beaming due to the way he moved and held his guitar.

I Can't Find My Way Home eased the band in, before they ramped it up a few notches with Start Again, About You and What You Do To Me. Raymond's wah-wah pedal sounded sensational on It's A Bad World before the vast Hydro (with top sections curtained off) was treated to the delight of a full length version of The Concept and a closing blast of Everything Flows.

The band were in good form and I look forward to finding out what they'll be up to in 2025. A run of August dates might hint at the release of a single ahead of a new album? Expect a Scottish date(s) to be announced in the near future.

I Am A Rock

 

I was quite moved by a recent article in The Guardian where Art Garfunkel talked of meeting up with Paul Simon for the first time in 'many years' when the duo came together for lunch. There were hugs, tears and the promise to meet up again. 'Will Paul bring his guitar? Who knows? For me, it was about wanting to make amends before it's too late.'

Simon and Garfunkel are both age 83 and their tense relationship has simmered pretty much from the off, yet they recorded 5 albums between 1964 and 1970, including Sounds of Silence (1966) and Bridge Over Troubled Water (1970).

Even post-split and barely speaking (3-times a year) the duo would still get together to perform, most famously at a free concert in Central Park in 1981. That live album is incredible, you can feel the chemistry onstage and the appreciation of the audience in their response. 

It's not been easy, there has been lots of sniping in interviews and when the duo have met up. While being inducted to the Rock and Roll Hall of Fame in 1990, Garfunkel thanked Simon, calling him 'the person who most enriched my life by putting those songs through me.' Simon responded; 'Arthur and I agree about almost nothing. But it's true, I have enriched his life quite a bit!' The duo performed 3 songs and then left without speaking! Thankfully things thawed and the duo played a hugely successful tour in 2003-2004. There hasn't been too much to speak of since then.

After reading The Guardian article I thought of one of my favourite (possibly my number 1) Simon and Garfunkel song - I Am A Rock, the closing song on their Sounds of Silence album. God, they really have been a couple of rocks, stubbornly refusing to communicate with each other!

Thankfully, as both are aged 83, they have made up before it is too late.

The battered Sounds of Silence LP that I own was originally my Mums. I often think back to simpler times when owning a physical album or single was the only way to hear a song. My parents didn't have a huge collection, but The Stones, Simon and Garfunkel, Marvin and Tammi, Jose Feliciano and Sam Cooke were there. They must have had more when they were younger and got rid of them. I'll need to ask my Mum!

But back to the song!

Paul Simon wrote and recorded the song in 1965 on his debut solo album The Paul Simon Songbook. It's just Paul and his acoustic guitar. It's quite a raw recording, Simon strumming gently, finger picking, then hammering on his guitar at times, up close to the mic ... it's pretty cool. The lyrics are vivid and exceptionally open and honest.

A winters day

In a deep and dark December

I am alone

Gazing from my window to the streets below

On a freshly fallen silent shroud of snow

I am a rock

I am an island

I've only just discovered The Paul Simon Songbook album and it's incredible. A couple of the songs had been released the previous year on the debut Simon and Garfunkel album Wednesday Morning 3am. All but two of the remaining song would be re-recorded by the duo, including The Sound of Silence and April Come She Will.

The following year, Simon and Garfunkel re-recorded the song. The structure and melody are the same, but this time there is a full band and the glorious Paul and Art harmonies. There is a greater urgency to the song and I've never appreciated the glorious hammond organ throughout the song.

I have my books

And my poetry to protect me

I am shielded in my armour

Hiding in my room, safe within my womb

I touch no-one and no-one touches me

I am a rock, I am an island

And a rock feels no pain

And an island never cries

So many incredible 60's songs were bang on the 3-minute mark. This is another. It's quite remarkable what you can do within that time. With I Am A Rock, Paul Simon pours his heart out to express, isolation, loneliness and emotional self-protection.

I have  no need for friendship

Friendship causes pain

It's laughter and it's loving I disdain

I am a rock

I am an island

And a rock can feel no pain

And an island never cries

Both versions of I Am A Rock are added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE 

Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton

1A. Crimson and Clover by Tommy James and the Shondells

2. I Am, I Said  by Neil Diamond

3. Where's The Playground Susie?   by Glen Campbell

4. If You Could Read My Mind by Gordon Lighfoot

5. Gimme Some Truth by John Lennon

6. Gone With The Wind Is My Love by Rita and the Tiaras

7. In The Year 2525 by Zager and Evans

8. The Music Box by Ruth Copeland

9. The Ship Song by Nick Cave

10. Sometimes by James

11. I Walk The Earth by King Biscuit Time

12. Didn't Know What I Was In For by Better Oblivion Community Centre

13. When My Boy Walks Down The Street by The Magnetic Fields

14. The Man Don't Give A F**k by Super Furry Animals

15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser

16. Are You Lookin' by The Tymes

17. A Real Hero by College & Electric Youth

18. Feelings Gone by Callum Easter

19. Sunday Morning by The Velvet Underground

20. Did I Say by Teenage Fanclub

21. Don't Look Back by Teenage Fanclub

22. Your Love Is The Place Where I Come From by Teenage Fanclub

23. Belfast by Orbital

24. Clouds by The Jayhawks

25. Dreaming Of You by The Coral

26. Everlasting Love by Love Affair

27. Walk Away Renee by The Left Banke

28. Teenage Kicks by The Undertones

29. Shaky Ground by Sneeze

29. Rill Rill by Sleigh Bells

30. I Can Feel Your Love by Felice Taylor

31. The State We're In by The Chemical Brothers w/ Beth Orton

32. Sunshine After The Rain by Ellie Greenwich

33. Losing My Edge by LCD Soundsystem

34. Mondo 77 by Looper

35. Les Fleurs by Minnie Riperton

36. Rat Trap by The Boomtown Rats

37. How High by The Charlatans

38. I Can't Let Go by Evie Sands

39. Pop Song 89 by R.E.M.

40. Summertime Clothes by Animal Collective

41. There She Goes by The Las

42. We're Going To Be Friends by White Stripes

43. Autumn Sweater by Yo La Tengo

44. Sister Rena by Lomond Campbell

45. Revolution by The Beatles

46. Lazarus by The Boo Radleys

47. Wrote For Luck by Happy Mondays

48. American Trilogy by The Delgados

49. Loser by Beck 

50. Silent Sigh by Badly Drawn Boy

51. Comedy by Shack

52. Take The Skinheads Bowling by Camper Van Beethoven

53. Freakscene by Dinosaur Jr

54. Thank You For Being You by The Pastels

55. I Think I'm In Love by Spiritualized

56. Chestnut Mare by The Byrds

57. Cannonball by The Breeders

58. Like A Rolling Stone by Bob Dylan

59. You Make Me Weak At The Knees by Electrelane

60. Lucky by Radiohead

61. Strange Currencies by R.E.M.

61. I Am The Cosmos by Chris Bell

62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir

63. Nothing But A Heartache by The Flirtations

64. Made of Stone by The Stone Roses

65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry

66. Anything by Adrianne Lenker

67. I Hold Something In My Hand by Bill Ryder-Jones

68. I Meant Every Word by Burnett Sisters

69. Dream Baby Dream by Suicide

70. Stove by The Lemonheads

71. Red Lady by Phil Cordell

72. Little Fluffy Clouds by The Orb

73. I Can Do It With A Broken Heart by Taylor Swift

74. Turnin' My Heartbeat Up by The M.V.P.'s

75. Razzle Dazzle Rose by Camera Obscura

76. Such Great Heights by The Postal Service

77. The Rat by The Walkmen

78. My God Has A Telephone by Aaron Frazer

79. Unfinished Sympathy by Massive Attack

80. Sweet and Tender Romance by The McKinleys

81. Hoppipolla by Sigur Ros

82. 69 Police by David Holmes

83. Hey Lisa by David Holmes

Nile Rodgers at the Barrowland Ballroom

I'm still basking in the afterglow of seeing Nile Rodgers and CHIC at the Barrowland Ballroom! A phrase and tantalising thought that will bring smiles to the faces of anyone fortunate enough to have been there for years to come.

My wife, friends and I snapped up tickets immediately upon release, super excited by the prospect of this legendary hit maker and his crack band playing the best venue in the world.

We were not disappointed!

What an honour it was to see a master of songwriting, arrangements, guitar playing and production up close and personal. 

I should also name Nile's current line-up of CHIC; Jerry Barnes on bass who delighted the crowd with his exceptional and energetic style, Ralph Rolle on drums - he brought the funk, Kimberly Davis and Audrey Martells on exquisite and sublime vocals, Russell Graham and Richard Hiltons on keyboards and Brandon Wright, Steve Jankowski and Ken Gioffre on horns.

These are good times

Leave your cares behind

This was 105-minutes of pure escapism, much needed from a world troubled by climate change, wars and conflict and right wing politics, with the cost of living crisis and housing emergencies impacting many.

Nile and CHIC lifted the crowd from the off with an outrageous opening medley of Le Freak, Everybody Dance and Dance, Dance, Dance (Yowsah, Yowsah, Yowsah). They were just getting started! Band and audience were definitely warmed up and raring to go.

More hits? Nile's got 'em!

I Want You Love was dreamy, beautiful and seductive. Kimberly Davis treated us to some truly sensational vocals afterwards, Nile looked on with a beam. What a gorgeous smile this guy has! 

With so many songs to get through, Nile and CHIC merged some together. We had I'm Coming Out and Upside Down by Diana Ross from her 1980 album Diana, written and produced by Nile and Bernard Edwards, the friends who co-founded CHIC. Two slices of impeccable pop; hooks, grooves and super cool.

More?

We then had He's The Greatest Dancer and We Are Family from the Sister Sledge album of the same name that Nile and Bernard wrote and produced in 1989. Utterly brilliant disco pop. 

What else did Nile get up to?

Oh yeah, he produced Madonna's Like A Virgin album in 1984. Nile told us how he wanted Material Girl to be the lead single as he could imagine everyone calling Madonna 'the material girl'. Madonna told him it was going to be Like A Virgin. So Nile played both! The crowd went nuts.

The year before, Nile produced a Bowie album and so we had a joyful blast through Modern Love. Nile then brought us into present times with CUFF IT by Beyonce and Get Lucky and Lose Yourself to Dance by Daft Punk. A career overview was being played out before our eyes.

Lost In Music was outstanding. Everyone in the Barrowland was lost in music, the structure, arrangement and feeling of that Sister Sledge song is utterly perfect. Notorious by Duran Duran was very popular with girls and women around me, then we had the sublime Thinking Of You - sheer perfection.

Phew, Nile and CHIC kept going, Jerry Barnes on bass was co-frontman with Nile, delighting the crowd with his facial expressions and incredible riffs. Meanwhile Kimberley and Audrey on lead vocals were absolutely exquisite. Their voices were like angels.

Drummer Ralf Rolle then led the band through an extended jam called Maximum Funkocity which was superb, great fun. There was a call and response section with the crowd, hand were in the air, hand were waved ... amazing.

My Feet Dancing, Chic Cheer/Love Like This, My Forbidden Lover was a glorious run of CHIC songs before the place went truly nuts for Bowie's Let's Dance.

We were all having a good time, so there was only one way to end it. And that was with the monumental hit Good Times, with a nice segue into Rapper's Delight. 

The Barrowland roar of appreciation was as loud as I have ever heard, so there was an encore of the full length Le Freak to send everyone home deliriously happy. What a night!

Confidence Man at the Barrowland

Sugar high!

Janet Planet on the shoulders of Sugar Bones

I have no idea how many times I've attended gigs at the famous Glasgow Barrowland since I first climbed the steps to the Ballroom back in 1993, 31-years ago! I am fortunate to hold so many incredible memories of singing, dancing, sweating, bouncing and being part of a community in such a wonderful venue. In the words of the late Maxi Jazz 'this is my church'.

Over those years I've witnessed some wild nights, when the famous sprung dancefloor has been tested to the limit by 2,000 people dancing, jumping, grooving, bouncing and pogo-ing to the likes of Basement Jaxx, Underworld, LCD Soundsystem, Primal Scream, The Charlatans and Oasis.

Lately, I've found the Barrowland to be a little more chilled. A 2024 audience has seemed more content to watch, film on phones and be polite and not bump into others.

That changed on Sunday night with a joyful, euphoric and theatrical performance by Confidence Man who came to town to celebrate their new album 3AM (LA LA LA). They sure know how to host and start a party!

Confidence Man came to my attention a number of years ago as they brought their first LP, Confident Music for Confident People, out on Heavenly Recordings. I always take an interest in what Heavenly release, they have impeccable taste and a knack for picking up on cool bands.

Greg Wilson got his hands on their Out The Window single and I fell head over heels for his remix. The late great Andrew Weatherall also heard something in that song and sprinkled some magic in a remix, also taking on Bubblegum.

I meant to go and see Confidence Man at Saint Luke's a couple of years back and was gutted that I didn't go after reports indicated they had lifted the roof off the place.

Then, in late June this year, we sat down as a family to watch Glastonbury and happened to catch Confidence Man play an absolutely blinding set. I immediately checked their tour dates and bought tickets for the Barrowland.

What a night!

Confidence Man, who are fronted by the highly energetic Janet Planet and Sugar Bones with Reggie Goodchild and Clarence McGuffie on production duties, blew everyone away.

Their set was pure pop, theatre, dance, like a festival, like a club ... generating an energy from the crowd that I haven't seen in many a year. People were going crazy, the Barrowland was bouncing!

Costume changes, dance routines, cheesey poses, cheeky smiles ... I'm not going to lie, I now have a total crush on Janet Planet! And I suspect my wife has one on Sugar Bones! 

They were on it from the off with the sublime electro pop of Now U Do, bounding from one side of the stage to the other, straight into Does It Make You Feel Good? The answer, was YEAH!

Confidence Man songs are sexy, funny, cool and UPBEAT with a capital U P B E A T! All My People tells the tale of someone with a toy boy. There is a great lyric - they say there's 7 wonders but my toy boy makes it 8. And hooks galore including;

With a face like that, there's no conversation

With an ass like that, there's no hesitation

C.O.O.L Party is full of funky bass and beats with Janet Planet talking about a cool party, leading to a huge fun chorus that they literally spell out. 

We moved from pop to a real club atmosphere for BREAKBEAT, BREAK IT DOWN (ON THE BASSLINE), SICKO and the glorious Boyfriend (Repeat).

My boyfriend wants to talk

My boyfriend talks too much

The Barrowland crowd were lapping it up. Everyone was pushing to get on the dancefloor and it was JUMPING! Janet and Sugar were absolutely on it, relentless with their energy and dancing, projecting it out to the audience who responded wholeheartedly.

A closing blast of SO WHAT and Holiday was incredible. If the Scottish Government are interested in green energy then they should hook up to the Barrowland dancefloor the next time Confidence Man are back in town!

The encore was the title track of their latest album 3AM (LA LA LA) and that was it. 75-minutes of electro pop club perfection. 2 pop stars taking us on a merry dance of hooks, synths, bass and beats.

I do hope Confidence Man return to the Barrowland for a couple of nights next year. It is the perfect venue for them and they are the perfect hosts for a Barrowland party!

Unfinished Monkey Business

 

Recently, while snuggled up in bed with Lemsip and a cold, I decided to revisit Ian Brown's debut solo album,Unfinished Monkey Business, for the first time in ... a long time. I'd forgotten about its charmful lofi, D.I.Y vibe and soul. It certainly helped my cold!

Self financed and produced on an 8-track studio in Brown's flat, Unfinished Monkey Business was in complete contrast to the years and hundreds of thousands of pounds (possibly as much as £1 million) spent recording The Second Coming with The Stone Roses.

The Roses ended up a complete mess in the end. Brown and Squire, who formed the band and who had first met in a sandpit in nursery, fell out publicly and bitterly. 

In a statement released on April Fools Day in 1996, there was nothing funny about Squire announcing his departure, saying it was; "the inevitable conclusion to the gradual social and musical separation that we have undergone in the past few years."

Undeterred, Brown and Main recruited, Aziz Ibrahim, a former Simply Red guitarist, to replace Squire and soldiered on for a further 6-months. Their Reading Festival performance saw long term fans leave the site in tears. What was left of The Roses was officially dissolved in October 96.

Squire was quick to move on, forming The Seahorses, an anagram for He Hates Roses (also The Roses Ashes) and beginning to rehearse with them as early as the summer of 96, while his former band were still going. 

The Seahorses disintegrated after just one album and a stand alone single, with Squire later reflecting; "I thought 'This sounds shit, we don't deserve to be in this place.' The band sounded complacent. I don't suppose it was anyone's fault. Maybe it got far too much attention for very little effort in the early stages, because of what I'd done in the past."

It's a fair and accurate reflection.

Meanwhile, Brown's name would occasionally pop up in the NME or Melody Maker news pages with one rumour stating that he was going to work as a gardener. 

However, after a short break, Brown was back writing and creating. And his material was much more interesting and inventive than Squire's post Roses work.

My Star was Brown's debut single to launch his solo career in January 1998, with lyrics about space exploration, NASA corrupters, military missions to Mars and the brilliant;

Never seeking new life, only planning war

Brown's voice is quite distorted, there has been no attempt to polish it up and the song gets better as it develops. Aziz Ibrahim on psychedelic guitar (also with a co-writing credit) is fizzing and fantastic and the I'll see you in my star hook is hammered home. I haven't listened to My Star in ages and I have to say that it has aged well, in a different way to Ian's work with The Roses. The lo-fi dreamy psychedelia charm, the lyrics, the hook ... there is just something about it.

The video was typically psychedelic, with Brown wandering round a futuristic home, eating pills and appearing in front of some Pollock artwork on a few occasions. Brown also appeared on Top of the Pops with a band including someone playing percussion on boxes of eggs. Later in the performance Ian threw some eggs at his own image.

My Star - Top of the Pops

On to the album, which opens with Intro Under The Paving Stones The Beach, all Ian's own work. Drum samples, toy guitar, the title spoken by Ian's son. It's essentially a sound collage; the beats, church bells chiming, some Indian sitar sounds, leading into the aforementioned My Star.

Brown calls upon his mate Mani for inspiration with Can't See Me. Brown found an old tape of a bass demo by Mani with a breakbeat sample (some reports indicated Reni played along with it) and asked him if he could use it. One of his old mates also inspired the lyrics, with Brown allegedly writing them after waving to Squire when he saw him across a street and John pretended he didn't see him.

Lyrics about Squire are sprinkled liberally through the album and Brown doesn't hold back. Over the cool bass groove (what other gems are hidden on old Second Coming rehearsal tapes?!) Brown sings;

The man used to fly, he used to fly easy

Now he can't see me

Earlier in the song there is the lyric he needs a dealer, as a healer, and that's not the only reference to Squire's (self admitted) fondness for cocaine at that time.

Can't See Me - video

The Roses actually played Ice Cold Cube at their infamous last stand at the Reading Festival. This version is really brashy, Aziz's guitar is murky and blurred in the background, occasionally coming to the fore. It's a dark song, not (in my opinion) of Roses quality. I feel quite sad hearing it back. 

I suggest you think again my friend, love is a circle with no end

A message given heaven sent, I've seen you cause your own descent

I always loved Sunshine and still think back fondly to seeing Ian singing it in a tent at T in the Park. Ian' voice was really on it that day. I think Sunshine is rather beautiful, on the album it's just Brown and his acoustic, beautifully and gloriously a little out of tune. 

Then we have the near 7-minute rough gem of Lions and Ian singing with the late Denise Johnson. The drums are primitive, a bass kicks in at one point then drops out, a synth appears and is turned up loud, there is guitar, all kinds of effects, things pretty much fall apart and then Johnson repeatedly sing.

There are no lions in England, there are no lions in England

There are no lions in England, no, no, no

My friend Reddy and I loved this song, released 2-years after Three Lions (Football's Coming Home). Lions is rough, raw and soulful when you're in the mood. It can also be a difficult listen to get through it all. 

Corpses In Her Mouth was the second single lifted from the album, reaching a respectable 14 in the UK charts after the high placing My Star which got to the heady heights of number 5. For me, this is one of Ian's best solo singles and it kicks off the best run of songs on the album. The beats are cool, the guitar shimmers, there is plenty of space for the vocal melody and the lyrics are kinda beautifully weird.

What Happened To Ya Part 1 is deliciously ragged. Over an acoustic groove, Brown sounds confident and assured as he reflects on the Roses and Squire

You'll walk on water if they told you they like

There's just one problem, you just missed the tide

What happened to ya? Did you change your mind?

What happened to ya? We were one of a kind

Part 2 then kicks in and immediately veers off into a different full band groove, pure Roses territory - One Love mixed with a dash of The Second Coming, with Brown whispering menacingly at the start;

They got to ya, they got to ya, OK, OK, cocaine, cocaine

Aziz Ibrahim is in stunning form on guitar as Brown repeats the chorus of part 1 as his band groove on. This is as sublime a groove as King Monkey has ever been involved with.

Nah Nah is more Brown reflections, Ibrahim riffing gently over and acoustic groove. Deep Pile Dreams is pure Ian Brown, a slow stone groove. It's all Brown; playing bass over drum beats, a simple keyboard riff and a strong vocal melody.

The closing title track is Brown jamming on a keyboard over beats.

I enjoyed Unfinished Monkey Business when it came out and I've enjoyed revisiting it all these years down the line. It's honest and pure, lofi and 

God Only Knows

Cover version of the month #102
Betty Everett covers The Beach Boys God Only Knows

It was The Avalanches that alerted me to this cover version of God Only Knows. A couple of years ago they posted a video of them playing this impeccable 7-inch single.

Many artists have covered this truly special song; Neil Diamond, Taylor Swift, David Bowie and Glen Campbell to name four. But I'm going to focus on this gem of a version by Everett.

Recorded and produced over March & April 1966, God Only Knows was a landmark recording for The Beach Boys. Brian Wilson wasn't just pushing boundaries, he was blasting them away, bringing in 20 session musicians to play clarinet, flutes, strings, French horns, upright bass, sleigh bells ... 

For reference, The Beach Boys previous album, Beach Boys Party released in November 1965, consisted mostly of cover versions. Wilson, only 23, decided to shoot for the stars and beyond with his next recordings.

The reason Wilson was determined to reach higher than ever before was because his mind had been blown by The Beatles Rubber Soul album. Copious amounts of marijuana helped as well! Nothing was off limits, including referencing God, not only in the song, but in the title. 

You can listen to a great deal of the God Only Knows (and Pet Sounds) recording sessions online. Wilson is in his element, conducting, cajoling, energising, encouraging ... there are hours and hours to dig into.

Brian Wilson - genius at work

Remarkably, God Only Knows was released just a month after completion, as part of the momentous Pet Sounds album. In a pre-internet age, this was an album spoken of in hushed and revered tones and it wasn't exactly easy to buy for a while. It's an incredible piece of work, the songwriting, singing, harmonies, production, musicianship, arrangements ... everything is just perfect. 

Carl Wilson takes on lead vocals, delivering an exceptional performance that plays on listeners heart strings in addition to the strings on the song. God Only Knows is only 2 verses, it's only 3-minutes long ... yet it says so much, it makes you feel so much, it's an outpouring of love in a way that love had never been portrayed before in popular music - lyrically and musically.

I may not always love you

But long as there are stars above you

You never need to doubt it

I'll make you so sure about it

God only knows what I'd be without you

If you should ever leave me

Well life would still go on believe me

The world could show nothing to me

So what good would living do me?

God only knows what I'd be without you

The verses are delivered in just over a minute. Brian Wilson then takes listeners on a magic carpet ride through the clouds, coming back to the second verse, then falling to almost nothing at 2-minutes before layering everything back up again.

Betty Everett's version was released in 1975 and you can immediately see why The Avalanches fell for it ... it is very Avalanche-y! The horns, the little twists and tweaks on the melody, the dreamy quality of the production, the heavenly backing vocals and the sublime arrangement. The vocals are simply stunning, the musicanship and production is absolutely first class. It's impeccable, gorgeous.

The instrumental from 2-minutes flows and floats, before Everett and her backing singers come back in to take the song to conclusion, driving things for a wonderful 48-second outro, their voices dovetailing over the top of each other.

God only knows, what I'd be with out you

God only knows, baby

(God only knows) God only knows, (what I'd be without you)

The Beach Boys masterpiece and the sublime Betty Everett cover version of God Only Knows are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE

Previous covers of the month blogs

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt

14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine

16. California Soul

18. Wonder wall 

19. Dancing In The Dark

20. Always On My Mind

21. Ceremony

22. Heroes

23. Different Drum

24. Wild Horses

25. Respect

26. Mr Tambourine Man

27. I Heard It Through The Grapevine

28. Superstar

29. Twist and Shout

30. Purple Rain

31. Baker Street

32. Not Fade Away

33. Stop Your Sobbing

34. I Don't Want To Grow Up

35. Serious Drugs

36. Dancing With Myself

37. How Does It Feel To Feel?

38. Love Buzz

39. ABBA-esque
40. Jumpin' Jack Flash

41. Discoland

42. Varshons 2 by The Lemonheads

43. The Langley Schools Music Project
44. Witchi Tai To
45. Our Lips Are Sealed
46. Sunshine Of Your Love
47. Here Comes The Sun
48. I Think We're Alone Now
49. Don't Let Me Down 
50. It's Oh So Quiet
51. Alcoholiday 
52. Summer Holiday
53. Who Do You Think You Are?
54. Head On
55. Nothing Compares 2 U

56. Hey Jude

57. Seven Days Too Long

58. L.O.V.E Love

59. Into Your Arms

60. Heart Of Glass

61. Take Me To The River

62. We Can Work It Out 

63. Talking In My Sleep

64. Lola

65. Lost In Music

66. My Little Red Book

67. Isn't It A Pity

68. Walk On By

69. Walk Away Renee

70. Tainted Love

71. Girls Just Wanna Have Fun

72. Listen The Snow Is Falling

73. Mrs Robinson

74. He's Gonna Step On You Again

75. In My Life

76. Caravan Of Love

77. The Only Way Is Up

78. Dancin' Round & Round

79. With A Little Help From My Friends

80. Killing Me Softly

81. Ain't No Mountain High Enough

82. Drop

83. Sittin' On The Dock Of The Bay

84. Sympathy For The Devil

85. I Bet That You Look Good On The Dancefloor

86. Love Will Tear Us Apart

87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire

88. Can't Take My Eyes Off Of You

89. Love The One You're With

90. Cum On Feel The Noize

91. Addicted To Love

92. Valerie

93. Ride On Time

94. Let's Dance

95. It Must Be Love

96. I Fought The Law

97. For What It's Worth

98. Do Your Thing

99. I Just Don't Know What To Do With Myself

100. Don't Leave Me This Way

101. Shout!

Brilliant debut singles part 4

Welcome to part 4 of my new semi-regular/ongoing feature on brilliant debut singles. When bands/artists appear perfectly formed with a song that is utterly brilliant!

Sometimes, this might be with a song that they didn't write! Is that cheating?! Well, no, not if they transform the song and make it their own. Saint Etienne certainly did that with their sublime cover of Neil Young's Only Love Can Break Your Heart that is included in this blog. 

I'm also pretty sure that I'll be writing about The Byrds Mr Tambourine Man and the likes of Hey Joe by the Jimi Hendrix Experience in future blogs.

Part 4 (below) features Arab Strap, The House of Love, McAlmont &  Butler, The Left Banke and Saint Etienne.

I've started a Spotify playlist HERE

Part 1 featured; The Doors, The Undertones, Pet Shop Boys, Stardust and Tracy Chapman

Part 2 featured; Booker T & The MG's, The Jackson 5, Kate Bush, Radiohead and The Sex Pistols

Part 3 featured; Teenage Fanclub, LCD Soundsystem, Boston, The Box Tops and Depeche Mode.

16. First Big Weekend by Arab Strap

Funny, emotive, original, soulful and beautifully authentic, Arab Strap's First Big Weekend documents a mid-90's weekend absolutely perfectly. It could easily have been written about me and my mates!

Aidan Moffat begins his tale over raw and sparse acoustic guitar. Like many of my own 90's weekends, Aidan's started on a Thursday. Moffat's was with a quiz where he approached an ex-girlfriends new boyfriend to say there is no issue as far as he is concerned ... he shouldn't have bothered.

Then on Friday night we went through to The Arches

A programmed (basic) drum beat kicks in and Malcolm Middleton then finds a guitar riff and some synth sounds fall in behind. Moffat then continues his tale; the travel through, skipping the queue, dancing, the aftermath, trying to keep going, falling asleep, missing the Scotland v England game, going out again, watching The Simpsons, going out to the pub on Sunday night, meeting up again on Monday night ....

Went out for the weekend and it lasted forever

High with our friends it's officially summer

First Big Weekend was like nothing my friends and I had ever heard before. It was (and is) raw, real, exciting and true.

17. Shine On by The House of Love

With shimmering psychedelic guitars and an incredible chorus that is beautifully simple, Shine On is the defining song of The House of Love. 

The piercing guitar riff that introduces the song is infectious, the burst of acoustic rhythm under a short electric guitar at the end of the first verse is glorious. Later on the middle eight leads to a sensational guitar solo by Terry Bickers who was widely considered to be the best guitarist around on the independent scene in the aftermath of The Smiths and pre-Roses.

Originally released back in 1987 on Creation Records, the song failed to reach the top 100.  A new version was released in 1990 and got to number 20 in the charts - the bands biggest hit.

The band, led by Guy Chadwick and with Terry Bickers on guitar, were making a mark. Alan McGee became their manager and was determined to get them a major record deal. This episode is reflected on in glorious detail in the legendary book My Magpie Eyes Are Hungry For The Prize up among the best music books I have ever read.

Chadwick was desperate for a major record deal and a lump sum of money to buy a house, he has lied about his age and is going a little crazy with ecstasy and LSD, while Bickers is having a mental breakdown on tour, while McGee is holed up in plush London hotels conducting interviews with prospective labels. It's a funny yet harrowing read. 

The band definitely had something, but never captured the excitement of early recordings after Fontana (who they signed with) ordered multiple re-recordings and remixes in search of 'a hit'.

Listening back to the song, I've never really focused on the lyrics in the verses before! They are quite abstract, I guess it's always been about the guitars and the chorus for me.  

She, she, she, she, shine on

She, she, she, shine on

She, she, she, shine on

18. Yes by McAlmont & Butler

Bernard Butler went quiet after leaving Suede, following a meteoric 3-years encompassing 4 brilliant singles, a landmark debut album and the stand alone single Stay Together. Perhaps, given the ferocious pace they worked at, it was understandable.

There were rumours abound that Butler was going to join other bands, but he surfaced with Yes and a partnership with singer David McAlmont. The two met in the Jazz Cafe in Camden and Butler was soon playing his new friend his first positive piece of music since leaving Suede.

And oh how positive it is, McAlmont wrote a verse but couldn't come up with a second, so Butler just told him to repeat the first with the duo hoping to commit something that could be held up as a classic single like those they loved from the 60's.McAlmont's lyrics match the positive surge of Butler's music. The strings soar and instantly sound euphoric, Butler's guitar crashes and provides a constant rhythm throughout, while seemingly simultaneously chiming and riffing.

The lyrics could easily be McAlmont's interpretation of whatever Butler told him about leaving Suede. The title, the simple Yes, is pure positivity, Butler has recovered from the dark post Suede months, he does look better and he does feel alright.

David McAlmont's vocal is exceptional and after a quick 1st verse that sounds like McAlmont relaying a conversation they are into the sky scraping chorus. The about me, about me, about me line that McAlmont yelps out is the perfect bridge into the chorus. Then they do it again for good measure, only they take it even higher and it sounds even better.

Exceptional! Check the outrageous live performance on Later with Jools and the way Butler stomps, whirls and attacks his guitar. 

19. Walk Away Renee by The Left Banke

In just 2-minutes and 46 seconds, The Left Banke produce heart aching pop music of the highest, purest quality. Everything tugs on heart strings. At the age of just 18, Steve Martin Caro has no God given right to sound so beautifully heart broken, while the strings, harpsichord and flute are utterly perfect, giving a sense of maturity to this band of teenagers.

The poetic lyrics speak of empty sidewalks, where perhaps lovers once walked, of tears, of pain, rain, names in a heart drawn on the wall, of being haunted and of a realisation that the writer can't follow Renee, it's not to be.

Astounding, outstanding, magical. 

Walk Away Renee by The Left Banke

The Left Banke were teenagers when they wrote the Walk Away Renee by The Left Banke, especially when you consider that the band were teenagers at the time.

Released in July 1966, Walk Away Renee is one of a number of songs Brown wrote about Renee Fladen-Kamm, then the girlfriend of his friend and band mate, Tom Finn. Amazingly, Fladen-Kamm was at the recording of the single, Brown had to wait for her to leave in order to play his parts.

Remarkably, considering the depth and quality of this song, The Left Banke were all teenagers!

20. Only Love Can Break Your Heart by Saint Etienne

Saint Etienne (with Moira Lambert on vocals pre Sarah Cracknell) transform Neil Young's beautiful Only Love Can Break Your Heart - modernising it, taking it into the future, somehow making it even more timeless than the original.

Recorded in just 2-hours in a makeshift bedroom studio - Saint Etienne's version has a beautifully raw, unpolished quality and it remains a true gem that continues to captivate audiences to this day. It still sounds super fresh and exciting. 

 Saint Etienne take Neil Young's genius songwriting to new places - clubs! Ensuring that Only Love Can Break Your Heart fitted seamlessly in with the Acid House and ecstasy scene that was gripping the nation at the time of release in 1990.

I was always thinking of games that I was playing

Trying to make the best of my time

But only love can break your heart

Try to be sure right from the start

Yes only love can break your heart

What if your world should fall apart