Thursday, 12 June 2025

Anything Goes & Everything Flows 29 60-minute DJ mixes and playlists

I recently spent an evening scrolling through my Spotify playlists and realised that I had a few of my 60-minute Anything Goes & Everything Flows playlists uncompleted. I published the first one back in June 2021 and my 29th in January 2024. Then, for whatever reason, I stopped.

Anything Goes & Everything Flows is a series of playlists I created that were loosely based on imaginary DJ sets I would play in favourite pubs of mine, like McChuills on High Street or The Variety in Sauchiehall Street. Both pubs encourage DJ's with eclectic taste and knowledge to play music that spans a number of genres to soundtrack the incredible nights that take place in their bars.

While I'm rarely up in Sauchiehall Street these days (what a sorry state it is in!), I still get to McChuills semi-regularly and love the vibe and atmosphere that the DJ's help to create.

Looking back through the blogs and listening to some of the playlists, I realised how much fun I had creating them on an almost monthly basis. This was an excuse to dig deep into my own knowledge of music and also dive headlong into Spotify to discover all kinds of weird and wonderful music. 

Over the years I've DJ'd at weddings, for friends birthdays, in bars and put on my own nights. I love to DJ! Playing music to people and generating a reaction is a real buzz. Don't hesitate to get in touch if you need a DJ and like the music I blog about.

I'll always try to get people dancing, however these playlists/mixes go a little deeper, a little more left field, while still dropping in a well known crowd pleaser's from time to time.

Here are links to the first 29 Anything Goes & Everything Flows playlists/mixes that I published. Numbered and named after the first song in the mix.

Dig in and enjoy.

1 - Felony

2 - Inspector Norse

3 - Dream Baby Dream

4 - Happy

5 - Bentley's Gonna Sort You Out

6 - Didn't I

7 - Close To Me

8 - Hung Up On My Baby

9 - No Golden Throat

10 - Rock The Casbah

11 - I Heard Wonders (Andrew Weatherall tribute)

12 - I'm Chief Kamanawanalea (We're The Royal Macademia Nuts)

13 - Hope Is The Last Thing To Die

14 - Jazzie's Groove

15 - Rose Rouge

16 - What's Goin' On?

17 - Voices Inside (Everything Is Everything)

18 - Love's Theme

19 - Groove Holmes

20 - Afternoon of the Rhino

21 - Heaven Bound

22 - Caitlin's Theme

23 - The Feeling

24 - Beginning of the Heartbreak

25 - Don't You Want My Love

26 - Look Into My Eyes

27 - Embryonic Journey

28 - Let's Go Get Stoned

29 - Music



Monday, 9 June 2025

Waxahatchee at the Barrowland

2024's Tigers Blood LP was a real breakthrough for singer-songwriter Katie Crutchfield who has been releasing albums since 2012 as Waxahatchee. Americana, alt-country, indie ... call it what you will, it struck a chord and it has catapulted the singer and her band to a whole new audience.

Glasgow Barrowland Ballroom is always an appreciative audience and last night was no exception. I'm normally in to catch all, or most of, the support act, but have to confess to arriving at 8.40pm after watching the epic, enthralling and entertaining 5-set French Open final between Alcaraz and Sinner. Apologies to Merce Lemon who opened the show. However, the tennis was incredible and I was rooting for Alcaraz!

The lights went down at 9pm sharp and after a blast of Dolly Parton's Here I Am, Waxahatchee walked onstage to a warm welcome. The 6-piece band were straight into it, playing 3 Sisters, Evil Spawn and Ice Cold, the opening trilogy of songs on Tigers Blood.

While the Barrowland roar might not have been as mighty as it was for the recent run of Leftfield shows that had engineers out to check the bolts on the roof, it reverberated long after the last of those songs.

Crutchfield's voice is absolutely stunning and it is lifted higher when she harmonises with Eliana Athayde who also plays bass. Elsewhere we had Spencer Tweedy a super tight and loose drummer, Cole Bergen on keys/banjo/additional guitar, a lead guitarist (apologies for not catching his name) and Colin Kroom on rhythm/pedal steel. 

Kroom was absolutely sublime on the pedal steel, making it sing, soar, soothe and cry. What a gorgeous instrument and what an exceptional musician.

Problem With It from Crutchfield's Plains project with Jess Williamson was a standout. Super catchy, flowing easily and falling like a soft blanket over the Barrowland crowd. Right Back To It, which was absolutely stunning and possibly my favourite of the night, was dedicated to a couple in the crowd who had got married in the venue and chosen the song for their first dance.

Mud is another favourite Waxahatchee song of mine. It just has that natural American country flow to it. Hurricane, another from the Plains album, is also an absolute gem.

Crutchfield played guitar for most songs, while for others she danced merrily to the side of the stage or back towards her drummer. Her voice was super sweet and strong, soaring effortlessly when required, falling to a hush at others.

Tigers Blood closed the show, the band jamming on at the end, with Crutchfield walking out to the lip of the stage to raise her guitar to salute the crowd while continuing to play. 

A 3-song encore ended with a beautiful rendition of Fire. Crutchfield and Waxahatchee are in sensational form live and on record. Hopefully it won't be long before the release another album and head back to Glasgow.


Friday, 6 June 2025

Camera Obscura at Kelvingrove Bandstand

Wednesday 5th June saw me race from a work meeting in Edinburgh back home to Uddingston to ditch the car, get changed, grab some dinner and hop a train to the Exhibition Centre. No, I wasn't going to see Lionel Ritchie like most of the other people in my carriage, I was heading into the stunning Kelvingrove Bandstand for a triple mini-festival style indie bill - Camera Obscura with support from The Vaselines and The Cords.

The Cords were the reason for my dash. They were scheduled to go on at 7pm, but thankfully they came on at 7.20pm, just after I had got in and secured a nice pint of IPA. £7 a pint! Ouch!

It's been so pleasing and heartwarming to see how more experienced bands have taken The Cords (Eva and Grace) under their wing, recognising their talent, potential and unbridled enthusiasm. Support slots in Glasgow and on tour have ensured that the young teenagers are road ready and experienced, while their debut album is recorded, mixed, mastered and ready to be unleashed later this year. I can't wait to hear it.

The Cords from up the back

Kelvingrove Bandstand was already reasonably full for them coming on. Eva's naturally melodic voice over raw guitar and beats has a wonderful charm to it. The melodies seem to come naturally and they will have won even more fans from the Bandstand and from their dates in London, Leeds and Liverpool supporting Camera Obscura. 

Next up were a 6-piece Vaselines band with Stevie Jackson from Belle & Sebastian guesting on 3rd guitar. What a glorious racket they created! The Vaselines absolutely blitzed through their set and while I missed the usual banter between Eugene and Frances, I was enthralled by the rocky sound of Dying For It (The Blues), one of my favourites, like a garage nuggets pop punk tribute to Motown.

I'd like to give a special mention to two songs that I think get better with every year and every listen. Jesus Wants Me For A Sunbeam is a three chord gem. Seemingly so simple, but so deep and moving. Eugene and Frances singing together is such a beautiful sound and the three guitars crashed and collided beautifully.

The Vaselines

And then we have Son Of A Gun, fuzzed up to be more like the Nirvana cover version thanks to the three electric guitars. Is this the best chorus by a Scottish band ever? It felt like it last night. Teenage love and poetry. Beautifully pure.

The sun shines in my bedroom, when you play

And the rain it always starts, when you go away

The verse is also like a chorus, super catchy, Eugene singing over a primal beat, building and leading to Frances singing the chorus. I hope The Vaselines get some more dates in the diary soon. I think I'll venture through to Dunfermline to see them in August.

On to the headliners. I was beginning to regret only wearing a t-shirt and light cagoule by the time Camera Obscura took to the stage! The skies had turned from blue to grey and there was a chill in the air. 

Traceyanne Campbell's voice could warm the coldest of days. I spoke with Lou (Mum of The Cords) about how beautifully she harmonises with Donna Maciocia on keyboards, while at others I marvel that it is just Tracyanne singing alone. Somehow it sounds like she is harmonising. What a voice!


Camera Obscura wisely played a couple of their 'hits' early on to get people down the front. Let's Get Out Of This Country and The Sweetest Thing sounded glorious, despite the grey skies overhead beginning to empty on top of the crowd.

Campbell did make a little joke about the £50 ticket price; 'you must be our rich fans', and it was a fair point. The Bandstand should have been sold out for a triumphant homecoming with excellent support. I have no doubt that it would have been if the tickets had been around the £35 mark. 

A couple of miles west, Lionel Ritchie would have been belting out Dancing On The Ceiling, while at Kelvingrove some die hards down the front were dancing in the rain, determined to not let the mini downpour dampen their spirits.

Bass player Gavin Dunbar had dressed for the occasion in a super sharp suit and white shoes, his riffs and grooves held everything together and allowed all kinds of flourishes over the top.

As the set and night progressed the rain eased and more people came down the front to dance, or they rose from their seats to let themselves loose. And no wonder. Who could stay seated to French Navy when the flowing chorus kicks in? 

I wanted to control it
But love I couldn't hold it 

Then we have Lloyd I'm Ready To Be Heartbroken, and was that still rain running down some peoples cheeks during Razzle Dazzle Rose? Or was it tears of emotion and joy? What a truly beautiful song that tugs on heartstrings in all the right ways. 

Camera Obscura formed in 1996, wouldn't it be nice if they returned to the Bandstand in glorious sunshine for their 30th anniversary next year?


Sunday, 1 June 2025

Introducing - Fatale

What is it about you Uddy (Uddingston) boys and The Velvet Underground?

Back in mid-April, my friend Derek sent me a cryptic WhatsApp message, and then followed it up with soundcloud links to a young teenage band called Fatale . Del had produced and engineered demos for two songs; Moves You and a cover of The Velvets Femme Fatale.

Fatale soundcloud

Del was excited enough to also post in the Teenage Fanclub Fanclub Facebook group with the statement  - If you like Catholic Education era Teenage Fanclub then you'll love Fatale.

Fatale, as you might have guessed from Derek's comparisons, love electric guitars that crash, collide, chime, blur, reverberate and fuzz together in the glorious way that I have loved for over 3 decades.

Hailing from my home town of Uddingston (on the outskirts of Glasgow), I was determined to find out more about this young band that seem to be bursting with talent, taste, looks, great hair (I found out upon meeting them), energy and enthusiasm.

Moves You is the first song that they have released. The overdriven guitars are fired up beautifully, there is a sublime dreamy breakdown, before they burst back into life. Vocally, this is pure So Far Gone/God Knows It's True era Fanclub, raw and soulful harmonies, young romantic lyrics sung from the heart.

Would you find a price for all the stars that shine on you?

Meanwhile, their cover of Femme Fatale is gorgeously raw and warm, sounding like a lost Fanclub cover they recorded for Bandwagonesque era b-sides.

I caught up with guitarist Christopher Jollie to find out more in the interview below. It was also great to bump into the whole band after the BMX Bandits show on Friday night. During the gig they stood to the side, shaking their heads in time and singing-along, Chris wearing a Eugenius t-shirt. They looked like a real gang, tight friends, a band. 

I can't wait to see them live. Read on for info about how they formed, influences, writing and news about their next gig.

1. How did the band form? Where are you all from? How did you get to know each other?

Our singer Ben and lead guitarist Euan are cousins and both of them had came out of playing with other bands. Myself and our bassist Oscar had been school friends with Ben and had played in a drumless, gigless band just before Fatale. A total shambles. Euan and our drummer James had also been school pals but had never played in a band together. 

From James perspective Euan was playing songs with his wee cousin (he thought he was nine) and wanted him to drum with them. When we show up at his garage for a jam, to his surprise there’s three eighteen year old's with guitars. The band just took off from there.

2. How did you start creating music together? Does anyone take the lead on writing? Or do you jam ideas?

We started off with acoustic demos recorded by Ben and Euan, and built up from there. It’s a collaborative process we go for, with everyone coming in with their own songs, and fleshing them out in practice. I’d always hated showing folk my own songs, but I had Moves You as a demo on my phone from months before and tried to show it to the guys. I had to do that another twice before we sort of took it seriously as a song, and now we’re in the process of getting it recorded and produced. We do have very diverse influences, which allows us to do different things with each song.

3. What kind of music are you listening to at present? Have any bands influenced you?

I was just at the Barras seeing Dinosaur Jr. and wow. They’ve always been a band that I’m just in awe of. I’ve been listening to a lot of soul music and bands like Big Star, the Kinks. Apart from that I’ve been getting dead into Eugenius, who had sort of passed me by when I was discovering the Fanclub. Scottish music has shaped our sound unlike anything else. There’s just something inside a lot of Scottish bands that just can’t be replicated. We are very keen to keep that sort of thing going.

4. How did you get on playing McChuills at the start of May?

McChuills was our first gig together, and it was a sellout. We were opening for a very good Irish band, The Labourers, and playing alongside our good pals, Bogle, as part of the Vicar Street Social night. We were originally scheduled to play a Sunday Soundclash on the 4th of May but due to the football it was cancelled. 

That had left us without a gig until July, but thankfully our mate Ben Brown managed to pull some strings and get us a spot on VSS thanks to a demo recorded by Derek McKee. We played 7 songs, including covers of the Scream’s Velocity Girl and the Velvet’s Femme Fatale. Our closer, Moves You ended up getting played twice since we didn’t have another song and the crowd were wanting more. I had already plugged out my guitar when Ben tells me we’re replaying it. You can’t plan for the energy in the room, and everything came so naturally.

5. What do you have coming up in terms of gigs, recording and releasing?

Our next gig is a part of King Tut’s Summer Nights Festival. We’re opening for a band we know called The Violet’s on Sunday 20th July, so it should be another great night. TICKETS

We’re also looking at our options for getting Moves You recorded and released in the next month or two, to keep the excitement going. Del done a great job of our demo so we’ll be looking towards him for potentially recording some covers to put out over the summer. We’re also in the early stages of setting up a once or twice a month event, looking at platforming the sound of young Glasgow. It’s exciting times for us, but it’s just the start of something that we truly believe in.



Let Our Love Grow Higher

Trust me #97
Let Our Love Grow Higher by Eula Cooper

Eula Cooper started recording at the tender age of 14 and was only 16 when she released Let Our Love Grow Higher in 1970 on Super Sound Records. The original 7-inch is highly sought after and can sell for over £1,000.

Eula Cooper might not be a household name. In fact, unless you're deep into the worlds of deep cut soul or vintage 45s, you can be forgiven for never coming across her before. Cooper recorded a handful of singles in the late '60s and early '70s, mainly in Atlanta, Georgia, with labels like Tragar and Super Sound. Most slipped through the cracks at the time, but they're little treasures waiting to be uncovered. Many have been picked up on compilations, or by labels who specialise in reissuing old soul tunes. 

Let Our Love Grow Higher is absolutely beautiful - a simple, pure recording where nothing gets in the way of the feeling. There is a groove that feels like the first warm day after a long winter (like the one we just experienced!). This two-minutes and forty one seconds of pure, open-hearted soul.

A swirling organ hums gently in the background. A bassline skips along with quiet determination. The drums shuffle, light and loose, but always with purpose, extra percussion sitting just behind.

And then there's Eula’s voice, pure, rich and urgent, lifting the song with every line;

Lift your head up to the sky

Let your hopes fly so high

Close your eyes and you can imagine the scene: a small studio, a few players crammed together, recording live, first takes, no second-guessing. Pure spirit caught on tape.

The bridge to the chorus is sublime;

But no-one can turn us around
The top of the ladder is what we have found
I will be your girl
You'll be the king of the world

And for the closing chorus and outro, it sounds like the band are jamming and Cooper is improvising as they take it to fade. The drums are delicious

Let our love grow higher, higher, higher, oh-oh baby

Light my fire, baby, let it grow higher

Listen to that voice! Goosebumps! 

Written by Bill Patterson, Cooper delivers it perfectly. It sounds like she is hopelessly and beautifully in love, nothing can go wrong and things can only get even better. Love can only grow higher.

Let Our Love Grow Higher is 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
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
84. I Am A Rock by Simon & Garfunkel
85. Kung Fu by Ash
86. Kids by MGMT
87. Slight Return by The Bluetones
88. Give Peace A Chance by John Lennon / Plastic Ono Band
89. Cut Your Hair by Pavement
90. Race for the Prize by The Flaming Lips
91. Waitin' for a Superman by The Flaming Lips
92. Acquiesce by Oasis
93. This Is Music by The Verve
94. Lone Swordsman by Daniel Avery
95. Sparky's Dream by Teenage Fanclub
96. Common People by Pulp

Saturday, 31 May 2025

BMX Bandits in Bellshill


"I create beauty out of pain." Duglas T Stewart

Last night (Friday 30th May), Duglas T Stewart and his beloved BMX Bandits made a triumphant return to Bellshill, marking Stewart’s first hometown show in over 30 years.

I’ve lost count of how many times I’ve seen Duglas perform over the years. There have been memorable gigs of all shapes and sizes—from intimate shows in bars like The Lismore to festival slots at T in the Park and Wickerman, and headline sets at venues like King Tut’s and Oran Mor. But (and maybe it’s just because it’s so fresh in my memory), last night might just have been the best of them all.

Photo by Paul Quinn

Why?

Well, I could put it down to the venue, location and significance. Bellshill Cultural Centre is tucked away just a 2-minute walk from the station. Duglas mentioned how he was born and raised in Bellshill, how he lived just a few streets away, formed BMX Bandits 40-years ago in 1985 and wrote many, many songs nearby. His friend Paul Quinn, formerly of Teenage Fanclub, was promoting the show. The Bellshill connection brought out the best in Stewart and subsequently his band. 

"There was a bunch of us in Bellshill with the same dreams." Duglas T Stewart

Speaking of which, is this the best BMX Bandits band?! How about that for a pub debate among fans?! Andrew Pattie (guitar), Amanda Nizic (bass) and Liam Chapman (drums) are super tight and totally get Duglas in 2025 and Duglas from 1985. Of course, not to do past members a dis-service, that could be said for all previous participants in Stewart's vision for his music. But I was exceptionally impressed last night.

"You never really leave the band completely." Norman Blake

"Being in BMX Bandits is like being wrapped in your favourite chocolate bar with everybody you love all around you hugging you at the same time." Sean Dickson

BMX Bandits family tree (from circa 2011)

Maybe absence makes the heart grow fonder. I missed the last couple of Bandits shows in Glasgow. And with Duglas now living out on the west coast, they don't come around as frequently as they once did. It had been a while since I basked in the warmth of Stewart's songs and charm. I still have a Readybrek glow from the show.

Of course, the wonderful songs were central to last night. Opener Setting Sun set the tone for a night of melodic, heartfelt and soulful pop music. Then we had an incredible trilogy of The Sailor's Song, Little Hands and Serious Drugs. Three absolute classics! We were being spoiled.

"My favourite Bandits composition has to be The Sailor's Song. In a little over 3.5 minutes it unravels like a movie in minature. Love conquers all." Sushil K Dade

Duglas and the Bandits played songs from across the Bandits 40-years. The aforementioned Setting Sun opens most recent album Dreamers On The RunTime To Get Away is also taken from that LP and it is a real gem. I appreciate it all the more after the introduction Duglas made at the start regarding how he wrote it for a friend he was concerned about. 

Stewart told a number of stories, of writing songs with his great friend Norman at 3am. Of seeing a shop called Razorblades & Honey while in Berlin and then writing and recording a song of the same name with Anton Newcombe in his studio in the city. That was one of many highlights, the dirty groove is delicious.

Amanda sang a glorious I Wanna Fall In Love, Foggy was absolutely beautiful, Disco Girl was super fun and an acapella Your Class had us all clapping and singing, the melody lifting and carrying us all.

And what you do, what you do

Is breaking my heart in two

And I'll never get too tired of you 

Duglas told of Dan Treacy of Television Personalities sending him a cassette of Girl At The Bus Stop with instructions to destruct the tape after recording a Bandits version - Mission Impossible style. As Duglas said, it is possibly more BMX Bandits than any song he has written!

Beloved debut single E102 might run that close, with the glorious refrain of I'm so happy, that love has come around being sung wholeheartedly on stage and off. 

Closing with the gorgeous Spinning Through Time from their Music for the Film "Dreaded Light" album, this was a truly wonderful and heartwarming show.

Support on the night was by The Cords who I first blogged about HERE. The sisters must have blitzed through a dozen songs in a 30-minute set that bodes well for their debut album, due out later this year via the excellent Slumberland Records. Eva's vocals are naturally melodic and beautiful, her guitar playing is feisty and firesome, and her songwriting feels unforced and pure. I can't wait to hear the album and look forward to them playing some launch shows later in the year.

"If I could be in any other band, it would be BMX Bandits." Kurt Cobain

Check a couple of old blogs below, including a podcast I recorded with Duglas on the 30th anniversary of BMX Bandits.

10 from BMX Bandits

30th anniversary podcast 




Wednesday, 28 May 2025

So You Say You Lost Your Baby

Cover version of the month #111

Death in Vegas w/ Paul Weller cover Gene Clark w/ The Gosdin Brothers

Gene Clark departed The Byrds in 1966 after a whirlwind period of recording, releasing, and touring. In just a few years, the band had blazed a trail—three albums, a string of hits (including two number-one singles), and pioneering sounds that reshaped the landscape of guitar music. From the chiming 12-string perfection of Mr. Tambourine Man and Turn, Turn, Turn to the psychedelic folk-jazz brilliance of Eight Miles High, The Byrds (pardon the pun) were in full flight.

Clark was at the heart of it all, including penning the pure adrenaline rush of I’ll Feel a Whole Lot Better—one of favourite songs by The Byrds. Gene, as well as writing songs, playing guitar and singing, was effortlessly cool with a tambourine in hand.

The Byrds had soared, but what goes up must come down. With a lineup brimming with talent and strong-willed songwriters, creative tensions were inevitable. Clashes ensued, departures followed. Clark was the first to leave, with David Crosby not far behind. 

Clark didn't hang around, releasing his debut album Gene Clark With The Gosdin Brothers (later reissued as Echoes) in January 1967. Clark wrote 8 songs and co-wrote another couple. 


One of those songs was So You Say You Lost Your Baby, 2-minutes 7 seconds of utter bliss. In that short time there is driving rhythms, beautiful orchestration, a dreamy melancholic melody and emotional vocals, mixed effortlessly with stunning harmonies.

Riding in on an electric guitar riff that sends tingles down your spine, So You Say You Lost Your Baby is performed, arranged and produced absolutely perfectly. Strings float in behind Gene Clark as he begins to sing;

Well you're smolderin' with fly words
Catch the moment on the run

The Gosdin Brothers harmonise effortlessly;

And you stand inside your wind stilts
Watch the sentence act begun

There's a brief pause before a gorgeous little lift in the strings after the second verse and chorus, Clark and the Gosdin Brothers sound sublime together, the beat drives things to conclusion

So you say you lost you're baby
Do you know that you're the one?

Almost 40-years down the line, Death in Vegas, Richard Fearless and Tim Holmes, were forging a reputation for fantastic taste in music, production and ambition. Psychedelia was in their hearts; taste, knowledge and appreciation of great songs from 60's, mixed and matched with passion for electronic music and all the possibilities it brought.


2003's Scorpio Rising album saw them collaborate with Liam Gallagher on a sprawling title track, Hope Sandoval on the heart melting Killing Smile, Dot Allison on the dreamy wonder Diving Horses and Paul Weller on their version of So You Say You Lost Your Baby.

That Death in Vegas stay very true to Clark's original is testament to the band and Weller's love and affection for the song. The main difference is probably the fact that Weller is singing on his own with no harmonies. Death in Vegas also play a little with the aforementioned string lift after the second verse and chorus. Weller's voice, as I witnessed first hand at the Barrowland last November, is exceptionally strong, perfect for this slice of psychedelic pop. 

Noel Gallagher was so taken with the album that he approached Death in Vegas to produce Don't Believe The Truth. The sessions collapsed after 3-4 weeks with Gallagher reflecting that Fearless and Holmes were trying to polish a turd. An honest assessment. If the songs had been up with Gallagher's best then it is tantalising to think of the string arrangements and effects that DiV could have introduced. But that's potentially another blog for another time. 

The Gene Clark original and the cover by Death in Vegas and Paul Weller of So You Say You Lost Your Baby 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

13. Hurt
39. ABBA-esque
40. Jumpin' Jack Flash
64. Lola
82. Drop
87. Indian Rope Man + bonus Strawberry Fields Forever + This Wheels On Fire
92. Valerie
101. Shout!


Thursday, 22 May 2025

Common People and headlining Glastonbury 1995

Trust me #96
Common People by Pulp

The Stone Roses were scheduled to headline Glastonbury 1995 on the back of the late 94 release of The Second Coming. After years of inactivity with the Roses, there was now a lot going on - notably the departure of Reni just 2-weeks before their European spring tour.

Soldiering on with the recruitment of Robbie Maddix, the Roses turned in some tight performances and were riding high as they entered summer, with all directions pointing towards a Saturday night headline slot on the Pyramid Stage at Glastonbury.

Just a week prior to Glastonbury, set to be the bands first UK performance in 5-years, John Squire came off his bike in San Francisco and dislocated his collarbone. The Roses actually took out an advert in the NME with the X-ray of Squire's broken collarbone to confirm that the band could no longer play.

Step forward ... Pulp.

Now, in June 1995, Pulp had not supplied any substantial evidence that they were Saturday night headline material - no offence to the band! Jarvis Cocker's band had made roads with their His'n'Hers album the previous year, their first on a major label (Island) especially with the singles Do You Remember The First Time?, Babies and Lipgloss, but only one of those songs (only just) broke the top 20. Razmattaz, their final single for Gift Records in 1993 reached the heady heights of number 80.

Then, in May 95, Pulp released the absolutely magnificent Common People as a single, capturing the times, the colour, humour, possibilities and the pop essence of Britpop all at once. Their album Different Class was still months away from release.

Undeterred and rising to the challenge, Pulp played a 12-song set, taking in 11-songs from His'n'Hers, Different Class and then Razmattaz. Not one single song from pre-1993, quite remarkable considering the fact that they has been releasing records since 1983.

Cocker was brave but honest. Pulp's earlier material just wasn't good enough for a Glastonbury headline slot. Their were live debuts for 3-songs; Sorted for E's & Whizz (utterly perfect for the festival!), Disco 2000 and Mis-Shapes.

Common People closed their set and the main stage. Pulp, and Jarvis, had finally arrived.

"It's sad, funny, ironic and all dressed up in pop music that's so melodramatically camp it could open a boy scout's jamboree." Tony Cross, Smash Hits

Common People is everything that is brilliant about pop music. The riff is catchy, immediately locking you in, the lyrics are a story, beautifully delivered by Jarvis Cocker - an incredible mix of humour and social commentary, the chorus is anthemic and euphoric.

Cocker has often spoken about the real-life inspiration behind the song, the lyrics were reportedly inspired by a conversation he had while studying at Central Saint Martins art college in London in the late 1980s. He met a wealthy Greek art student who told him she wanted to “live like common people.”

 She came from Greece, she had a thirst for knowledge

She studied sculpture at Saint Martin's College

That's where I, caught her eye

She told me that her Dad was loaded

I said in that case I'll have rum and cola

She said fine, and then in 30-seconds time, she said

I wanna live like common people

I wanna do whatever common people do ...

The build is slow, menacing even. Then, after the second verse and chorus, it erupts. Controlled chaos. Anger wrapped in disco. Social poetry delivered as pop. 

But she didn't, understand

She just smiled and held my hand

Jarvis goes off on one. Pulp connected in a different way to Oasis or Blur. Pulp did something braver. They pointed a finger. And Common People was the hand that flicked the Vs.

Pulp connected cause they cut, they called it out;

Rent a flat above a shop

Cut you hair and get a job

Smoke some fags and play some pool

Pretend you never went to school

Still you'll never get it right

Cause when you're laying in bed at night

Watching roaches climb the wall

If you called your Dad he could stop it all

Jarvis, in full flight, criticising the pretence, highlighting that they have a 'get out' option, and then the beautiful kiss off;

You'll never live like common people

You'll never do whatever common people do

He continues, enraged and almost spitting;

You'll never fail like common people

You'll never watch your life slide out of view

And then dance and drink and screw

Because there's nothing else to do

The instrumental leads to another chorus that feels even bigger. It's a chorus you could chant it in a club or study it in a classroom.  

Check the iconic video below and the truly sensational Glastonbury performance from June 1995. The way Jarvis ans his band builds up to the finale is incredible. Pop brilliance. Pop genius.

Common People - official video

Glastonbury 1995

The full length version of Common People is 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
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
84. I Am A Rock by Simon & Garfunkel
85. Kung Fu by Ash
86. Kids by MGMT
87. Slight Return by The Bluetones
88. Give Peace A Chance by John Lennon / Plastic Ono Band
89. Cut Your Hair by Pavement
90. Race for the Prize by The Flaming Lips
91. Waitin' for a Superman by The Flaming Lips
92. Acquiesce by Oasis
93. This Is Music by The Verve
94. Lone Swordsman by Daniel Avery
95. Sparky's Dream by Teenage Fanclub