10 from The Jesus and Mary Chain

When I was in 5th year of high school a friend in the year above tried to get me into The Jesus and Mary Chain by playing me something on his walkman / personal stereo. For those a little younger than me, this was a little cassette player you could carry around with headphones! 

I only listened briefly, as whatever song I listened to sounded like feedback over someone banging metal bins together. I'm not sure what it was, although I suspect it might well have been Upside Down, the bands 1984 debut single which quickly made a mark on the music scene thanks to extreme use of feedback over the top of blurred bubblegum pop vocal melodies.

I wasn't ready for Upside Down and neither was the (lack of) sound capabilities of my friends walkman! Thankfully I tried them again the following year upon release of Honey's Dead and fell for edgy cool like Reverence mixed with acoustic bliss like Almost Gold and there was the pop perfection of Far Gone And Out.

I can't explain

Exactly what I'm doing

Standing In The Rain

The Jesus and Mary Chain had something. Early on that was hidden behind feedback, shyness, shades and loads of alcohol that meant no-one knew what to expect at live shows, resulting in most being 15-minutes or under with a number turning into violence, most notably the now infamous North London Polytechnic show in 1985.

Brothers Jim and William Reid are the heart of The Jesus and Mary Chain. Hailing from East Kilbride on the outskirts of Glasgow, they had been fantasising about forming a band for years. Sibling rivalry meant that at one point they each had their own fantasy band, but finally they brought their songs together, recruited a friend Douglas Hart on bass guitar and formed a fierce bond with Bobby Gillespie of Primal Scream who came across their demos on the flip side of a Syd Barrett compilation tape that a friend had passed on.

Gillespie would replace original drummer Murray Dalglish to form the classic Mary Chain line-up. He played drums standing up like Moe Tucker from The Velvet Underground, Douglas Hart played a two string bass guitar, while the Reid brothers worked their magic. They were a proper gang, in their own world. I would have loved to have seen the band at this point, visually cool, shambolic drunken shows but with that kind of edge that makes a band special.

With Alan McGee as their manager, the Mary Chain were a blur of activity; singles, shows, tours, press, controversy and the aforementioned Psychocandy debut LP in 1985.

Second LP Darklands, released in 1987 was almost entirely the Reid brothers who had learned a great deal since bursting on to the scene in 1984. Feedback was banished for melodies, a drum machine was used (Gillespie had left to focus on Primal Scream) and the album dripped with quality like the title track, Happy When It Rains, April Skies and About You.

The Mary Chain were prolific; Automatic was released in 1989, the aforementioned Honey's Dead in 1992, followed by Stoned and Dethroned in 1994. By 1998's Munki album, the relationship between the Reid brothers had deteriorated to the extent that each would go in with the rest of the band to record their own songs, but their sibling wouldn't be there.

2017's Damage and Joy brought new songs, together with some of Jim's work under the name Freeheat and also songs from the brilliant Sister Vanilla album Little Pop Rock (the Reid brothers with their sister Linda) that I blogged on HERE.

Quite what the Reid brothers will do next is anyone's guess. However, they are taking my own personal favourite album of theirs, Darklands, out on tour ... finally, after numerous postponements due to the pandemic. I can't wait to see them at the Barrowland.

JAMC have an extensive back catalogue that includes some brilliant b-sides. The digital editions of their albums are expanded with all kinds of b-sides, demos and session tracks. This is the first time I've written a 10 from blog and discovered a song I hadn't heard before that I included in the blog.

So here, at the time of writing, are 10 of my favourite songs by The Jesus and Mary Chain. About You, Girlfriend, The Two Of Us and I Love Rock n Roll are other real favourites.

Sometimes Always

I've mentioned Sometimes Always a number of times in the blog, notably on my 10 from Hope Sandoval feature you can check HERE. What more can I say?! It's one of my all-time favourite songs, guitar pop perfection. The contrast between Hope's dreamy clear vocal and Jim's velvets-y drawl is just so cool.

Check the video 

April Skies

I just love the groove to this. The Mary Chain sound super cool, William Reid's guitars chime at times, they soar at others. This reached number 8 in the charts in 1985, the Mary Chain had kicked in the doors.

Hey honey what you trying to say

As I stand here don't you walk away

And the world comes tumbling down

Check the video

Why'd You Want Me - alternate version

The b-side to Far Gone And Out in 1992, Why'd You Want Me has William Reid on lead vocals and also conjuring brilliant little guitar riffs. The lyrics are almost classical Mary Chain, mentioning sin, the blues, drink, drugs, night, light and asking that simple question - why do you want me babe?

If I was writing a blog on the 10 songs I consider to be the Mary Chain's best then this wouldn't feature. But I love it's purity and simplicity, it's a real favourite.

Live on The Beat, London 1993

Some Candy Talking

Everything about this is super cool. Released as an EP in 1986, the song would later end up on the CD version of Psychocandy. It highlights how prolific the Reid brothers were. Some Candy Talking is like transporting The Velvet Underground into the mid 80's. That good, that cool.

There has long been debate about whether this is about sex or drugs. For me it sounds and reads like it is definitely about the chase of a thrill as a teenager - sex.

Check the video

But it's too much for a young heart to take

Cause hearts are the easiest things you could break

Darklands

Quite a lot happened between the release of Psychocandy in 1985 and Darklands (the album) in 1987. The Reid brothers became a lot more confident in their songwriting and musical ability. William Reid was heavily involved in the production. Perhaps the biggest change was that Bobby Gillespie was no longer the drummer, he'd been replaced by a drum machine.

Strange as that sounds, it worked out well for all parties. Darklands is my favourite Mary Chain album. I also consider it to be their best. The title track, the opening song on the album, at 5 minutes 29 seconds long, leaves the Mary Chain loads of time and space to create something truly magical.

It's so unrushed, William picks a riff and occasional big chord comes crashing in. Jim is all poetic, there are the pop du, du, du, du, du duuuu bits, it's got that Mary Chain cool, but this time it's majestic with it.

And I awake from dreams

To a scary world of screams

And heaven I think, is too close to hell

Check the official video

Something I Can't Have

I only discovered this song when going through the JAMC catalogue for this feature. What a song! The Mary Chain at their rip roaring best; sounding cool, in a total groove, guitars blasting, flowing vocal melodies. Check them blasting through it on Later with Jools. 

This was tucked away on the 1993 Sound of Speed EP and the subsequent compilation album of b-sides and rarities of the same name. By 93 the band had released 13 singles and 6 E.P's in addition to their albums, so they had plenty of material.

This has very quickly become a real favourite. 

And we could kiss with tongues

I've got no place to go

Check the video

Just Like Honey

I mean, come on, this is just so perfect. The drums half-inched from The Ronettes, just the right amount of distortion, the way the riff kicks in for the instrumental, Jim Reid singing I'll be your plastic toy, the way Karen Parker's vocals come in for the prolonged just like honey refrain and outro.

Memorably used in the closing scene in Lost In Translation, Scarlett Johansson would later go on to perform it with the Mary Chain at their comeback show in Coachella.

Official video

Live on The Tube 1985

Coachella 2007 with Scarlett Johansson

Head On

Head On is classic Mary Chain guitar pop with influences from the fuzzed up 50's style guitar riff through to the 80's drum machine and synth bass that drive and underpin the song. The song drips with Mary Chain cool; references to death, the stars and the sky, there is a guitar solo, breakdown, a build up, hey yay ay ays and yeah yeah yeahs. The song could easily last well under 3-minutes, but Jesus and Mary Chain realise they are the zone and take it on to over 4-minutes.

 There is a pre chorus and chorus that flow superbly.

And the way I feel tonight

I could die and I wouldn't mind

And there's something going on inside

Makes you wanna fell, makes you wanna try

Makes you wanna blow the stars from the sky

I can't stand up, I can't cool down

I can't get my head off the ground

In the video William Reid wears a Love t-shirt and Jim Reid clings to his mic stand as they mime to the song - looking super cool. Jesus and Mary Chain released many impeccable singles through their career and Head On is one of their best, certainly one of my favourites.

Official video

Far Gone And Out

So yeah, I did mention this song early in the blog and yeah, it is in my top 10. As a kid getting into alternative guitar pop music this just seemed so perfect, so right, so cool. Like it could have been made in a garage, but it's just got that little bit more of a pop tinge to it, in all the right ways. They hey, hey, heys, the beats, the guitars going full on fuzz overdrive at all the right times. I love lines like I'm television sick and I'm television crazy and the line about taking thoughts to the railway station. Most of all I just love how this comes across as the sound of a band having fun.

I can't explain, exactly what I'm doing, standing in the rain

Don't do it for fun, do it if you feel it, kiss it on the tongue

Check the video

Happy When It Rains

The Reid brothers get everything absolutely spot on here. Structurally perfect, sounding cool, brilliant imagery, all the classic Mary Chain stuff is there - rain, honey, gold, pain, darkest.

I love the don't know why, don't know why, things vaporise and rise to the sky line, just effortless. And the plug into her electric cool line.

The way things lift with the and we tried so hard break into the chorus which has shimmering guitar and Jim Reid singing about being happy when it rains, happy when it pours ... it's spine tingling to hear a band in this kind of form, totally on it.

When it breaks to And I'm happy when it rains at 2 minutes 39 seconds it sounds like Jim is defiantly happy, leading to a short breakdown instrumental before going back to the refrain.

Simply sublime.

Official video

The Roxy 1987

Previous 10 from blogs (all at the time of writing)

1. The Vaselines

2. The Lemonheads

3. The Pastels

4. Primal Scream

5. BMX Bandits 

6. Belle and Sebastian 

7. The Charlatans 

8. Hope Sandoval 

9. Edwyn Collins 

10. New Order 

11. Carla J Easton 

12. Stone Roses

13. Echo and the Bunnymen

14. Oasis 

15. 

10 from The Charlatans

The Charlatans are one of my all-time favourite bands. I've been following them since the age of 15 back in 1991 when songs like White Shirt, Then and The Only One I Know would regularly get included on school common room mixtapes.

The band were prolific; releasing debut LP Some Friendly in 1990 and Between 10th and 11th in 1992. During this period there were also non-album singles like debut Indian Rope while in 1991 they released both Over Rising and Me. In Time.

Since then the band have matched quality with quantity, releasing 13 albums and 22 top 40 singles, many with fantastic b-sides like Title Fight, Your Skies Are Mine and Happen To Die.

Lets not forget some of the brilliant remixes from the likes of The Chemical Brothers/Dust Brothers, Brian Jonestown Massacre and the superbly named Luvdup and Van Basten take on Feel Flows.

The BJM remix of So Oh is like a lysergic lullaby, absolutely gorgeous. Check it out below.

I have easily seen the band more than 30-times. The Barrowland is like a home from home for them. Their shows through the 1990's in the legendary ballroom were like Cup Finals, Tim Burgess was the midfield playmaker, patrolling the stage in complete command, looking super cool and conducting his band and the crowd. I still remember people crowd surfing to tunes the warm up DJ played before one particular show, such was the atmosphere and sense of occasion.

At a scorching hot T in the Park in 1995 they whipped up a dust storm from the dry ground as they blasted the Main Stage. I caught them a number of times at the festival through to 2004/5 and the Up At The Lake album when Tim then joined The Chemical Brothers at the Slam Tent the next day, still wearing the same clothes after partying hard.

I was down at Knebworth to see Oasis in 1996 and The Charlatans played an absolute stormer of a support slot, emotions and adrenaline were running high as the band played only weeks after losing Rob Collins in a tragic car crash. I was so proud of the band that day.

Tim arriving at Knebworth

The raw emotionally charged performance was exceptional

Their appearance on The White Room from this time is my favourite Charlatans TV performance. Look at Jon Brookes on the drums during Crashin' In and Tim looking on in complete admiration at Jon and the rest of his band as they really go for it. Outstanding!

I fell big time for the band, queueing to get records signed at Tower Records in 1994, tracking down vinyl, buying all their released and going to see them whenever they played in Glasgow. 4 albums from 1990-1995! So many great singles and b-sides.

Burgess was (and is) my favourite front man. His infectious cheeky smile, glint in his eye, up for a good time vibe, his t-shirts, his jackets, super cool hair and on stage groove made me and others gaze up at stages across the world wanting to be him for a night. His belief and energy lift his band and audience.

Backed by Mark Collin on guitar (who I think is personally very under-rated as a guitarist), Martin Blunt on funky bass, the sensational Jon Brookes on drums and the wizards Rob Collins and then Tony Rogers on hammond and keys, The Charlatans could lock into grooves and take their fans on a trip.

They have rarely paused for breath. And if the band have, Burgess has busied himself with solo albums, books, running a record label and his #TimsTwitterListeningParty that is bringing music fans together during these unprecedented times when we can't go to gigs.

Looking back over their discography, the run of albums and singles from 1994-97 in particular was sensational, they all kind of blurred and merged together. 3 albums and 10 singles! Up To Our Hips, The Charlatans and Tellin' Stories; rammed with singles and other gems.

I was 18-21 during this period and it was never long between a Charlatans release or a gig. I always had something to look forward to with the band, they were with me, I was with them.

And that is true to this day with the band and through Tim ... there is always something going on with them ... a book, a street takeover, listening parties, solo albums, shows ....

In the summer of 1997 I played Tellin' Stories constantly. I'd have it on my personal CD player for the train to work and then walk through Glasgow city centre fantasising that I was Tim walking about like he did in the video for North Country Boy, a song I played non-stop. I'd arrive in work and urge people to buy the album. How good is the new Charlatans album? became a catchphrase.

Us And Us Only (1999) is one of my favourite Charlatans albums, I really love the playing, the feel and the space on this particular album. Sunshine vibes and Tim's falsetto on Wonderland (2001) mixed things up again, Right On from that album is a real favourite of mine.

Up At The Lake (2004) was pretty loose, Try Again Today is a beauty of a song while my wife quoted Loving You Is Easy in our wedding vows. I have fond memories of watching the band at T in the Park around this time and my brother turning to me and my sister as the band launched into As I Watch You In Disbelief and shouting I f**king love this song! So I always think of him when I hear it.

The Simpatico album in 2006 is my least visited album from the band, although it does contain the outstanding Blackened Blue Eyes.

You Cross My Path in 2008 was (for me) a resounding return to form. A sober and straight Burgess seemed re-energised as the band initially released the album as a free download via XFM before bringing it out in physical format a few months afterwards. The stomping Oh! Vanity through to the glorious BIRD fading into This Is The End is the sound of The Charlatans on fire.

The swift follow up of Who We Touch (2010) highlighted that the band were in a rich vein of form, armed with lots of ideas and materials. Revisiting the album for this blog caused me to remember what an excellent song Trust In Desire is.

Modern Nature (2015) was released following the death of Jon Brookes after he bravely fought a brain tumour. It was a triumph of an album with strong singles and excellent album tracks like Emilie which is a real gem. Again the band were rich with material and the bonus tracks on the deluxe edition are excellent, for me We Sleep On Borrowed Time and Walk With Me should have been on the album

Different Days (2017) came out with the band bursting with ideas. They had a very different day to promote it, taking over Manchester's Oldham Street for a day and continuing to do things differently by holding their own small festival in Northwich. Plastic Machinery is classic Charlatans, the title track is beautiful, as is Hey Sunrise and the closing Spinning Out. There is a calmness to them, mellow reflection.

What a journey! What a band! What an exceptional back catalogue! How on earth do I only choose 10 favourites when I have so many?

Well I've mentioned quite a few in this blog already and I'd also like to add in Happen To Die (long version), Get On It, Tellin' Stories, Weirdo, Can't Even Be Bothered, Feel Flows ... in fact there is too many ...

Here are 10 of my favourite Charlatans songs.

Come Home Baby
I was so happy when The Charlatans backed up the excellent So Oh single with this. What a tune! The way the song lifts to lead into the chorus always brings a smile to my face. This became a bit of a tune for me and my eldest daughter Zoe who was 3 when it was released and her sister was just a baby. I have so many happy memories of playing this song in our house and car and me and Zoe singing along.

I can't wait, don't hesitate

Let's be together

Crashin' In
I've already mentioned this song and please watch the White Room performance video from earlier in the blog. The energy leaps out immediately from Mark Collins guitar, there is an urgency to Tim's voice and the rest of the band drive things along. The band are on fire. I love the change in pace after 90-seconds with Tim just shouting oh yeah, and the band just get lost in a jam. They do it again later in the song and I love the looseness and the energetic vibe to the song.

See me, I can feel it coming around

Complete Control
I remember Tim posting a demo of this song on the old Charlatans forum. I fell for it instantly and a full version appeared as a b-side to Oh! Vanity. Complete Control is kind of like Tim fronting his beloved New Order. There is a very strong melody as Tim talks of being tired of used, tired of being told what to do, by idiots like you

Could perfectly tie in with The Charlatans taking complete control through the self release of their You Cross My Path album. I love this song, sounds like it came together really easily.

The Blind Stagger
The Charlatans played the Barrowland Ballroom in Glasgow on 22nd October 1999, the night before my brothers 21st birthday. We spent the night in McChuills bar and then at the show before getting back to our local pub just in time for midnight to celebrate.

Coming on stage the band played the long intro of Forever, with Tim coming on after a few minutes to rapturous applause and they delivered one of my all-time favourite Charlatans shows. I really love the Us and Us Only album. Tim's love of Dylan comes through and we see a different side to the band.

The Blind Stagger is such a beautiful song. Guitars are to the fore, Burgess is in full flow. There is a brilliant instrumental, things break down before lifting euphorically

Oh let the light shine

Could you for once be strong

I bleed a little too

Sproston Green
The closing song from debut album Some Friendly and the traditional set closer, Sproston Green is a monster of a song. The band often stretch it out to 10-minutes when they play live, jamming a slow groove into the song, teasing the crowd, building up, creating tension before finally exploding into life.

This one knows, she comes and goes

And when she goes, she goes

This live version from 1995 at the London Astoria perfectly captures the heady atmosphere of Charlatans shows from this time (I describe them as cup finals earlier in the blog). Audiences were up for it, this was a night out to dance and sing.

Burgess is on one here, looking and sounding super cool and his band whip up a storm.

The Only One I Know
A monster of a tune that I have seen many a gig and dancefloor explode to. The bass, drums, wah wah guitar and stabbing hammond chords immediately create a funky and welcoming vibe and then Burgess comes in talking about the only one I see, has found an aching in me

The chorus is pretty remarkable for such a young band to write;

Everyone has been burned before

Everybody knows the pain

The breakdown instrumental at 2-minutes 46 seconds is glorious. This is 4-minutes of The Charlatans at their best, locked in a groove, reaching euphoric heights and taking the listener with them.

North Country Boy
This song totally reminds me of walking to work in the 90's in glorious sunshine. This is perfect pop,

What are you sad about?

Every day you make the sun come out

 North Country Boy lifts me and puts a smile on my face every single time I hear it. There is a groove, a swagger, sunshine and warmth seem to burst out of it.

I can't remember

I don't know how to tell you

But I love you just the same

Just When You're Thinkin' Things Over
I love the looseness to this song, it's got a Stones Exile On Main Street kind of vibe to it, a groove. Burgess is in full flow and the you look good when your heart is on fire lyric is one of my favourites.

Check the band ripping through it at an early sun soaked T in the Park that I fondly remember. The ground was so dry and people were dancing so much during the bands set that a dust storm was whipped up.

Oh Vanity!
 A stomping Motown/Northern Soul beat drives this song from start to finish. The chorus is a keyboard solo that you can't help sing-a-long with and it is an absolute belter of a song.

It came out while I was traveling around the world and I played it relentlessly whenever I was in internet cafes checking out the band on MySpace!

So I have many happy memories of traveling around South America and checking into The Charlatans forum that I visited regularly for news and chat with other Charlatans devotees.

I love this Later With Jools performance. Martin Blunt is grooving on the bass and Jon Brookes is flying at his drum kit. Also check this T in the Park performance to a packed tent.

Oh promise me, oh promise me

You'll save me one last dance for me

One To Another
My favourite Charlatans song. No question. The power of this song still astonishes me all these years down the line. The first single following the death of Rob Collins, this was a big statement.

In fact The Charlatans put out a short statement. It ended with something along the lines of We Are Rock. It meant something, The Charlatans mean something, this song means something.

The intro, with a loop from Tom Rowlands from Chemical Brothers, exploded into life with a heavy riff from piano, guitar, drums and bass leading to Tim coming in;

One to another

A sister and a brother

Changing the way that you feel

And one of my all-time favourite lyrics is be my spider woman, I'll be your spider man so much that a poster with those words is at the top of our stairs.

Justice for believers and love can keep the faith

There is a brief pause for breath before the band go at it harder than ever, the riff is ferocious and Burgess is in full flight - love is hard to leave and it's hard to never have and on and on they go.

This song never fails to lift and inspire me.

10 from Belle and Sebastian

This is the 6th in my series of blogs where I select 10 of my favourite songs from some of my favourite bands. You can check previous blogs here;

• The Vaselines
• The Lemonheads
• The Pastels
• Primal Scream
• BMX Bandits

Stuart Murdoch recently tweeted that Belle and Sebastian's plans to record their next album in California had been shelved due to the Covid-19 virus. Stuart asked his followers for advice and he seemed genuinely moved by their responses; home recordings, rehearsal room recordings, church recordings, phone recordings ... just make us an album and give us something to look forward to.

Stuart vowed to make the best album possible. This unprecedented situation that we are in might bring out the best in artists. I think we need music and art more than ever to offer escapism from reality.

The first weekend of the lockdown

Drone footage by Kenny MacLeod, Belle and Sebastian's production manager

I first heard Belle and Sebastian on a Mark Radcliffe radio show in the summer of 1996. I vividly remember The Stars Of Track And Field coming on just as I was turning into the driveway of my family home and sitting in the car until it finished. Hushed vocals, beautifully melodic, a gentle acoustic strum that became a groove, chiming guitar, a story, everything building to the refrain/chorus, a trumpet solo, the sound of fingers sliding into new chords.... Belle and Sebastian sounded like nothing else out there. Everything sounded so natural, so perfect.

Belle and Sebastian released two albums in 1996. Tigermilk on Electric Honey (a label run by Stow College) came out in June and If You're Feeling Sinister was released in November 1996 on Jeepster Recordings.

Nobody writes them like they used to

So it may as well be me

I would highly recommend reading Stuart David's In The All-Night Cafe book. An incredible account of the band forming and leading up to the release party for Tigermilk.

Stuart Murdoch had a crystal clear vision for what Belle and Sebastian should look and sound like. The way he pulled the band together is quite incredible. Murdoch sounds like he was operating on a different level around this time.

Stuart and his band were absolutely prolific, with the quality matching the quantity of songs they were producing. Following on from the 2 albums in 1996, three EP's were released in 1997 and then The Boy With The Arab Strap LP was released in 1998, along with the This Is Just A Modern Rock Song EP.

Almost 50 wonderful songs were recorded and released through 1996-1998. I think this must arguably be the most fertile and special 3-year period by any Scottish band.

I first caught them live at the Queen Margaret Union in 1997. It was a beautifully ramshackle show. They seemed so confident, yet shy, totally in the zone, completely in their own world and I felt honoured to be allowed in to it.

A band called V-Twin supported and they were incredible. Real psychedelic rock n roll with the lead singer playing a theremin at times. On guitar was Bob Kildea who would later go on to join Belle and Sebastian. As for the Belles, I remember nervous but friendly chatter on stage and the band taking breaks to go out for a cigarette. I can't remember how many people were on stage but they conjured up moments of wonder, real raw soulful, clever, melodic, pop.

Since then I have caught the band live in venues ranging from the Glasgow Uni Debating Chambers, to the Hydro via the Barrowland and the Kelvingrove Bandstand. The Bandstand show in glorious sunshine remains a real favourite Belles memory. Stuart can make the largest venue feel incredibly intimate at times, when he sits on the front of the stage, when he encourages requests, talks to the audience or drops everything to a gentle hush before whipping his band back into a groove.

The Fold Your Hands Child, You Walk Like A Peasant (2000) and Storytelling (2002) (albeit not quite a 'proper' album) LP's passed me by a little. I fell for Dear Catastrophe Waitress in 2003 though, an album full of clever, funny and melodic sunshine pop.

The Life Pursuit (2006) is also pretty upbeat, 60's influences shine through. There was then a 4-year gap to Write About Love (2010) and then 5-years until the synth led Girls In Peacetime Want to Dance (2015).  Play For Today from the latter is one of a number of songs that narrowly missed out being included in this blog.

The band kept busy though with Stevie Jackson releasing an excellent solo album in 2011 and Stuart concluded his long term movie project God Help The Girl in 2014.

The band released 3 EP's in 2018 How To Solve Our Human Problems 1-3 in 2018 and The Days of Bagnold Summer (2019).

Belle and Sebastian have now released 10 albums, 11 if you count How To Solve Our Human Problems (a compilation of 3 EP's). There is also the incredible Push Barman To Open Old Wounds compilation that rounded up those early  EP's and singles released on Jeepster Recordings. The BBC Sessions captures some beautiful performances.

With so much material I have found it very hard to select only 10 favourites from Belle and Sebastian. There is simply so much to choose from. But here goes;

Dirty Dream No 2
In 2002 my girlfriend (now wife) and I spent 4 amazing nights exploring Barcelona. One night we wandered down some lanes in the Gothic Quarter and heard this song being played from a flat above that had the windows wide open. We stopped to listen and I marvelled at this band from Glasgow being played through a window in Barcelona. The closing section sounded extra euphoric, a stomping Motown beat with strings and horns, the sound of a band caught in a moment.

Judy And The Dream Of Horses
This song is one of my favourites because it is the absolute favourite of my very good friend Wigs. He shouts for it every time we go to see Belle and Sebastian play live.

Stuart's lyrics are a beautiful story. I mentioned euphoria above and I'm going to mention it again here. The instrumental is stunning, the sound of fingers sliding along the fret board against a soaring trumpet gets me every time.

This Is Just A Modern Rock Song
How f**king good is this song? The strummed intro, Stuart's fragile vocal, his exceptional lyrics and the build and surge after the lines I'll go and play with words and pictures, I'll admit I'm feeling strange.

The second half of the song is so clever; I'll only buy a book for the way it looks, then I'll put it on the shelf again and then the lines on the band themselves delivered by Stevie.

Stevie's full of good intentions

Richard's into rock n roll

Stuart's staying in and he thinks it's a sin

That he has to leave the house at all

This song just melts my heart, it is so perfect.

Best Friend
A couple of years ago Stuart Murdoch contacted my sister Carla to ask if she would be up for writing a song together. And Carla forgot to reply!!! Stuart thankfully turned up at the shop Carla works in part-time to check she had received the email and a mortified Carla was delighted by his persistence.

I'm so glad the two of them got together. It was a huge confidence boost for Carla and the songwriting session brought the best out of the two of them. The melody is exceptionally strong, the lyrics are clever, funny in all the right moments, telling a tale ... all the qualities that Stuart and Carla possess.

Carla wasn't originally supposed to be singing, but Stuart very kindly invited her to do just that. I loved hearing how Carla nailed the vocal in a couple of takes and how impressed the band were.

The song flows beautifully and I really wish I could have seen them perform it live on the Boaty Weekender. Hopefully once we get through these uncertain times there will be a chance to catch Carla singing this with the band some time.

Needless to say, this is a real favourite of mine.

I'm not saying that we can be best friends

But I'll take you dancing at the weekend

The State That I Am In
Over a Velvets-y groove Stuart Murdoch's thoughts and experiences mix with his imagination, running away on a glorious tale of coming out the closet at a wedding, religion, confession, the reality of turning tables at Marks and Spencers .... gorgeous vocals and yet another incredible melody. Original, beautiful, sublime, magical.

Oh and now I'm feeling dangerous

Riding on city buses for a hobby is sad

Sleep The Clock Around
A slow burning intro leads to a vocal melody that just spills out of Stuart Murdoch. I love the keyboards in this song, they just drive it along with the band grooving behind. And they really do get into a groove with this song.

And the puzzle will last till somebody will say

There's a lot to be done while your head is still young

If you put down your pen, leave your worries behind

Then the moment will come, and the memory will shine

I Didn't See It Coming
Make me dance I want to surrender, your familiar arms I remember sung by Sarah Martin is such a beautiful opening line to this 'comeback' single by the Belles. Over a shuffling Motown style beat Martin is joined by Murdoch on lead vocals as they sing we don't have the money, money makes the wheels of the world go round, forget about it honey

The song rises gloriously with a synth solo over what is now a stomping Motown beat and then Stuart takes on lead vocals take me on a train, cause I'm not flying, I can see the world from a different side

I love the feel to this song and the way Stuart and Sarah's voices gel, there is a real northern soul influence to this. Make me dance I want to surrender!

Legal Man
A number of years ago some friends and I would book downstairs in a bar called O'Henry's (now the Yes Bar) across from the famous The Horseshoe bar, down a lane slap bang in the centre of Glasgow. This is a song I played quite a few times. I love the choir style backing vocals, the production, the feel, the guitars and the whole upbeat feel to it.

L O V E love, it's coming back, it's coming back

Get out of the city and into the sunshine

Get out of office and into the springtime

Lazy Line Painter Jane
Yet again Belle and Sebastian capture something truly special. Monica Queen's voice is a dream, lifting the song and things take off and soar around 3.5 minutes in. The band create a glorious racket as Murdoch underpins Queen as they head to the stars. I find this beautifully uplifting, I always feel good when I listen to it, a band in top form.

You will have a boy tonight

You will have a boy tonight

On the last bus out of town

On the last bus out of town

Like Dylan In The Movies
Just perfect. A groovy bass riff, Stuart's lyrics and melody, the strings, the introduction of electric guitar, the shuffling groove, the rises and the falls.

Yeah you're worth the trouble and you're worth the pain

And you're worth the worry, I would do the same

If we all went back to another time

I will love you over, I will love you over

I will love you

If they follow you

Don't look back

Like Dylan in the movies

10 from Primal Scream

Following on from 10 favourites by The Vaselines, The Lemonheads and The Pastels, ahead of two sold out shows at the Barrowland Ballroom on 17th and 18th December, it is the turn of Primal Scream to receive some love and attention.

Primal Scream came bounding into my life with the Movin' On Up video and single. They looked super cool and sounded incredible. I bought Screamadelica off the back of it, expecting more high energy rock n roll. Instead my mind was blown by the ambition, talent and soundscapes spread across this exceptional double album.

I have followed the band ever since then, catching them numerous times at Glasgow Barrowland, in a tent at Glasgow Green, at festivals, traveling to Manchester to see them play Screamadelica for the 20th anniversary and I have followed them on their sonic journey through music.

Screamadelica, Give Out But Don't Give Up, Vanishing Point and XTRMNTR is an exceptional run of albums from 1991 to 2000.

Pre 1991 the Scream were still determining who they were, their two patchy albums, Sonic Flower Groove and their second eponymous album released in 1991, were splashed with highlights like Love You and I'm Losing More Than I'll Ever Have, but in general it seemed like the band couldn't decide if they wanted to be The Byrds or The Stooges. The band were best known for the b-side Velocity Girl, 90-seconds of pure jangle guitar pop magic.

Sonic Flower Groove era Scream

Meeting Andrew Weatherall and being introduced to ecstasy changed them - for the better. Although it took time to change everything, even when Primal Scream released Loaded as a single Gillespie had greasy hair and dressed in leathers, his performance on Top of the Pops for that single is ridiculous to watch. Check it HERE

With a sharp mod style haircut Bobby Gillespie was suddenly the coolest person on the planet fronting the coolest band on the planet. Looking good enough to match his never undeniable excellent taste in, knowledge of and thirst for music.

Boundaries were being broken down in music all over the world and the Scream suddenly saw all kinds of new possibilities opening to them with Andrew Innes, Gillespie's partner in crime, starting to play a key role. Andrew Weatherall took them to another dimension.

The controls were not just set for the heart of the sun, Primal Scream were going higher than the sun.

The band arguably went too high, burned too brightly and they had to come down. Kind of. Give Out But Don't Give Up (and the recent Original Memphis Recordings) show a completely different side to the band - rock n roll, funky jams and gorgeous ballads - that they had touched upon with the incredible damage.

They went further, 1997's Vanishing Point is exceptional. The band, buoyed by the addition of Mani from the Stone Roses joining on bass, produce a melting pot of sounds that is truly their own. It is notable that the album was largely self produced.

This radio station was named Kowalski

Primal Scream went even further with XTRMNTR in 2000 - bringing in all kinds of guests to create truly incredible and pulsating music - Kevin Shields, the Chemical Brothers and David Holmes were among those joining the party. I would love to the 20th anniversary of this album to be marked with some live dates where the album is played from start to finish.

Has there been an album as energetic and as angry released since? Is there a band out there with the talent, anger and background that the Scream had at this time? Will there ever be again?

Primal Scream also utilised b-sides, recording cover versions, jams and releasing som stunning remixes. Although only one has made it into my list below, favourite b-sides include How Does It Feel To Belong?, Hammond Connection, Screamadelica (from the Dixie Narco EP) and the Burning Wheel (Chemical Brothers remix).

The post 2000 albums did take a dip in quality for me, but the exceptional tunes kept coming; Autobahn 66, Country Girl, Sometimes I Feel So Lonely and 2013 being just four.

The last few years have seen Primal Scream become a little more reflective in old age - revisiting the Memphis Sessions (who could blame them after Andrew Innes' extraordinary discovery of the tapes!) and with the singles compilation and tour.

Primal Scream in Memphis

Gillespie has always known how important Primal Scream were, or were going to be. And he is a music fanatic, he knows how to play the game, how to talk his band up on the level they should be.

And this current singles tour, a greatest hits tour if you will; maximum rock n roll, punk rock energy, euphoric house music, bluesy soul ballads - all combined will only cement what a truly incredible band Primal Scream are. They should be cherished ... they are.

Somehow I have tried to select 10 favourites. I could easily have selected 20.

Autobahn 66
Mani's bass for the Stone Roses is fantastic, but I think he really makes his mark with the Scream. I love the rumbling bass, the beats and the beautiful instrumental melody before Gillespie comes in.

Dreaming, I'm still dreaming

Dreaming my life 'til the day that I die

Dreaming my life 'til the day that I die

Autobahn 66 has a pulsating energy and delicate dreamy beauty to it. It's a real favourite of mine.

Everybody Needs Somebody (Original Memphis Recordings version)
There is a lyric in this song that got me the first time I heard back in 1994 and it still gets me every time. It's when Gillespie sings;

a little bit of soul

is worth more than gold

everybody needs somebody

The BBC documentary on the Original Memphis Recordings is fantastic. I love how Bobby rhymes off all these incredible people working on the album, names he has got to know through record sleeves and I love how he talks so passionately and proudly about his band mates and how they stepped up their game to play at the standard required for this album, in the setting they had in Memphis and with the musicians, engineers and producer involved.

This is such a gorgeous song, Denise Johnson's backing vocals are heavenly and I love the way the song breaks down to rise gloriously. A stunner.

Shoot Speed/Kill Light
I mentioned Mani's bass above, on this sonic electro punk blast it is at the heart of the song, allowing guitars to blitz all around it. On record this sounds like the vinyl might not cope with it, live it is one of the many songs Primal Scream have in their arsenal to shake things up, to move to another level, to threaten to tear the roof off the place. White Noise, White Heat. Incredible.

Benicassim Festival - live

Come Together (Farley mix)
I have blogged extensively on my love of this song, most recently HERE. My favourite version is from the 2011 Screamadelica shows where the Scream mix 3 versions together - you'll find that on the link above. Utterly euphoric pop, acid house, soul, gospel music.

I'm free, you're free

I want you to touch me

So come on touch me

It's all too much

Movin' On Up
This was the first Primal Scream record I bought after seeing the video on the chart show. Bobby Gillespie pulling all his Jagger moves, looking great, sounding great and with a big gospel choir singing my light shines on. This still sounds so fresh all these years down the line. Brilliant on record, utterly sensational live.

Rocks

I remember this coming out as a single and being incredibly excited by it. The Scream Team looked completely wasted on the cover, you stuck on the record and it was up tempo Stones-y rock n roll. High energy, high fun, high times for the Scream Team as they shot into the top 10 for the first time. Deservedly so.

The lyrics for the verses flow out of Gillespie like Dylan fronting the Stones before Mick and Keith come in for the chorus.

Velocity Girl
Released as b-side to Crystal Crescent back in 1986, this 90-second guitar pop gem was lumped in with C86. It stood out a mile and was allegedly the inspiration for the Stone Roses moving away from the sound of their Garage Flower era songs towards the likes of Made of Stone. This is clever, pure pop. I blogged on Velocity Girl back in April - HERE

New video from 2019 for Velocity Girl

Higher Than The Sun
A Dub Symphony In Two Parts
In my opinion this is Primal Scream's best song. Lyrically, musically and with the production, they just get it absolutely spot on. This is psychedelic bliss; Gillespie sings;

I'm beautiful I wasn't born to follow

I live just for today I don't care 'bout tomorrow

What i got in my head you can't buy, steal or borrow

I believe in life and let live

I believe you get what you give

The music is trippy and beautiful, really taking the listener on a journey. Looking back and listening to Primal Scream's eponymous album in 1989, there is nothing to suggest what would come. You'll get more of an idea from reading old Bobby Gillespie interviews.

Higher Than The Sun features on both sides of Screamadelica, the original version on side 1 is sublime, the Dub Symphony In Two Parts on the flip is outrageously good, it really does head higher than the sun - stunning!

Primal Scream - Higher Than The Sun

All 3 sections edited together

Swastika Eyes (live)
Good on record, so good they included 2 mixes on the XTRMNTR album, but live this song becomes an absolute monster. Provocative, punk, electro, high energy, techno... anyone on before or after Primal Scream at a festival was obliterated by this song with Mani in sensational form on bass. The imagery and energy that leap from this song is sensational.

Damaged
This gem of a ballad comes after the euphoria of Come Together and Loaded on the Screamadelica album, easing you back to earth after sky scraping highs. This may well be my favourite Gillespie vocal and the groove that the band get locked into is simply heavenly - they are on it.

If I had to choose in order, Damaged would probably be my second favourite Scream song behind Come Together. The love lyrics are beautiful, the guitar solo is inspired, and Gillespie's confessions of happiness, security and love sound like the microphone has been inserted directly into his heart.

Sweet summer days when I was feeling so fine

Just you and me girl, was a beautiful time

Oh yeah, said I felt so happy

My 10 favourite Bowie songs

1947 - 2016, R.I.P

Like many, I have spent today listening to songs from the truly exceptional back catalogue of David Bowie following his sad passing after a battle against cancer.

Bowie was unique; he was a pop star to some, he seemed like an alien to many others when he was beamed into their TV's on Top of the Pops to perform Starman, he was a chameleon, he was inspirational and he was an incredible artist.

Heartfelt tributes have been pouring in all day for this wonderful creative, eclectic and eccentric singer, songwriter and performer. Bowie inspired many (Morrissey, Marc Almond, Brett Anderson and probably most of the 80's new wave romantics) but he quite simply could not be imitated.

Bowie always ahead of the game, he didn't just stick to a formula, he challenged himself and others and he was a leader; bold and imaginative, bursting with energy and creativity.

I thought I would take 20-minutes out to write a short blog about my 10 favourite Bowie songs.

1. Sound and Vision
I don't know what it is about this song that grabbed me on first listen and has never let me go. I've played it loads of times when I have DJ'd in the past; the opening beats into a glorious guitar riff and instrumental that flows beautifully eventually leading to synths and eventually a deep sigh and finally   the lyrics. Brilliant. Bowie is definitely someone who wondered about sound and vision.

2. Let's Dance
I used to manage the Glasgow band Sonny Marvello and their singer Stephen is a Bowie nut. The band covered this, I think for a night at Pinup Nights in the Flying Duck, and it led me to checking out a lot of Bowie's 80's material. A couple of years ago I was at the Wickerman Festival when Nile Rodgers played this song, that he co-produced, and again it led me to listen to it over and over again for weeks afterwards. It is so clever; from the Beatles-y Twist and Shout opening to the funky bass and synth, the incredible vocals that encourage the listener/muse to put on your red shoes and dance the blues and then the glorious....

If you say run, I'll run with you

If you say hide, we'll hide

Because my love for you

Would break my heart in two

If you should fall into my arms

Tremble like a flower

3. Modern Love
Another 80's Bowie song that Sonny Marvello covered. It is a real pop gem that the band learned for a set before singer Stephen's wedding and they played it at a party the night before. I always think of an incredible 2-days with some great friends, culminating in a beautiful wedding when I hear this song.

4. Heroes
Yeah it doesn't really get much better. Totally spine tingling.

5. Under Pressure
OK it's not all Bowie, but this may well have been the first Bowie song I head when I was a kid. That and his Dancing In The Streets duet with Mick Jagger! I still think it is a beautiful song and the performance is sensational with Bowie bringing out the best in Freddie Mercury and the song inspiring Bowie to reach fantastic heights.

This is our last dance

6. Starman
Loads of musicians from a certain era cite this as the moment they decided to form a band. Bowie beaming into their homes looking out of this world; was he a boy, a girl or an alien? Who cared, he was different and he was cool. The moment he puts his arm around Mick Ronson is brilliant - he knows he is f**king good. He packs everything into 3 minutes and 30 seconds.

7. Queen Bitch 
Another song I have played quite a lot when DJ-ing. That opening acoustic riff suddenly develops into something monstrous, quite punk rock and Bowie is in full flight sounding like he is loving it.

8. Changes
One of the first Bowie songs I really fell for in my late teens. The delivery of ch-ch-ch-changes and the line time may change me, but I can't trace time seemed to be written for me. Yet again, Bowie pens a song that flows superbly.

9. Ziggy Stardust
Bowie had many looks, guises and disguises throughout his career, Ziggy Stardust was arguably his best. The vision, ambition and delivery of the look, the songs and the album were pure pop art. Nothing like this had been done before. No-one could do it afterwards.

the kid was just crass

he was the nazz

with God given ass

he took it all too far

but boy could he play guitar

10. Five Years
From the legendary Ziggy Stardust album, it was yet another cover version that caused me to fall for this song and go back and dig out my second hand vinyl copy. This time it was an acoustic performance by singer Kevin Harper at a charity show I put on at Maggie's Centre in Glasgow. Knowing the diagnosis' some people in the room were dealing with, the song took on a new meaning to me and I got quite emotional.