10 from LCD Soundsystem

LCD Soundsystem are one of the few post 2000 bands that I really fell in love with. My love was rekindled after watching the excellent Meet Me In The Bathroom documentary based on the 2011 book by Lizzy Godman. This was at the end of 2023, so this blog has been a while in the making!

James Murphy comes across well in the film. A self confessed music geek whose musical boundaries were smashed when he worked as an engineer on David Holmes Bow Down To The Exit Sign in 2000. Holmes was amazed that Murphy had never tried ecstasy and when James finally did, he had an experience that changed the way he listened to and felt about music.

Things moved swiftly as Murphy formed DFA Records with Tim Goldsworthy who co-produced the Holmes album. The duo started releasing records, including The Rapture's seminal House Of The Jealous Lovers, and they put on nights across New York as the city came out of post 9/11 mourning. 

LCD Soundsystem's first single was the sensational Losing My Edge which came out in the summer of 2002. The video, with Murphy singing into the camera with a spotlight behind him and someone routinely slapping him quickly gained traction. The song and video (see below) were super cool, like nothing else out there.

Murphy talks about the inspiration behind the song in the film. How he was worried that all the cool kids could suddenly access all the music online that he spent years discovering and collecting. The 8-minute electro punk tune created enough of an impression for booking requests to come through. LCD Soundsystem suddenly became a real band. 

The 2002-2005 early period of LCD Soundsystem was extraordinarily prolific as Murphy dove headfirst into ecstasy and creating electronic music, releasing a string of singles that led to a double album coming out in early 2005. 

I first caught the band around this time when they supported Too Many DJ's at the Barrowland. LCD had a bank of equipment, loads of percussion and cowbells and Murphy sang into an old crooners style microphone. They were electrifying.

That summer my girlfriend (now wife) and I went to the Benicassim Festival in Spain. LCD Soundsystem came on stage around 2 or 3 in the morning and the place went crazy. It remains one of my all-time favourite festival sets; a band breaking through from the underground playing a late night set to a party crowd. Check this electrifying 52 second crowd footage.

Murphy and LCD kept creating, releasing, playing and partying. Something had to give and it did in 2010 following the release of the This Is Happening album. Murphy said it would be the bands last album and that their last show would be at Madison Square Garden, where the band played an epic 4-hour set.

In some ways it was perfect. 10-years on from working on the Holmes album. Murphy talked of writing songs as good as he was going to and not wanting to carry on with the purpose of becoming bigger, or to earn more money. In other interviews, Murphy hinted that he might go back to creating music and releasing 12-inch singles, but he had to get away from LCD being so large.

Rather incredibly, David Bowie was one of the people to encourage Murphy to get the band back together. James played on Bowie's Blackstar album. The comeback grew arms and legs and before LCD knew it,they were once again travelling round the world to promote an album - 2017's American Dream.

Now, in 2024, LCD Soundsystem are kind of operating on their terms. Tours have been replaced with residencies in their favourite cities and the band can pick and choose what festivals they want to play. Surely there will be a Barrowland residency at some point?! Murphy has always been quick to acknowledge the importance of the venue, Glasgow as a city and the Subclub.

LCD Soundsystem play Glastonbury and All Points East in London this summer. 

UPDATE - LCD Soundsystem now play the Barrowland and tickets are on sale this Friday - 24th May!

Anyway, I've gone off on a tangent. Watching Meet Me In The Bathroom caused me to go down a rabbit hole and I thought I would write a blog on 10 of my favourite songs by LCD Soundsystem. OK 11 - I;ve included both versions of Yeah!

I've finally finished the blog and I've compiled the songs into a playlist that you can check HERE

At the time of writing, I chose;

1. Losing My Edge

I blogged on Losing My Edge for my Trust Me series back in April 2022 (read here) and declared that everything about this song is cool, clever and funny. A paranoid Murphy wonders if he is losing his edge to kids from London, Berlin, France and Tokyo. I love the way the song veers off to the glorious you don't know what you really want hook at the end. One of the best debut singles of all-time.

Check the incredible performance from their debut show at Trash in London in 2002. Jammed and rammed together on a tiny stage, creating a brilliant vibe and sound.

Official video

Live at Trash London, 2002 (their first show)

Live at Madison Square Garden

2. Great Release

Murphy strips things back to a drum machine and big gospel house piano notes before coming in with potentially his best vocal - wracked with emotion. 

Official audio

Live on Austin City Limits

3. Yeah (Crass version) + (Yeah Pretentious Version)

OK I'm cheating, I've included both versions of Yeah. Originally released as a 12-inch single in January 2004, both versions made it on to CD version of the bands debut album. Outrageous electronic excellence.

Yeah (Crass version) live in Brussells 2010

Yeah (Pretentious version)

4. Us v Them

Us v Them was a real highlight from the Sound of Silver tour when I caught them at the Barrowland. Thinking back, it was monsterous. This could be LCD Soundsystem's most powerful song, it builds into a mantra; us and them, over and over again ...

You were on Murphy's side for sure. Fantastic use of cowbell and just listen to the little riff going on in the background around 6-minutes over the scratchy Chic punk guitar riff.

Live at Madison Square Garden

5. All My Friends

To my ears, in my mind and in my heart, this is an absolutely perfect song. All My Friends gives me all the feels ... the long 82-second intro with Murphy reminiscing about going back to someone's house to check the charts - pop or astrological? I've always thought pop.

And now I wonder if Murphy is reminiscing? Or is he talking about checking to see where LCD are in the charts? As he then goes on to talk about partying, ageing, touring, giving it his all and questioning if he wants to keep it going.

To tell the truth

This could be the last time

And in the end Murphy is ranting and questioning himself - where are you friends tonight?

He goes on and you're left in no doubt that he wants to be home to see his friends.

One of LCD's most melodic songs that builds and builds over a repetitive riff. Also contains one of my favourite lines that always makes me think of Glasgow/Scotland.

If you're worried about the weather

Then you picked the wrong place to stay

Official video

Live at Glastonbury 2016

6. Someone Great

Electronic soul. Possibly the best song Murphy has composed and written. The electronic symphony drips with emotion, the bass synth in particular, while all kinds of gorgeous noises and beeps play over the top. 

I wish that we could talk about it

But then that's the problem

Murphy starts to pour his heart out and bare his soul, with his vocal melody just about matched to an xylophone, ending the first verse by singing I miss the way we used to argue.

This is a very different LCD Soundsystem, Murphy is singing about a break up and it's heartbreakingly beautiful; to tell the truth I saw it coming, the way that you were breathing

Is it a break up, or is it loss? It could be either. When Murphy sings when someone great is gone you really feel his grief.

Official video

Austin City Limits

7. I Can Change

Murphy aims straight for our hearts again and scores a bullseye with this gem. Urging his lover to never change, never change, this is why I fell in love and then going on to say promise I can change, I can change if it helps you fall in love.

No bullshit, this is love, warts and all. It's not perfect, but it is love. Murphy is in for the long haul.

Live at T In The Park (2016)

8. 45:33

Part 1 - Intro

Part 2 - You Can't Hide/Shame On You

Part 3 - Someone Great (instrumemtal)

Part 4 - Out In Space

Part 5 - Ships Talking

Part 6 - Outro

Following the release of their debut album, LCD Soundsystem then teamed up with Nike to record 45:33, seemingly designed to soundtrack jogging workouts. Regardless of the origins, the concept allowed Murphy to work his magic across 45-minutes, even longer than his usual 8 or 9 minutes per track.

A continuous piece of music, it was composed in 6 parts with part 2 being the outstanding You Can't Hide/Shame On You that is one of many highlights on the The Long Goodbye (Madison Square Garden) live album. What a tune! Riding in on house piano chords over a what sounds like a synth being tuned, the song develops into a huge vocal anthem, the kind you can sing-a-long to on first listen. The kind of song that causes a dance floor to erupt as people punch the air, dance and sing. Super cool.

It's also worth noting that Someone Great first appeared as part 3 in instrumental form and it sounds blissful, developing into part 4, an electro funk workout with some Stevie Wonder influenced sounds over slowed down vocals. We're way into the mix, way into the trip now and it is magical. Or well into the jog/run!

Disco diva vocals come in, give me love, before Murphy's slowed down voice comes back in, super trippy synths are layered over the constant disco electro groove, then everything cuts back to the groove before the female vocal comes back in, singing your'e out in space, you need some loooooovvvveee. Sublime!

Horns kick in for as the groove turns to a funky bass and then a breakdown, before things finally lead to part 5 and it's quite a change in pace as I feel like I'm transported to Optimo.

There is another change in pace for part 6 - the warmdown part of the jog/run, the comedown part of the nigh out/trip. Beautiful!

Official audio

9. Home

Murphy employs all his favourite tricks on Home, which closes the This Is Happening album. False start, immediate cool groove, quickly adding layers of synth including a delicious bubbling sound, percussion coming to the fore ... then Murphy comes in singing Home before going off on one.

Official audio

10. Oh Baby

This gives me all the feels. Bubbling synths, cool beats, a stronger bass synth riff over the top, Murphy crooning oh baby, you're having a bad dream, here in my arms.

Live on Austin City Limits

Official video

10 from James

I broke my leg back in the summer of 1992. I was down at my friend Dave Taylor's house with the aim of meeting a girl I fancied. 

Dave and I were hanging about at a park near his house watching other kids we knew playing football. They asked us to play and Dave was up for it. That meant the teams weren't even, so I had to play too, even though I had my new British Knight trainers and best Joe Bloggs jeans on.

The ball broke for a 50-50 challenge between me and an older guy called Steven Wilson. I nipped in and managed to nick the ball away, only for him to come crashing into my leg and I was down.

I immediately knew something was wrong. My leg was pulsing. The game stopped. Steven Wilson was in the scouts and urged me to try and put my weight on it. I foolishly listened! Of course, I couldn't and ended up being carted off to a guy called Keith Hooper's house next to the park. Dave's Dad came and ran me to hospital.  

I never did meet the girl!

That summer I was laid up in bed with a full length cast on my leg (broken fibula and tibia) playing an early version of FIFA and Sonic The Hedgehog on a borrowed playstation. Dave lent me his James Live at G-Mex video and I must have watched it 100 times, marveling at the way frontman Tim Booth danced so freely and the wall of sound his fantastic band generated.

In addition, I remember lying in bed taping James live at Alton Towers off Radio 1. The band meant to record the show and release it as a live album, but there was a torrential downpour and apparently the recordings were ruined. 

But James got me through that summer. The Seven (CD) and Goldmother (vinyl) albums and then I somehow bought their earlier albums on cassette. I don't remember where I got them from or why I got them on cassette. Perhaps they were presents to cheer me up. I also had a blue James t-shirt with a big J on the front, AM on the sleeve and ES on the back. Then a long sleeve white t-shirt with their classic flower on the front and their name down the sleeve. I'll need to see if my Mum has photos!

That was just over 30-years ago, but back to the present where James are touring with a 22-piece orchestra and choir to celebrate 40-years as a band. What a journey they have been on, what an adventure they have taken their fans on!

I've caught the band a number of times over the years. One time in the 90's my friend Wigs got on stage for Sit Down at the Barrowlands!  Most recently, I caught the ban at The Hydro with The Charlatans. They blew me away. The energy that James generate on stage and in the crowd is incredible. James mix their setlist every night to keep things fresh and it works big time.

I'm looking forward to seeing them in the Armadillo on Monday.

It's been a while since I've written a 10 from blog. So here (at the time of writing) are 10 of my favourite James songs from their incredible 40-year career. 

Like a James setlist, this could change regularly! Songs like Johnny Yen, What For, Born Of Frustration, How Was It For You?, Come Home, Ring The Bells, Say Something, She's A Star, We're Going To Miss You, Moving On and Curse Curse are another 11 that could easily have been included.

Sit Down

I'll start with James biggest hit. It's come to mean so much to me, especially after 26th May 1999 when I was in Camp Nou to watch Manchester United win the treble. The DJ played it after United won and as I sang along I wasn't the only United supporter with tears in my eyes! I bought a t-shirt shortly afterwards that has Ole Gunnar Solskjaer celebrating his winner with the lyrics;

If I hadn't seen such riches I could live with being poor

I still have the t-shirt. Might be time to order a replacement!

My best friend Phil played the song when Lynn and I got married and everyone sat down on the dancefloor, swayed an sang along. Sit Down is a song that unites people in emotion, I think that's why it connected so much with the Hacienda/Madchester crowd. It still connects with me every time I hear it.

The Live at G-Mex version is my favourite. I love the bit when Tim is singing those who find themselves ridiculous, sit down next to me and he is looking at a guy off his face in the front row who is lost in the music. I'm moved every time I hear the piano intro and the way Tim and the band drop things down slowly to allow the crowd to take over. They sing their hearts out. Tim's face in the video is an absolute picture. The bit at around 7-minutes 30 seconds when the crowd just explode in appreciation is spine tingling ... and then they start singing the chorus again. WOW!

Sit Down is a beautiful song. Full of love, empathy and sympathy. In love, in fear, in hate and tears. A bonafide classic.

Live at G-Mex

Getting Away With It (All Messed Up)

Many years later (2001) James released Getting Away With It as a single. I fell head over heels for this song again back in 2016 when I was watching James live at Glastonbury on the BBC. It's probably been my most played James song since then.

The guitar riff is quite hypnotic, the band get into a groove and Booth sings about drinking like Richard Burton and dancing like John Travolta ... now. That little pause before now is lovely.

Check Tim in top form in the Glastonbury video.

Live at Glastonbury

Seven

Seven is as pure a James song as you can get in my opinion. The production is sublime, the way the guitar chimes at the start is heaven sent.

Blow me away 

Was that love you declared?

Only a word

Love can mean anything

I seem to remember a fact popping up on The Chart Show (a 90's Saturday morning staple) that the band nearly drowned on the video shoot. Rather than the water slowly being released, it all came out at once!

As Tim says at the end; love can change anything.

Dust Motes

The expansive line-up of James can conjure wonderful sounds and jam their way into some special places, but they can also produce achingly beautiful and slow ballads. Dust Motes is rather gorgeous with Booth singing I'll forgive you, I'll forgive you but then the song rises as Tim sings if you die, if you die ... A powerful song when slow, it really strikes home when it builds.

Audio

Sometimes

I bought Sometimes on both 12-inch vinyl and on CD. My Mum then heard me playing it and then asked if I could buy her the cassette single for the car. So our household had it on 3 formats.

Sometimes is such a beautiful song. For me it captures the band and Booth jamming; free flowing lyrics over a driving and somewhat ferocious acoustic guitar lead to a head over heels romantic chorus.

The song allows a 7-piece band like James to open up and go with the flow, and oh how they go with the flow. Check these incredible live videos, firstly BBC footage from Glastonbury and secondly fan footage from a concert in Athen where the crowd just keep singing the chorus, Tim Booth joins in, then he starts dancing and the band come in with some synth and it turns into a little rave for one glorious minute. Spine tingling.

The choir and audience combining to sing this on Monday night will move many to tears. My absolute favourite James song.

Live at Glastonbury 2016

Live in Athens 2019

Sound

Photo by Laura Toomer

This is an invitation to leave yourself ... behind

Tim Booth declares his intent from the off and doesn't let up throughout the song, urging listeners to strip away all your protection, laugh at the wonder of it all and to do everything you fear, in this there's power.

James really stretch out on this song, both on the recorded version (there is a 12-inch mix) and live. Check the incredible 10-minute version from 2001 below.

What a glorious noise James conjure up, guitars, brass, beats, bass and keys collide together to create something magical. To witness them in full flight is a delight.

Sound live Manchester Arena 2001

Tomorrow

Speaking of James in full flight, they don't need to stretch too much to get going, sometimes they just go straight into it. Yet again acoustic guitar is driving the song and eventually James take flight and soar. Sublime.

Tomorrow live at Glastonbury 2016

Many Faces

There's only one human race

Many faces

Everybody belongs here

The last time I saw James playing live Many Faces really moved me. And when writing this blog I found this video from the 4th time James played the song live. It hadn't been released, the band are lost in the chorus/mantra, gradually fading out and the audience take over. Absolutely beautiful.

Live at Victoria Theatre Halifax

Out To Get You

Out To Get You is one of James most beautiful songs in my opinion. The lyrics are deeply personal, Booth singing of feeling so alone, lost in memories ...

Insecure, what you gonna do?

Feel so small, they could step on you

Called you up, answer machine

When the human touch is what I need

What I need, what I need, what I need, what I need

Is you

I need you

This is a f**king beautiful song, building from next to nothing to become exceptionally powerful and emotive. James at their very best.

Live at Rockpalast 2013

Photos with lyrics video

Laid

It was a little risky & frisky to hear Tim Booth singing so joyfully and openly about sex back in 1993 when I was 17. Now, 30-years later I find it liberating.

This bed is on fire with passion and love

The neighbours complain about the noises above

But she only comes when she's on top

Laid absolutely flies by, a pure rush of joyful pop music about sex and infatuation. Brilliant.

Official video (version 3)

Isle of Wight 2015

10 from the Stone Roses

Following on from previous 10 from ... blogs that have included Primal Scream, The Charlatans, The Lemonheads and Belle & Sebastian (see the end of this blog for links), I strangely found it harder to narrow down a list of 10 of my favourite Stone Roses songs, despite the fact that they have a much smaller back catalogue to choose from. Very early on it was clear that I would be leaving out 3 or 4 real favourites.

For me, The Stone Roses were the most perfect band in the world for around 3-years. From the release of Elephant Stone in 1988, through 1989 when the band released their eponymous debut album and the Fools Gold single, to Spike Island and Glasgow Green in 1990, they couldn't put a foot wrong.

The hair, the clothes, the personalities, the politics, the belief, the artwork, the singles, the b-sides, the album, the ambition with music and shows, landmark gigs that were like cup finals ... the Empress Ballroom, Alexandra Palace, Spike Island and Glasgow Green.

Stone Roses, Charing Cross, Glasgow

Sadly it was 1991 before I got into them when I was 15, so I then spent 4-years waiting for them to release new music! But in that time I bought everything on 12-inch, 7-inch, CD and cassette, including bootlegs. I hunted down old Melody Makers and NME's in Virginia Galleries in Glasgow and basically devoured every piece of music and information I could find about the band. Old interviews turned me on to Love, northern soul, The Misunderstood

I remember the video of the legendary Blackpool Empress Ballroom show coming out in 1991. I bought it at Tower Records and went home to watch it several times. They were magical, I wanted my hair like Ian Brown, I dreamed of playing guitar like John Squire, I marvelled at Reni playing drums so effortlessly and how Mani was so super cool.

Stone Roses, Glasgow Rooftops

The music weeklies tried to track the Roses down to find out what was happening with the follow up, but after a long court case against Silvertone, the band all moving to various parts of the country, relationships breaking up and forming, becoming fathers and different kinds of drugs, not to mention lack of management, a healthy bank balance and no set deadline, the Roses were in no rush or state to make a new album.

Which, on reflection, is a real shame. The way they moved from their debut LP to grooves like Fools Gold, One Love and Something's Burning leaves fans wondering what kind of blissed out tunes they could have created during that time.

There was finally activity in 1994 with the release of Love Spreads as a single and then the Second Coming LP. I took days off work to buy them and remember going home and literally watching my record player as I placed the LP on, wondering what would come out of the speakers.

The Second Coming didn't flow as effortlessly as the debut, but it still hangs together as a good album. Rough round the edges at times with the beautiful Tightrope, breaking into electronica with Begging You, there is the well publicised rock/Led Zep riffing at times, epic soundtracks like Breaking Into Heaven, loose jams and beautiful songwriting like Tears. You can read my blog on The Second Coming HERE

Try as I might, I couldn't get a ticket for their Barrowland shows that winter. Reni left, Squire broke his collarbone and their 1995 Glastonbury headline show, which would surely have been a triumph, was stolen by Pulp, Squire left and the Roses died a very public death at the Reading Festival in 1996 as Brown and Mani played on.

So I never saw the Roses first time round or through the Second Coming. I did catch Brown and Squire several times, I bought Mani a pint or two one lunchtime, I even caught Reni play Tuts with his short lived band The Rub, I saw Brown and Squire both do sets largely of Roses songs and I caught Mani loads of times with the Scream.

And then ... the Roses were reforming. I caught them in Amsterdam and cried, I had my mind blown on the Sunday at Heaton Park, I was left underwhelmed when they revisited Glasgow Green and then reminded of why I loved them at the last ever T in the Park.

The new material was exceptionally disappointing and they dragged it out for another 2 years. They got the paydays they deserved and brought joy to fans across the world. And then that was that.

If I consider the Roses to have been the perfect band for a few years, if I have loved them since the age of 15 (30-years!!!) how do I choose my 10 favourite songs?

Well some favourites have had to be left out including the mellow grooves of Going Down and Shoot You Down, the chiming flowing Mersey Paradise and the epic Tears.

But push come to shove, at the time of writing, here are my 10 favourite songs by the Stone Roses.

Sally Cinnamon (12-inch version)

The Roses formed in 1983, releasing their debut single So Young/Tell Me in 1985, but it was the release of Sally Cinnamon in May of 1987 when The Roses sounded (at least on record) like they had found their sound.

Gone were the brash sounds of the debut and in were melodies and chiming Byrds-esque guitars, then with a roll of Reni's drums, we're off and Ian Brown is singing of being chased by rain clouds that would join his tears and allay his fears, girls tasting of cherryade and a girl sent from heaven.

The little lift into the first chorus of sent to me from heaven, Sally Cinnamon you are my world is immediately transferred into the next verse

Pop, pop, pop, blow, blow, bubble gum

You taste of cherryade

Squire lets rip on guitar after the second chorus, the Roses are in full bloom; 

Then I put the letter back, in the place where it was found

In the pocket, of a jacket, on a train in town

The single version comes in just under 3-minutes, the 12-inch allows time for a little jam outro with Reni sounding superb on the drums. Timeless and thrilling guitar pop.

Made of Stone

Sometimes I fantasise 

When the streets are cold and lonely

When asked by the NME what Made of Stone was about, John Squire replied that it was about scoring the winning goal in the FA Cup final dressed as Spiderman on a Harley.

The chorus hints at the desolation and frustration caused by the Tory government across Britain in the 80's. The streets are cold and lonely, cars are burning and Brown asks; 

don't these times fill your eyes?

Squire's guitar intro sounds melodic, melancholy and sad, but Brown's verse seems to lift the guitar into the euphoric chorus. And oh what a chorus, all of Heaton Park seemed to be lifted a foot in the air when this kicked in back in 2012. To hear 75,000 people singing sometimes I fantasise, when the streets are cold and lonely was an experience I will never, ever forget.

After the second chorus Squire gives us a beautiful soaring solo leading to a third and final chorus, before a chiming guitar outro leads us to the conclusion.

Anyone who wonders why the Roses mean so much to people after all these years should listen to this song.

She Bangs The Drums

Guitar pop perfection. Mani's bass groove, Reni on hi-hat action and then Squire kicking in with heavenly sounding guitar and Brown singing about hitting the groove.

Kiss me where the sun don't shine

The past was yours but the future's mine

You're all out of time

The second verse ends with Brown and the band lifting the song effortlessly into the chorus

Through the early morning sun

I can't see her, here she comes

She bangs the drums

And then we're into another outstanding uplifting skyscraping chorus and there are no words to describe the way Brown is feeling, sometimes there just are no words, sometimes you just know.

The Roses then lead us on a glorious 40-second instrumental, taking us higher, dropping it down, rising again before guitars, bass and drums crash together twice to lead us into another chorus that feels like even more of a rush than the first one. 

It's not enough, the chorus comes again before Squire's guitar chimes through to close. She Bangs The Drums is a sheer rush of guitar pop perfection in my book.

Ten Storey Love Song

This should have been the comeback single for me. I cried when I saw the Roses in Amsterdam in 2012 and they played this. Ten Storey Love Song sends tingles down my spine every time I hear it, the way the band lock into the intro groove before Ian comes in with one of his best vocal performances backed by Squire's chiming guitar.

When your heart is black and broken and you need a helping hand

When you're so much in love you don't know how much you can stand

I'm not sure what the hell the chorus means, I don't care, it is a Ten Storey skyscraper of a love song. Squire's lyrics, Brown's voice, he has enough love for two when his partner is down. Beautiful and uplifting, the production is sublime and Squire dazzles on guitar.

Standing Here

I should be safe forever in your arms is a lyric that melts my heart every time I hear this song.

Starting with Squire conjuring glorious sounds from his guitar, the band then fall in behind him, Mani and Reni lock into a groove with Reni shuffling effortlessly about the drums. Squire just sounds like he is improvising over the top of them, a beautiful jam. Listen carefully for Reni's stunning backing vocals at times.

I really don't think you could know that I'm in heaven when you smile

As a teenager Standing Here appealed to me more than any other song for a while. Lines like that described how I would feel every day if a girl I fancied smiled at me. 

The breakdown into I don't think you think like I do (another amazing lyric) then leads to arguably the most beautiful 2-minutes in the Roses cannon.

Squire's guitar is just so considerate and melodic, Brown's whispered vocals are spine tingling, Reni is just soooooooo good.

I could park a juggernaut in your mouth

And I can feel a hurricane when you shout

I should be safe forever in your arms

Tightrope (album + Crimson Tonight EP live version)

The Roses spent a long time on The Second Coming, yet one of my favourite songs sounded like it had been bashed out round a campfire on acoustics. 

John Squire's lyrics make it clear that he was hopelessly head over heels in love when he wrote them. Reni's backing vocals are sublime, Brown on lead delivers one of my favourite performances. You can hear someone talking in the background at one point, it all adds to a charm that is remarkably different to any other Roses song.

Lyrically, this is like a big love poem.

In the half light of morning, in our world between the sheets

I swear I saw her angel wing, my vision was complete

And I know I'll never want another lover, my sweet

Can there be more in this world than the joy of just watching you sleep?

I don't know just what to feel

Won't someone tell me my love is real?

Are we etched in stone or just scratched in the sand

Waiting for the waves to come and reclaim the land

The live version on the Crimson Tonight EP captures Roses mania and Brown in fine voice as the Roses flow through the song backed by the crowd.

The rawness of the album version against the tenderness of the song, the way Squire is pouring his heart out in the lyrics, sung by Brown, it's a gem.

This Is The One

This Is The One is simply majestic. Squire's guitar sounds thrilling at the start as it chimes and crashes before leaving Mani's bass to rumble beautifully, before the chimes come back again, this time crystal clear, another crash and then Ian Brown comes in with possibly his best vocal performance.

Talking of plans, desire, promises ... this is the one.

Everything bursts to life when Reni comes in on drums;

I'd like to leave the country, for a month of Sundays

Burn the town where I was born

The trick of quiet / loud / quiet / loud has been worked by many bands over the years. On This Is The One, the Roses go for it, chorus after chorus as Squire's guitar sets a course for the sun.

It may go right, it may go wrong

This is the one, this is the one, she's waited for

Tears filled my eyes every time I saw the Roses live when they played this song. It is packed with emotion, delivered with care, finesse and also with power.

Check this live professionally filmed footage from Coachella

Waterfall (12-inch mix)

This is the Roses at their best for me, vivid imagery from the lyrics, a real kind of house groove to Mani's bass, Reni just totally on it with his backing harmonies and beats, Squire's gorgeous chiming guitar and then the instrumental section which highlights what a brilliant band they were, everything gels. 

The 12-inch version has the band jamming for over 2-minutes at the end, the Roses enter into a glorious flow, bring it back to bass and beats and then Squire kicks in with some wah-wah guitar before gradually coaxing riffs mixed with more wah. At 4 mins 55 the band then kick into a final flourish; Reni, Mani & Squire on fire.

Now you're at the wheel

Tell me how, how does it feel?

Fools Gold

Fools Gold is the sound of Stone Roses at their peak, almost 10-minutes of funk groove via bass, beats, wah-wah guitar, samples and the coolest person in the world at the time on whispered vocals about friends searching for gold and ready to steal it off each other.

Nothing that the Roses had produced, not even the album closer I Am The Resurrection, hinted where they were going to go next.

The Roses went off on one, sampling the beat from Bobby Byrd's - Hot Pants (bonus beats) with the bass line from Young MC's Know How, which itself was loosely based around guitar from Isaace Hayes Theme From Shaft.

The bass line is inspired by Young M.C's Know How 

which was a tune we were really vibing off at the time 

Mani

Fools Gold was recorded over the summer of 1989 and released in November of that year. If the Roses album had been the soundtrack to pre and post club parties, Fools Gold became the sound of the party - the real indie dance crossover - if there really is such a thing, the Roses would pour scorn on such statements, they simply made the best music they could.

The beat and bass groove are in from the start, it's fresh, it's funky, it sounds like nothing 4 white boys from Manchester should be creating. But then things were changing dramatically in 1989, particularly in Manchester, a city embracing ecstasy and all kinds of music from Detroit to Ibiza - people wanted to dance and expand their horizons - international, continental.

Brown doesn't take long to come in the gold roads sure a long road, winds on through the hill for fifteen days

Things move up a notch for the I'm standing alone ... section and all the time the beat and bass keep grooving while Squire coaxes majestic sounds from his guitar.

By the time Brown whispers his last Foo-oo-oo-ools Gold we still have over 4-minutes left of this incredible tune and we are treated to the magical delight of Reni, Mani and Squire vibing and riffing off each other. They sound in their element, in the zone, in their own world.

On the Sunday at Heaton Park my mind was blown by the psychedelic funk the Roses produced during Fools Gold. The Shane Meadow filmed footage remains utterly joyful to watch, the smiles on stage, Ian walking along the crowd, Squire going crazy, Reni being Reni, the band just gelling. WATCH HERE

I Am The Resurrection

The epic closer to the Roses eponymous debut highlighted what a magnificent band they were. 

Starting with Reni's pounding drum beat, Mani joins on bass and then Ian comes in on vocals. It's not long before Squire is adding gorgeous riffs and flourishes over it all. 

The verses flow through to an absolutely euphoric chorus that has Brown straining for all he is worth to deliver it. A short instrumental leads back to the chorus again.

I am the resurrection and I am the light

I couldn't ever bring myself to hate you as I'd like

Resurrection then breaks down to close at 3-minutes 35 seconds, before Mani fires a little bass riff that then leads to a further glorious 5-minutes of Squire, Mani and Reni taking the listener on a real journey into the heart of the Roses.

They could play! The Roses are let loose to display their majestic powers, there is another brief pause at 5-minutes 15, before the band jam on for a further 3-minutes, Squire takes things to another level as his guitar soars from 5-minutes 57, before bringing it down to beautiful chimes at 6 minutes 17. 

The band build up again, Reni pounds on his drums like a Motown classic, Squire is firing off all kinds of sounds on his guitar and Mani is holding things together.

Utterly magical. Check the version from Blackpool Empress Ballroom HERE where the band stretch it to beyond 12-minutes. 

PREVIOUS 10 FROM ... BLOGS

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

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