Named after the debut single by Teenage Fanclub.
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past and present), playlists and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
Insta - @everythingflowsglasgow
After 3-months of featuring Teenage Fanclub songs by Norman Blake, Gerry Love and Raymond McGinley, the monthly Trust Me feature in my blog veers off into wildly different territory courtesy of Orbital and their song Belfast, one of the most sublime, blissful, dreamy and euphoric tunes I have had the pleasure of hearing and experiencing.
I say experience, as watching Orbital perform Belfast in the Barrowland to a sea of saucer eyed fans with hands in the air, or in a sweaty tent at T in the Park, or listening to it in a pub/club or post club party was always an experience.
Belfast is a song that cuts through the air like a knife, it makes you stop in your tracks. If you've heard it before then a broad smile will begin to plaster itself across your face. If you're hearing it for the first time then you may well ask 'what the f**k is that?'
I think the first time I heard it was in O'Henry's Bar (now the Yes Bar) in Drury Street in Glasgow, across from the famous Horseshoe Bar. Some friends and I used to book the downstairs basement, set up decks and play an eclectic mix of music. It was usually me, my friend's Reddy, Phil and Chris.
Chris played a great mix which took in everything from Candy Flip covering Strawberry Fields Forever to crazy techno. But the end of his set was one he stuck with for at least a couple of years - Orbital and Underworld. Chris ended the night by playing Orbital's Chime into Rez by Underworld, into Belfast - heaven on earth!
Orbital's III EP, released in January 1991
Tracklisting - Satan, LC1, Belfast
Still sounding fresh, vital and futuristic 30-years since it was released, Belfast begins like a cinema soundtrack, as if you know something important is going to happen ... something is!
Synths begin to bubble, the chords become warmer, then we are introduced to the fantastic use of a sample of soprano Emily Van Evera performingO Euchari that heightens the senses and really starts to take the listener off on a beautiful dreamy journey.
Loads of synth sounds are introduced, beats become heavier, there are multiple layers and then a riff comes in to whisk you higher still.
The sounds, the layers, the production, the way everything is pieced so beautifully and so perfectly together is just sublime.
At 3 minutes 30 seconds everything cuts to beats, it's only for a mere 19 seconds, enough for you to catch your breath, before the synths start bubbling again and we're in for another 4-minute ride to the stars.
This is electronic psychedelia, created in a cupboard at the top of the stairs (see link below to Paul Hartnoll's story). Kind of punk, kind of crazy, all kinds of amazing, sheer bliss!
Orbital - brothers Phil & Paul Hartnoll
Around 6-minutes things start to slow down gradually, this is when Belfast reaches peak bliss (at least for me), things slow, leaving you kind of hanging in a higher state of consciousness as the song edges towards conclusion at 8-minutes 10 seconds.
This epic slice of electronic heaven received the title Belfast after Orbital played the Art College in Belfast in May 1990. The duo had been booked by David Holmes and Alan Simms, leaving behind a demo tape which included the track subsequently named Belfast in recognition of the positive experience they'd had in the city.
Trust me - this is as good as it gets. Even if electronic music isn't normally your thing, try this out with your headphones on and your eyes closed.
And below you'll find the released version in all it's ecstatic, euphoric, electronic splendour + a live version from one of the many incredible sets that Orbital have played at Glastonbury over the years.
You can find a playlist of songs in my Trust Me series by searching for Everything Flows Trust Me on Spotify, or CLICK HERE You'll also find links to all previous blogs in the series below.
Welcome to a feature blog on Teenage Fanclub's God Knows It's True single/EP. Originally released on Paperhouse in the UK, it was then released by Matador in the US.
For me, the 7-inch of God Knows It's True b/w So Far Gone perfectly captures the energy, sound and development of my favourite band at a crucial and extremely exciting point in their career. This release is a perfect bridge between A Catholic Education and Bandwagonesque . We have Gerry joining Norman on songwriting duties and in addition to the 2 main songs, the EP (12-inch and CD) contain the crazy Weedbreak and Ghetto Blaster - perhaps more fitting with The King LP.
So, with the Creation shows coming up, I thought it was an ideal time to revisit and review the release.
As well as my own thoughts, there is an interview with David Barker from Paperhouse Records who was present at the recordings and I am very honoured that David has shared some fantastic pictures to accompany his memories.
And I am delighted that Gerry Love has shared his thoughts on recording his first song with Teenage Fanclub and a few other memories.
Before you go any further, dig out your vinyl or CD, get ready to stream, or click to watch the promo video for God Knows It's True below ...
A warm guitar riff introduces Norman Blake's God Knows It's True before the band fall in behind in that glorious Fanclub way - sounding like it might fall apart at any time, but hanging together. Beautifully raw and soulful. And extra little riff lifts us towards the first verse.
Norman, picture courtesy of David Barker
Blake finds a melody and his voice soulfully strains as he works his way through the first couple of verses that lead to the chorus. The band are off again, vibing on the cracking riff that the song is built on.
Maybe I just got it wrong
Express the feelings in a song
I didn't mean that much to you
I'm given such a tainted view
After the second verse and chorus the song is lifted with the singing with a different band middle eight before another chorus. The last 1-minute and 20 seconds is all instrumental and for me this is the incredible sound of Teenage Fanclub around this time captured on record. It was just before I got into them as a 15-year old through the release of Bandwagonesque - oh how I wish I had seen them live around this time. It must have been a joy.
Picture courtesy of David Barker
Gerry Love's So Far Gone starts at breakneck speed and barely lets up. The guitars are on fire, the drums have Keith Moon-esque rolls and the bass just about keeps it all together. Love asks questions and then sounds like he is head over heels in love/infatuation in the chorus.
Could you be the one who wants to turn me into something new?
Could you be the one to underestimate my point of view?
So far gone, so far gone
I'd love to turn you on
Love and Blake's voices combine brilliantly on the understand my way section before the band tear straight into another verse and chorus. At 2-minutes 10 seconds, after the third verse and chorus, the song breaks down before slamming into the final 43 seconds, climaxing in one final chorus.
Picture courtesy of David Barker
Teenage Fanclub sound like they are having the time of their lives on the two leads tracks. Ripping through 2 slices of guitar punk pop perfection. The energy leaps out of these songs and the recordings
Weedbreak sounds like it was conceived, performed and recorded on a uuummmmmm weedbreak. The band sound like they are jamming with no real purpose other than fun (the best purpose!) with an element of Sonic Youth to the sound.
Ghetto Blaster has ferocious drumming from Brendan O'Hare and the band tear into their guitars. Brendan's drumming is a real feature across the 4-tracks, driving the band on.
Raymond courtesy of David Barker
A query on the artwork on the Teenage Fanclub forum (a few years ago) led to Gerry Love confirming - It's a photograph taken at Dublin Airport on the way back from our first trip to New York in July 1990. We flew Aer Lingus and we were waiting for our connection to Edinburgh. The photo was taken by Raymond, possibly around 7 or 8 in the morning. I don't know if he meant the triple exposure but there are two snaps of me and one of Brendan.
Interview with David Barker who put out the bands early releases on Paperhouse Records.
EF - Can you remember how you first heard about Teenage Fanclub? What was the first song you heard?
DB - Stephen Pastel told me about them. They might have still been called Superdrug at the time (the original name). I worked with Stephen on my Glass Records label in 1986/87 and was just setting up the Paperhouse label at the time. Norman sent me a tape of A Catholic Education (a scan of the letter that came with it is inside the Deep Fried Fanclub CD booklet) so I guess the first track I heard was the first track on it. I liked the tape obviously and phoned him up.
EF - How did you come to work with the band?
DB - They had a gig at the Glasgow Art School, so I booked a flight up there. This must have been Feb or March 1990. Then Norman called to say they had a gig at the Bull and Gate in Kentish Town, London the day before, so I saw them there then again the next day in Glasgow. I told them I wanted to release their record and things moved fast from there. They already had interest from Matador in the US.
EF - What are your memories of that time? What did they bring to the table? What was your influence?
DB - So many memories. Supporting the Soup Dragons at the Forum, London when the stage was invaded. The security didn't bother going out for the support act. People really liked the group. Leeds, Liverpool, Doncaster (where we had a 'London Pizza' - which was pizza with chips on top), the front cover of SOUNDS. The New Music Seminar in New York, July 1990 I guess.
The recording of God Knows It's True with Don Fleming, who I introduced them to. CBGS where we met Urge Overkill and Superchunk. Ireland with Sonic Youth in the Autumn. The first European dates. All in 5 or 6 months. I had no influence on the sound but I may have introduced them to some music on the tour bus. They f**ked off to Creation and a year or so later so did I!
Don Fleming and David Barker, picture courtesy of David
EF - What do you think of God Knows It's True and So Far Gone all these years later?
DB - Still love them. My opinion of course carries a lot of memories with it. They were playing So Far Gone as an instrumental cos Gerry was a bit shy about singing live. When they recorded it of course he sang and it sounded fantastic. They next night they played CBGB'S and as Gerry went up to the mic to sing it ... he bottled it and they played it as an instrumental again.
EF - They have gone on to release some incredible music - in quality and quantity - do you have a favourite album? Could you pick a few favourite songs?
DB - Don't really have a favourite, but I spent time with them during the recording of Thirteen so feel close to it. Actually the handclap on Sparky's Dream is me. I think Paul Quinn and Chas Banks clapped too but I got credited on the sleeve ha ha. I like a few of the b-sides too like Long Hair and Maharishi Dug The Scene. I tend to go for the less commercial stuff. That's my taste in music.
EF - If you could spend a week in the studio with Teenage Fanclub what would you hope to achieve?
DB - I would like to record them like Steve Albini or like Dylan records. Two takes of each song and move on to the next one. Someone else can mix it.
EF - What are you up to these days?
DB - I revived my old label Glass Records as Glass Modern and am actively releasing and re-releasing music again.
Thank you so much to David for sharing those special memories and pictures. And thanks to Gerry Love for sharing a few words on So Far Gone.
Brendan and Gerry courtesy of David Barker
EF - Was So Far Gone the first song you wrote for the band? Were you encouraged to join in songwriting duties? Had you written much before?
GL - Yeah So Far Gone was the first song I presented to the group as an idea. It started off as an instrumental, the first few times we played it live it was just a piece of music, although secretly I did have a melody and some lyrics. It turned into a song during the God Knows It's True recording session with Don Fleming in New York. After we had recorded A Catholic Education, played a few shows and become a real group, there was an openness for all of us to at least present ideas as possible future songs. Before that I had recorded lots of half ideas and little musical doodles at home on a 4 track but I had never let anyone hear anything so it was great to have an opportunity to be involved creatively.
EF - What confidence did this give you as it would seem like you entered a prolific period of songwriting afterwards into Bandwagonesque and Thirteen?
GL - Although it sounds a bit rough to me these days, the difference between the bedroom demo and the NYC recording of So Far Gone was massive. Hearing how a rough idea changed into a real song via quality musicians, talented engineers and great studios gave me a lot of confidence. Hearing that some people quite liked So Far Gone gave me a lot of confidence to try another one. Being involved with Norman and Raymond, who in my opinion were operating on a different level than most local musicians at that time, was completely inspiring. Learning chord progressions from watching them play, hearing Norman's harmonies and then gradually hearing them in my own ideas was inspiring. Being in what I thought was a really good group was inspiring. Hearing new music and hearing old music was inspiring. Being young and daft and curious and full of all possibilities was probably the most inspiring thing.
EF - There is a great energy that leaps from the two main tracks. It sounds like you are enjoying yourselves and that excitement is spilling on to the records. Do you have any memories from the recordings?
GL - There was a lot of energy in the group in those days and you can hear it, especially in that session. Here we were in New York, personally I had never left the British Isles before that, and we were certainly buzzing. New York was a pretty lively place in those days. We were definitely having a few drinks during the session and probably a few smokes. We recorded a whole load of cover versions. I was probably half-cut when I sang the lead vocal on So Far Gone. I was still a little nervous about singing but the drink, and the encouragement of others, probably pushed me over the line into action. I don't have detailed memories, more abstract due to the passing of time and the quality of the drinks/smokes, so there's a nice impressionistic haze over my recollections of that session. That first trip to the USA was pretty crazy. I have lots of mad memories.
Getting Away With It by Electronic is one of my all-time favourite songs. It is majestic pop courtesy courtesy of Bernard Sumner (New Order), Johnny Marr (The Smith) and Neil Tenant (Pet Shop Boys) coming together to create something quite perfect.
Sumner and Marr co-wrote the music, with Sumner and Tenant co-writing the lyrics and the opening line is a beauty, coming shortly after the catchy stabbing piano chords and dreamy strings.
I've been walking in the rain just to get wet on purpose
Bernard Sumner delivers potentially his best vocal performance. And he doesn't hang about in getting to the hook and chorus, his voice beautifully entwining with Neil Tenant's.
I've been getting away with it all my life (getting away)
However I look it's clear to see that I love you more than you love me
However I look it's clear to see that I love you more than you love me
The second verse follows instantly, Sumner pouring his heart out in a lyric Marr's other songwriting partner would have been proud of, but Sumner's performance and delivery is a million miles away from that of Morrissey.
I hate that mirror it makes me feel so worthless
I'm an original sinner but when I'm with you I couldn't care less
The song is brilliantly written (musically and lyrically), structured, performed and produced. I love singing it, I love dancing to it and I love listening to it.
I thought I gave up falling in love a long, long time ago
I guess I like it but I can't tell you, you shouldn't really know
I've been talking to myself just to suggest that I'm selfish
I've been trying to suggest that more is less and I'm repressed
It was the Electronic's debut single - I struggle to think of a better one, although the trio admittedly had quite a background! Here they are performing the song on Top of the Pops.
Greg Wilson, my favourite DJ also loves and appreciate this song - so much that he edited and 11-minute 30 second version of it!
The Waterfront, the band John Squire and Gary 'Mani' Mountfield were in before the Stone Roses, are receiving a vinyl release for Record Store Day.
The band never played any shows, but did come together in 1983 to cut two indie guitar gems that are closer in sound to post Sally Cinnamon Roses, rather than the early tracks accumulated on the early Roses Garage Flower compilation album (not released until 1996) including debut single So Young b/w Tell Me.
Normandy (On A Beach) b/w Where The Wind Blows will receive a limited edition 12-inch Record Store Day release with all proceeds going to The Christie in Manchester, the largest cancer centre in Europe.
The demos, long talked about among Roses fans, have been remastered and I for one will be trying to track down the 12-inch on 21st April.
The Waterfront consisted of John Squire (guitar), Mani (bass), Chris Goodwin (drums and later of Doves), Andy Couzens (guitar and laterly of early Stone Roses and The High) and David 'Kaiser' Karty on vocals.
Ian Brown was asked to join the band as a second vocalist; "John and I had an idea of having Ian and Kaiser at the front trying to do a counterpoint with one another. That's what we were trying to push, this question-and-answer thing with these two lads at the front singing sweet pop music." Andy Couzens told the bands biographer, Simon Pence. Normandy (On A Beach) is definitely sweet guitar pop music with echoes of Orange Juice. Mani's bass grooves from the off and there are chiming guitars over a shuffling beat with vocals that could easily be mistaken for Ian Brown - that Manchester choir boy from a council estate kind that captivated so many hearts.
Where The Wind Blows is a little rougher round the edges, moving to the more brazen punkier side of The Roses that features on Garage Flower, the album they recorded with legendary Martin Hannett on production duties. The lovely guitar riff and bass breakdown after the early bizarre (whistling solo) are pure Roses.
The group seemed to just naturally fold almost as quickly as it came together. Mani tried to form a group with Brown and Clint Boon from the Inspiral Carpets but it never materialised.
Quite how Mani fell out of the picture as Squire and Brown formed the Roses without him isn't clear from any articles or books I have read on The Roses, but they got there in the end.
For me it sounds like the Roses almost took a step back from The Waterfront tracks to move forwards. There is no doubting the power and urgency of So Young and Tell Me, but much of the other Garage Flower era tracks leave no impression on me at all. The early version of This Is The One is raw yet still shines, Adored just doesn't contain the subtlety of the final version. There is no doubt that when the Roses classic line-up finally formed and they were matched with producer John Leckie, that is when things finally clicked into place. It was only in 1987, after the Garage Flower recordings and fresh batch of Brown/Squire originals had been written that Mani joined the band and in Brown's own words "When Mani joined it almost changed overnight. It became a totally different groove...straightaway, everything just fell into place."
This Record Store Day release is sure to be much sought after by fellow fans of the Stone Roses.
