Named after the debut single by Teenage Fanclub.
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This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past & present) and more. Thanks for visiting - I hope you discover something amazing you've never heard before, or that you rediscover an old favourite.
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Twitter - @murrayeaston
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I finally made it to a gig at The Rum Shack last night. It's a brilliant little venue on Pollockshaws Road in the Southside of Glasgow, just before Queens Park. Dillon Squire and his band were playing a show to celebrate the release Yellow Car No Hitbacks, their forthcoming debut EP on LAB Records.
Two singles, Bulldozer and the recent When The Novelty Wears Off have been released from the EP, adding to previously released singles, Allison Arms and Little Birdy.
On the evidence of his releases to date and last nights show, Squire has is developing a collection of fizzy guitar pop songs with a punk / new wave edge at times. I always think you learn more about an artist when you catch them playing live and last night I came away thinking that Squire's flowing lyrics and melodies could easily be sung by Taylor Swift. His songs are full of hooks and at times many veer off into flowing sections when Squire is clearly on a role. As evidenced on recent single Bulldozer that just flows and flies.
Cause I've been running and you've been hiding
Did you feel this way when our worlds collided?
All these trials and tribulations
I could be the main star, in your coming of age film
Desperate times and desperate measure
Fucked up things that we do for pleasure
I've tried loving and it's not easy
I've been self medicating but it don't come cheaply
I've lost my mind completely
Squire's band is super tight. His co-guitarist Bo looks super cool and fires off amazing guitar solos, the rhythm section create the groove for the hooks, while the addition of Amelia Haldane on saxaphone and tambourine added something a little different to the live sound.
People sang along to the four singles that Squire has released to date, but they also sang along to unreleased songs, including Dark Circles that has a brilliant chorus that people will pick up on first listen, it's that catchy.
On the drive home I thought of the many new and emerging acts that I've seen in Glasgow over the years. There are so many talented musicians that have been hyped but they failed to pass the acid test. I'd wake the next morning and wouldn't remember any of their songs - and not due to alcohol intake! Simply because they didn't contain any memorable hooks or riffs.
There is no danger of that happening with Squire. Fans were singing a-long during the show and afterwards two girls were sitting at the bar upstairs singing some of the guitar solos to each other. A good sign!
Dillon Squire is on all the usual social media, streaming and download sites.
Check him out and don't be surprised if you find yourself humming a riff or hook in the near future!
“My new EP is simply a self healing journey and a cathartic process that ended up turning into six of the best songs I’ve ever written. I started singing from the bottom of my heart and made sure that every word wrote down and that passed my lips was meaningful.
Plans are underway to rehearse, record and release the secondStarboard Hazes EP within the first few months of 2023.
Is it just me or does 2023 still sound very futuristic? Time flies and time has become a little weirder since March 2020 when the world stopped for a while as the COVID pandemic took a hold.
However, I am reliably informed that 2023 is indeed just around the corner!
So, to kick things into gear, I've booked the good old 13th Note for the next Starboard Hazes show. Hopefully our second EP will be ready by then. The plan is to catch up to rehearse in January, then record the EP, a few more rehearsals and then play again.
3-songs are definitely ear marked for the EP;
Yeah!
Sunshine
So In Love With You (Beta Band Blues)
With a potential 4th song called Hung Up (not the Madonna song!) if we have time in the studio. Probably just an acoustic version - rough n raw ... and quick!
Sunshine was one of the very first songs I wrote as a teenager using the D & G chords. It was great to jam it with the band back in October. Jamie's pounding drums, Andy (picking up James guitar) going for Velvets-y sounds on guitar and James (taking on Andy's bass) came up with a great groove.
Yeah! is another old song, very Teenage Fanclub! It's the same 4 chord rhythm groove from start to finish, giving James freedom to do his thing on lead guitar. Personally, this is one of my favourites to play with the band.
Beta Band Blues is an old idea that always stayed with me. With the capo on 5 I found two chords that worked really well together and I thought they sounded like the Beta Band. The lyrics are pretty simple and I never managed to write more than a verse, so the song is just the same verse/chorus repeated 3 times. I always liked the song/idea though and it was one of the first songs James and I played when we got together. He came up with a brilliant guitar line in between the verses.
When we took the song to Andy and Jamie, they also loved James guitar line and wondered if we could really expand the song into far out Beta Band territory. So when we have jammed, we finish the song and the beats really kick in, allowing James to go all Nile Rodgers on guitar and Andy to underpin everything with a bass groove. When we played live, Ronan from La Chunky joined in on trombone for the second section so we hope he'll play on the recording. And we might add melodica, synth and cowbell - really go for it and have fun.
If we can get the instrumentals down in one day, Andy and I will go back in and record vocals one evening. That worked last time, although I wonder if we might need another evening for Beta Band Blues. But then, Yeah! and Sunshine should be really quick and easy to record, leaving us with a chunk of time for Beta Band Blues. We'll go with the flow!
Our first gig and party was a brilliant night, it was sooooooooooo good to see lots of people enjoying live music and then dancing the night away. I'm delighted to say that Phil Redfearn will be back on DJ duties at 13th Note. We'll see what delights he can pull out the bag to get us dancing again!
It's not BYOB this time, but we've kept the ticket price as low as possible and hope you can join us for some fun. And that's what Starboard Hazes is all about - fun. Fun in rehearsals, in the studio and when we play live.
With no prior warning, Poster Paints released their Blood Orange EP on Friday 20th May, simultaneously announcing they had signed with Ernest Jenning (America) & Olive Grove Records to release music this year.
Those of you that read my previous blog reviewing their Sleazys show (or if you follow the band on social media) will note that they have received test pressings of their debut album. Expect more news on that soon.
Carla: "We're really excited to be working with Ernest Jenning & Olive Grove Records on releasing our music this year! It's a brilliant opportunity for us to collaborate with two brilliant independent labels who are committed to supporting artists they love and be part of a global family who will nurture our music."
The Blood Orange EP features the two singles released last year plus the title track and a cover of the Love Positions/Lemonheads gem Into Your Arms.
Blood Orange is a dreamy beauty that flows with ease, at a gorgeously lazy pace, there is plenty of space before shimmering guitar comes in, picking up into the bursting blood orange refrain, Carla singing over another sublime Liddell guitar riff.
I'm seeking something more exciting, to colour in my day
Poster Paints take on Into Your Arms is pretty true to The Lemonheads version, Liddell plays an aching riff while Carla sings with a purity and soul. Poster Paints have a natural ability to make everything they do sound dreamy - in all the right ways.
I know I won't be alone, be alone anymore
Debut single Number 1 still bursts with energy, the beats, the reverb, the hooks ... cause kids are so naive, I wear my heart on my sleeve ...
Never Saw It Coming sounds even better 9-months down the line, the sound and portrayal of heartbreak in the hook I can't believe you're gone, I never saw it coming
Poster Paints are beginning to build momentum again. I can't wait for more shows and the album.
Prior to last night I couldn't recall the last time I was in Nice n Sleazy. Way over 2-years ago for sure.
The legendary Glasgow pub and club/venue has been sitting proudly and prominently on Sauchiehall Street, near Charing Cross, since 1991.
Quite an achievement given the state of Sauchiehall Street at present. A rather sad and grim video was presented on social media last week, highlighting the vast amount of leases available. Large sites like M&S, BHS and the ABC. Glasgow institutions like Greaves Sports & Biggars. It's becoming a ghost town.
As someone who walked along this street most days from 1993-2004 when I worked at Charing Cross and the top of St Vincent Street, I hope that somewhere, someone is putting together a vision and plan to regenerate this famous street in Glasgow. Wider pavements, some trees and cycle lanes ain't gonna cut it.
Last night was the first time in a over 2-years that I'd ventured to this part of the city. I cut up past favourite bars of mine from years gone by like The State and The Variety (popping in for a pint) and wondered how they were doing. Will they survive?
I was up to see Poster Paints, the band formed by my sister Carla during lockdown with her friend Simon Liddell. They recorded an album during that time. Test pressings (pictured above) have been received and the album will come out later this year.
Photo by Kat Gollock
Lemon Drink supported with an infectious & energetic set. Given my age, I was reminded of the sugar pop of Sleeper but with the bite of Elastica. The duelling electric guitars were beautifully raw, scratchy and catchy at all the right times. Sophie Bartholomew was dancing, twirling and almost bouncing off her band mates, clearly having fun. The band indicated that they won't be playing much for the rest of 2022 as they plan to hit the recording studio. I hope they capture some of their live energy on record.
Then it was on to Poster Paints. Those that attended their 4 shows towards the end of 2021 + the 2 shows they are playing this week will have a strong sense of how good the album is going to be. Joined by friends Calum Muir (drums), Suse Bear (bass) and Kim Grant (AKA Raveloe) (bass), Poster Paints conjured mesmerising, flowing and shimmering sounds.
Liddell's guitar playing is infectious. I could listen to the riff of My Song on a loop for hours. His riffs and melodies are often simple, always with space and very often gorgeously dreamy. Just the right tinge of psychedelia with beautiful reverb.
Poster Paints just gel so naturally as a band and Carla's vocals, words and melodies fit so perfectly over the top. It was a really stunning gig.
Circus Moving On was achingly and beautifully gorgeous, Carla shook a tambourine for Number 1 and the pure pop rush of Falling Hard, and Never Saw It Coming, while Hard To Sweeten could well be my song of 2022.
It's like a lullaby, a tender & melodic vocal over sublime fragile guitar, building gently and introducing a great keyboard riff. I imagine many will fall for this gem.
I was warned of love like yours, that's hard to sweeten
But I adore a fire that burns and scars me deeper
Man of Minch joined the band for a song Ribbons, before new song Blood Orange was played for the first time, becoming an instant favourite. I mentioned My Song in previous Poster Paints reviews and above, the way this song develops into a New Order-esque dream is incredible.
There was time for a bonus cover of the Sneeze/Lemonheads song Into Your Arms, just Easton & Liddell. It was a beautiful way to end the gig.
My love for Teenage Fanclub has generated many friendships and conversations over the years. Recently I started one with Juan Marioni from one of my favourite city's in the world - Buenos Aires in Argentina. My wife and I were very fortunate to spend a month living in the Palermo Viejo district of the city back in 2008 for the last month of a year travelling around the world. It really is a wonderful city; music, art, dancing, wine, steak, football ... oh to go travelling again.
Juan has recently started recording and releasing a series of EP's where he covers songs from each of Teenage Fanclub's 3 songwriters. Back in June he released Songs of Raymond , which I missed upon release, and he's just let his Songs of Gerard EP fly out into the world.
I still marvel that my favourite band has touched people around the world through their music. So I thought I'd catch up with Juan to find out how he discovered the band and what led him to record his EP's in celebration of McGinley, Love and Blake.
It's interesting hearing the songs being performed by Juan, my personal highlight from the Gerry EP was Shock and Awe, a lovely nod to Lightships in the intro and the lyrics really stood out as I listened with the latest news from Afghanistan flickering silently on the TV across the room.
Wake me when the conflict is over
I aim for a peaceful life
Shake me when this madness is no more
I favour a peaceful life
Meanwhile, Raymond's Genius Envy is covered with more than a nod to Bob Dylan and I love how Juan harmonises with himself, then drops in a couple of very apt Beatles in the outro. Apt, as the song contains an absolute classic McGinley line.
So what if you see other people
I only get jealous when I listen to The Beatles
Juan has still to select and record the songs for his Songs of Norman EP. Keep an eye on his Bandcamp page.
Interview
How are you? How are things in Argentina?
I'm fine thank you, hope you're OK. Argentina is always a troubled country ... so we are in the same situation as usual. With the pandemic, we didn't reach the point to choose who would get a ventilator. The vaccination is a little bit slow but it's on its way.
Can you remember the first time you heard Teenage Fanclub?
I don't remember the first time, but I remember the day I thought 'this is special'. I remember walking on a really nice sunny, kind of spring day (or maybe Autumn). One of those days when you feel happy to be alive! I think it was 1991/2. Bandwagonesque was out, so I estimate the year with that date in mind. I was in my hometown, Buenos Aires, walking the streets of the Palermo neighbourhood, going back home after a session with my therapist, listening to Bandwagonesque that was recorded on to a cassette tape. Something 'hot me' that day and I think that I was listening to Sidewinder at that point. I think the first song I ever heard was The Concept, but I also recall seeing a clip on MTV of God Knows It's True and that song blew my mind! So those were the first memories of my first impressions.
Why did you fall in love with the band?
The sound and the production were what I liked first. Those airy vocals sung in 2 or 3 part harmony. And in the back those noisy but at the same time intelligent guitars, the blend of classic and modern sound. Also the songwriting reminded me of music I like - sixties style.
Have you seen them live? What kind of venues do they play in Argentina?
Sadly I have never seen them live.
What other Scottish bands do you enjoy listening to?
One of my favourite bands is Belle and Sebastian and I also like Primal Scream a lot. Parallel TFC bands Lightships. Primary 5, Nice Man, Jonny, JAMC, Donovan, New Mendicants (half Scottish). I also recently discovered Kevin Robertson.
What made you decide to do your Songs of ... EP's?
I like to record at home and now in the pandemic, I have more time. I bought a new computer and I was thinking of making a thematic record ... maybe a 60's garage rock selection ... well ... finally I thought 'why not do covers of one of my all-time favourite bands?' At first I thought about recording a selection of songs but then I realised that each composer deserves an EP. Selecting and recording the songs made me appreciate their songwriting even more.
You cheekily throw in excerpts from other songs - some great Beatles sections (appropriately) in your version of Genius Envy and a Lightships riff in one of your Gerry songs. Did you plan that, or fall into it?
It was inspiration, purely spontaneous. Those ideas came to me in an instant, while I was in the process of recording the songs.
What do you think of Endless Arcade?
I think it's a good album, it gets better with every listen. It was surprising when I first heard it because there were some new directions in their style. Of course I miss the presence of Gerry. I think it is great that they keep going on making new music.
When can we expect your Songs of Norman EP? Have you recorded it yet?
I haven't started it yet, I don't know what songs I will select but I have candidates. I think that the production will be in the same acoustic vibe as the other two. And you can expect the same dedication that I put into the Raymond and Gerry EP's.
Lastly, what music are you listening to at present?
I've been listening to Teenage Fanclub a lot. I've been producing 2 albums for Argentinian musicians/bands - Gaspar Tessi and Piloto de Juguetes, so I've been listening to their music all day. Also a lot of power pop, garage rock, psychobilly, rockabilly and sixties music - some quite obscure compilations. Bands recently - XTC, Dukes of Strathosphear, Those Pretty Wrongs, Beach Boys, Love , Magnetic Fields, Matthew Sweet, Pernice Brothers ...
The Indica Gallery was a counterculture art gallery in swinging central London between 1965-1967, most famously known for being the place that John Winston Lennon met Yoko Ono. In one of my favourite Lennon interviews he describes this meeting; walking in and seeing some step ladders and a magnifying glass, he perches on top of the ladders and peers through to see the word YES. If it had been NO or MAYBE then he might not have stayed, but the positive nature appealed to him and he stayed. The rest, as they say, is history.
Anyway, The Indica Gallery EP is the first of three EP's that Andy Bell is releasing between April and June 2021. Each EP will be released in a different format; 12-inch, 10-inch and then 7-inch, hence the series will be called Ever Decreasing Circles.
I love the creative energy that seems to be pouring out of Bell. Ride have produced some incredible music since reforming, while outwith that, Andy is releasing experimental electronic music under the guise of GLOK and psychedelic guitar pop with lots of grooves under his own name.
Electronic music and blissful psychedelic grooves gel on the 6-track The Indica Gallery EP as the artist Pye Corner Audio is let loose on 5 of the gems from Bell's debut solo album; Indica, Skywalker,Cherry Cola, Love Comes In Waves and I Was Alone. The 6th song is Bell in his GLOK guise also remixing Indica.
The remix of Cherry Cola is a particular favourite. The last couple of minutes are beautifully dreamy, there is feedback in the background as a sublime electronic riff is allowed to run and run, before fading to the guitar riff from the original.
Elsewhere I Was Alone just seems to float and glide. Ladies and Gentleman, we are definitely floating in space with this beauty! The pH value on this remix is a clear 14. Sublime.
Love Comes In Waves is transformed into ... well psychedelic waves that just keep coming! Skywalker sounds like it could do with a 12-inch all to itself, just taking off before teasingly being brought back down.
With Indica it's interesting to compare two different artist taking on the same song. Pye Corner Audio layers beats and synths, creating a warm melting pot you could easily get lost in. Then Bell, as GLOK, starts with blips before adding beats, synth bass and then introducing a riff that reminds you this a remix, taking you on a trip. The remix compliments the original perfectly.
The Indica Gallery EP is further proof that Andy Bell is in a rich vein of form right now. He seems to be blessed not only with real creative energy, but with the outlet to get things out there. Martin Jenkins aka Pye Corner Audio, works wonders, taking the songs to new places, yet they feel right, like this is a journey they had to go on.
Jenkins and Bell met at The Social in October 2019 for label Sonic Catherdral's 15th birthday party
"Pye Corner Audio was headlining with bdrmm and myself playing live sets, as well as Simone Marie Butler, Maps and others djing. Before this legendary night was over, Martin and I agreed we would work together on something, sometime. I wasn't sure he' remember the conversation, but luckily he did." Andy Bell
"It gave me a great deal of pleasure working on these remixes, and I think the EP is a fitting companion piece to the album." Martin Kenkins aka Pye Audio Corner
Cover version of the month #39 - Erasure cover ABBA
My kids recently discovered ABBA via the Mama Mia film, so our house has been full of pop perfection for the last month or so. Thankfully it isn't always the film that is on. There is only so much of Pierce Brosnan singing that I can cope with!
So it got me thinking about the monumental ABBA-esque EP by Erasure that came out in 1992 when I was 16. Erasure seemed to be everywhere with this - Top of the Pops, the Chart Show, in the papers, in magazines and all over the radio.
Andy Bell and Vince Clarke camping it up in drag in the Take A Chance On Me promo video is something that I'm sure most people from my generation will remember!
Erasure were huge in the late 80's and into the 90's, their 1992 compilation POP: The First 20 Hits emphasised their ear for pop with Sometimes, A Little Respect and Stop being favourites of mine. Vince Clarke is a pop genius, early Depeche Mode is really the only era of the legendary band that I enjoy and then his work with Alison Moyet as Yazoo produced some incredible synth pop soul gems, Only You must be one of the best debut singles released in the 80's.
After Yazoo, Clarke placed an advert in Melody Maker to recruit a singer and he discovered Bell. The duo have never looked back and hit upon formula of euphoric synth led pop that broke down barriers and led to critical acclaim and huge commercial success.
Covering ABBA was probably very natural to two people so infatuated with pop music. And Erasure set out to have fun whilst doing it.
Clarke provides the beats and synths and whilst its not quite karaoke, Bell is clearly enjoying himself and not taking it too seriously. As was the way in 1992, in Take A Chance On Me they duo introduce a female to sing a brief ragga rap.
Erasure covered Lay All Your Love On Me, S.O.S. , Take A Chance On Me and Voulez Vous on the EP. Remaining pretty true to the originals (especially in terms of vocal melodies) and bringing ABBA's pop perfection to a new generation. After a couple of number 2 singles, this EP gave them their first number 1.
And what can you say about the ABBA originals?! They are pristine and sublime slices of pop perfection. Lyrically, melodically, in delivery, structure and production. Timeless! They deserve an essay, but for now just take some time to revisit some masterpieces of pop.
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.
Last month Belle and Sebastian released the final EP in their trilogy entitled How to Solve our Human Problems. I had been eagerly awaiting its release, not only because Belle and Sebastian are one of my favourite bands, but because I had known for some time that it would contain a song my sister (Carla J Easton) had co-written with Stuart Murdoch! The song, titled Best Friend, also has Carla on lead vocals!
I was super excited when Carla told me stories about going to Stuart's flat to write and bounce ideas off each other and loved when Carla went into the studio and told of how the band were so impressed when she nailed the vocals.
And then there was the wait......... Carla sent me an unmastered version of the song, but I was sworn to secrecy......and I pretty much kept schtum. Why has it taken me so long to write about it?! Well I have just been super busy, but I didn't want to let this pass without a short blog. I was immensely proud when the song came out to the world at large. It is a beautiful flowing song with a gorgeous melody, containing observational, poignant and humorous lyrics. There are strings, handclaps and Stuart Murdoch on backing vocals. And like all the best Belle and Sebastian songs (and there are many!), it all sounds rather effortless - the groove and the flow... it seems and feels so natural.
I'm not saying that we will be best friends
But I'll take you dancing at the weekend
I've yet to get my hands on the trio of 12-inches, I really must get into Monorail! So expect a blog on all the EP's after I get my hands on the vinyl - although all are available on Spotify.
Belle and Sebastian have been (and are currently) touring extensively and have Scottish dates coming up at the Perth Concert Hall on 23rd March, I'm venturing through to see them at the Usher Hall in Edinburgh on 24th March and then they play the SWG3 Galvanizers Yard on 25th May.
Meanwhile Carla released her 'debut' (at least under own name) solo single, the brilliant Lights In The Dark, in January and has Lights In The Dark a cracking follow up coming soon. She plays Nice n Sleazy on 4th April and Sneaky Petes on 11th April with excellent support from West Princes.
Do you fancy discovering a band full of melodies, hook, humour, invention and a touch of psychedelia who sometimes record on an old Tascam Cassette Recorder? A band that are still evolving and haven't even played a handful of shows yet but have an EP coming out?
A band who describe themselves on Facebook as wonky pop, looney tunes and merry melodies, all swimming in nutty effects with a rich Beatleish undercurrent, clattering along like Supergrass doing Badfinger by way of an XTC Bond theme, all compressed vocals, ringing and lightly toasted guitars, stop/start riffs and a brilliant rhythm section. Extradordinary - slightly psychedelic and Super Furry super-tuneful!
I hope so!
Well look no further than Radiophonic Tuckshop, the new band formed by Joe Kane, the effervescent fizzbomb who has been in (and still is in) a number of other bands including my personal favourite Dr Cosmos Tape Lab. If you haven't read any of my previous blogs on them then check them out HERE Their Beyond The Silver Sea LP was my album of 2015.
Joe has recently contributed to the latest BMX Bandits album that you can read about in last months blogs, produced the Ette Homemade Lemonade album (and played on it and co-wrote the brilliant Heaven Knows) and still travels the world playing in Beatles tribute bands, including the famous Them Beatles - not a bad way to make a living and one that indicates his talent.
That talent has transferred to his recent project - Radiophonic Tuckshop who I caught at Nice n Sleazys back in April when they supported TeenCanteen. They played brilliantly and sounded superb and from a chat with Joe it all sounded very spontaneous and exciting - so I thought I would email him some questions to find out more.
You can read the interview below and look out for their debut EP coming out via Last Night From Glasgow in July with a launch show at the Hug and Pint. Excuse the cut and paste format, something went wrong when copying Joe's answers - hope you think it looks cool!
1. How did the Radiophonic Tuck Shop form?
I'd been toying with the idea of a new project for the best part of last year but wasn't keen on making it the ONLY JOE KANE solo ego-fest type thing again. I fancied more of a fake band ethos and Radiophonic Tuckshop was one of the names I had floating around that I was quite keen on. I started working on new songs and recordings at the end of last summer but was getting a bit fed up with me playing everything. It can get a bit hard to surprise yourself musically doing all the instruments.
The guys from Freckfest contacted me around March and asked if I fancied supporting BMX Bandits which I thought sounded fun but I didn't have a band and told them to leave it with me. I contacted a bunch of my longtime friends (who mostly happen to be musical) and luckily found a bands worth that were free and up for it. Sessions were easygoing and within 2-weeks we had a set. Everyone didn't hate it and seemed quite keen to carry on past the initial gig. Quite good!
2. Does this mean the end of Dr Cosmos Tape Lab, or is that a project you might return to in the future?
We're very together and in constant contact but just a bit busy with other things. I got a bit busy with being away for a long spell (or two) so we lost momentum but we have a full LP in the can awaiting release and we will record again in the near future. Side 2 is one long song suite/ghost story entitled Dead Man's Pyjamas and it's the best thing we've ever created. We recorded 4 albums plus a bunch of b-sides in two years so everyone deserves a rest!
3. You've got an EP coming out - tell us about the sounds and the songs on it
We knew we were going to do an album but had fresh arrangements of some older songs of mine that I thought had fallen by the wayside in the past so we decided to do them as their own little thing. The new live versions were all improvements so it seemed like a good idea to get them down. We decided to record the band live to the Tascam 424 mkiii 4-track cassette recorder (last used on Beyond The Silver Sea) at the room we rehearse in (Ian our drummers magical 'Bunker'). It took us one evening to record all of the backing tracks then another few weeks of drop in overdub sessions for vocals etc.
Running Commentary is the most obvious poppy one and in a previous life it was a less rocking more ornate arrangement that didn't work quite as well. It's more power-pop now and it suits it. We had fun on the video (coming soon) wearing silly trousers and taking over a street for an afternoon.
Buried Alive is the oldest song on the EP and has never been released in any form. It originated around 2004 and existed only a a skeletal late night demo for a long time but I always enjoyed its spookiness and thought it had a bit of potential.
Rockingham Palace Revisited started out as a drone jam which I banked thinking later on it could be reversed and used as the basis for something and that's exactly what I did. I sat up until 5am the other week recording bird song out of the window and harmonising with myself through a pedal basically trying (and failing) to do Dennis Wilson. Bring It On Girl was recorded (with Marco Rea) a few years ago for a Shindig magazine cover CD that never actually happened so I suppose it's never been released. This new version was fun to do with the whole band. It's about accidentally getting married and trying to escape an island of misery (true story). My favourite one is maybe As Hard As I Feel which is a song that doesn't make much sense really but is more of a feel and sound piece (!) than a standard song. It's like 3 and a half minutes inside my head. I can see us going down more of this route sonically than the standard guitar pop direction in the future.
4. Do you have future plans for the band? Things have happened quite quickly to date
We are now officially in album writing and recording mode. It's very exciting and I think it will be a real mix of sounds. We have the full band to play with but I also like the idea of more electronic sessions and bringing in additional instrumentation. I feel like I've made variations of the same weird pop record for the last 15-years and want to push myself production wise and experiment a bit.
5. What kind of stuff are you listening to at the moment?
I enjoy lounge and exotica stuff, late 70's and early 80's groove stuff, especially the extended 12-inch versions of things. I love a lot of the Bollywood stuff from the 70's too and I think arrangement wise there's a lot of stuff I'd like to draw on from those genres. I obviously listen to all the usual good stuff as well and will probably f**k off all these exciting ideas and just re-write another 12 Beatles and Beach Boys songs. That's OK too!
6. You are well known for your love of The Beatles - what do you make of the Sgt Pepper 'makeover'?
It's mostly a worthwhile endeavour but there's a few things I wasn't so sure about, like panning the lowery organ part of Lucy In The Sky With Diamonds. What was all that about? When it becomes someone who has nothing to do with the original music creation and production taking liberties like that then I think they need to have a word with themselves. The 2 bonus CD's of outtakes is where it's at for me.
7. Do you have a favourite Beatles album? Is it possible to choose just one?
I love different albums for different reasons! Love them all. White Album has probably been the most influential though as it was a favourite for a long time as it made it OK to put out a whole bunch of wildly varied stuff on an LP. It's like a catalogue of brilliant production sounds.
8. How do you write your own songs?
When I write songs I either start on a piano, guitar, ukulele or even a Casiotone and just feel about to see if anything's there. Usually not. Sometimes things can write themselves quite quickly or you just get a wee bit that you can bank for later. I'll hear a section in my head when I'm out occasionally and just whistle it on to my phone and pick it up when I get home. That's quite good. A lot of the time I just start working on a piece of music for fun and the song comes over it later and it ends up the finished thing. It's good to not have one way of doing things and to try out different methods from time to time.
9. Is there anyone you would like to write with?
Always Stu Kidd. We always come up with something. That will happen again. Same with Nic Denholm my old writing partner from The Owsley Sunshine. We always come up with something even though he is in LA now. Duglas and Marco I'm also a fan of and enjoy working with them too so more of that would be good. Aside from people I've worked with before though I'd love to write with the Radiophonic Tuckshop guys. There's a lot of scope there and I hope they all contribute to new material and it's not just my hackneyed old ideas! I really enjoy collaboration and I'll write with anyone if it's fun and fruitful. It usually is.
10. What can we expect from your live shows?
Silly trousers and weird loud pop songs. We want to become a bit electronic so we'll gradually ass new songs and instruments. We'd like to do more festivals and have our own dancing troupe. It might happen. We're having fun creating and we hope we can entertain people with it. If no-one likes it and we still have fun that's the main thing.
Radiophonic Tuckshop play the Hug and Pint on 30th July to celebrate the release of their Running Commentary EP via Last Night From Glasgow on 28th July. Tickets and ltd edition physical EP HERE
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