Inspiral Carpets - Saturn 5 for Christmas Number 1

Craig Gill - 1971-2016

In sixth year at school (1993 if my Maths is correct) I was the editor of the Carluke High School yearbook. I wanted to be a journalist....

I assigned various pages and topics to other wannabe journalists but kept a double page for music to myself. So we had the most popular tracks on the common room tape player, a poll for favourite bands and that kind of thing. I really need to see if it is up in my Mum's loft.

However, I don't need to find my copy to know that the Inspiral Carpets featured heavily alongside Nirvana, Metallica, The Beatles, James, Stone Roses, Charlatans and ..... the Frank And Walters! After All was a huge tune and the Frank's zany sense of humour and imagination with songs like Happy Busman and Fashion Crisis Hits New York won fans in Carluke. In fact, I remember a crowd of us bunked off school to go and see them play an acoustic show at the old Tower Records in Glasgow.

Anyway, back to the Carpets. One of my friends Des was largely responsible for a crowd of people in our year falling for the Carpets. I wish I had kept some of the compilation tapes that regularly floated about the 5th and 6th year common rooms around that time. Des had a keyboard and all of the early Carpets releases on vinyl. I remember being round at his house one night to play and discuss music and he told me he was writing to the band and one of them had phoned him. Des eventually formed a band with his keyboard/organ sound pushed to the front like his idol Clint Boon.

The Carpets burst out of Manchester alongside bands like the Roses and the Mondays. Songs like She Comes In The Fall and This Is How It Feels were absolutely massive. Two World's Collide is probably my favourite Carpets tune, that, Bitches Brew and Dragging Me Down off the Revenge Of The Goldfish album plus the aforementioned classics.

She Comes In The Fall - Live G-Mex 1990

Saturn 5 was another huge single for the Carpets. They were prolific; releasing albums in 1990 (Life), 1991 (The Beast Inside), 1992 (Revenge Of The Goldfish) and 1994 (Devil Hopping). Throw in some non-album EP's and a string of singles - the band were always around during my teenage years. Really prolific with their output and touring. Quality and quantity. The Carpets had a real honesty about them, they were different - a little more garage, raw and in Clint Boon they had someone with real personality. All of that (and more) that translated to gain a huge fanbase around the country.

As the years went by, old school friends Des, Ian (Fishy) and Stevie would continue to get guest lists for Carpets shows in Glasgow and beyond. Through Facebook I would see pictures of old friends up on stage at soundcheck to play Clint's organ and learn of the Carpets helping with unique signed presents for special occasions. They are that kind of band, good people.

So, I've been reminiscing. The reason for this is due to the very sad death last month of Carpets drummer Craig Gill at the age of only 44. Tragically young. Craig joined the band at the age of just 14.

To celebrate Craig's life and to help demonstrate the love for the Carpets to Craig's kids, fans of the band have started a campaign to get Saturn 5 to number 1 at Christmas. It would be lovely.....and it might just happen. Carpets fans and the city of Manchester are right behind it and in the first 24-hours Two Worlds Collide was only 800 behind top spot. It is a marathon, not a sprint though, fingers crossed for the Carpets fans who have poured so much energy into this campaign.

I've just downloaded it from iTunes for only 99p and do you know what - it made me feel good inside.

Oasis at King Tut's Wah Wah Hut

February 2015 sees King Tut's Wah Wah Hut celebrate its 25th anniversary. The legendary Glasgow venue has witnessed some incredible bands, artists and shows gracing the hallowed stage over those years. You only need to climb the steps to the gig area to look at some of the names.

However, there is one gig that is associated with the venue more than any other - the night Oasis crashed a bill and were signed to Creation by Alan McGee.

As luck would have it, thanks to a mutual love of Teenage Fanclub, I have got to know the drummer of a band that were on the bill that night - so here is Derek McKee's story of what happened on that famous night.

Derek - I used to play drums in a band called Boyfriend, we were signed to Creation Records offshoot August Records towards the end of 1992. One of the first things that Creation did was buy us all new music equipment then they put us out on the road on a UK tour with Sub Pop rockers The Afghan Whigs at the end of September 1992.

We met up with Debbie Turner and her band Sister Lovers at the Boardwalk, Manchester and promised them a support slot on the next Glasgow gig. We also met up with Mark Coyle who used to be Teenage Fanclub/Inspiral Carpets sound guy. TFC’s guitar tech was our bassist Mark McAvoy, Inspiral Carpets guitar tech was Noel Gallagher. Mark was an old friend and early supporter of our band, he very kindly put us up for the night at his flat after the gig.

Fast forward to May 1993, we were booked to play the last night of Mayfest at King Tuts with fellow label-mates 18 Wheeler. Sister Lovers were booked as the third band on the bill. When Mark Coyle got wind of this, he contacted us to ask if the new group he was working with, his friend Noel’s band could be added to the bill. They were called Oasis. “The more the merrier!” we said but unfortunately we forgot to tell the promoter about the late addition to the night, we didn’t think it would be a big deal!

My memories of the night are that initially the Tuts staff were being a bit arsey about a fourth band on the bill and refused to let them play. Discussions/veiled threats of potential violence and compromise saved the day.

Both Boyfriend and Sister Lovers threatened to cancel the gig but after agreeing to cut short their respective sets, this freed up just enough time for Oasis who went on to play their 4 song set (Rock n Roll Star, Bring It On Down, Up In The Sky, I Am The Walrus). Apart from the Manchester posse, the only others who watched Oasis that night numbered no more than about 12 people. I remember they were very loud and was impressed with their guitarist. The tune that stuck in my mind was their cover of I Am The Walrus, it was fantastic!

Oasis in 1993

Liam looked like a football casual with Adidas gear on, younger than most of us. Like all the young dudes, we thought he was a loveable rogue, cheeky and cocky. His singing was good, he used to have a sweet melodic voice and could certainly hit the notes.

Noel was the big brother, he was the one pulling the strings and he'd been around the block with the Inspiral Carpets, so he knew the score. 

The rest as they say is history! I was given a cassette of their demos, the same one that was given to Alan McGee. I’ve still got it! The Oasis boys were very friendly and appreciative, plans were hatched for Boyfriend to go down to Manchester to play together again. 

After that night, things happened to Oasis very fast but whenever they were in town, we were contacted to go and meet up for drinks/laughs and watch the gig. 

Noel was definitely the chief; very chatty and easy going. I spent a lot of time in his company when they played the Cathouse in 94. Me, Noel and Stephen Jollie from Boyfriend drank a case of Becks and a bottle of Gin between us. I remember saying 'What the f**k you drinking Gin for Noel, it's an old lady's drink?' He took quite a bit of ribbing for it!

This went on throughout their career, right up until they played 2 nights at Loch Lomond. The day before the Loch Lomond gigs, I met up with Liam and his minder in town for some drinks and he sorted me out for tickets for the Sunday gig! One time I remember telling him I thought Patsy had a cracking pair of tits as I'd seen them in Lethal Weapon!

My impression of them was that they were a fine bunch of lads, being in their company was like one long party. We were all in our early twenties, unlimited supply of drink/drugs/women, who wouldn’t “have it””?

Scared To Get Happy a story of indie-pop 1980-1989

Scared to Get Happy; a story of indie-pop 1980- 1989 was my early Christmas present to myself. 5 cd's of guitar pop music, a mammoth 134 songs, many of which I hadn't heard before.

I don't quite have the time to review every song on this brilliant boxset, however I decided to settle down with a nice glass of red to dig out some of the highlights.

Disc 1
Scared To Get Happy features predominantly male singers, so it's probably not surprising that 'It's A Fine Day' by Jane, an acappella female vocal, stuck out like a sore thumb. The song was written by the poet Edward Barton and this version was recorded by his girlfriend Jane Lancaster. It was sent to John Peel who played it and it was then released on Cherry Red. The song later became a huge hit for Opus III.

There are many stand outs, I really enjoyed Art Objects 'Showing Off To Impress Girls', top marks for the title alone. 'I Think I Need Help' by The Farmer's Boys also stood out and 'Lions In My Own Garden (Exit Someone)' by Prefab Sprout is tremendous, I can imagine a young Stuart Murdoch listening to this.

The whole boxset offers music that retains a sense of innocence; the music is raw (sometimes incredibly so), not over-produced and soulful. All the better for it. I guess the height of ambition for many of the artists featured was to simply get a record out and played on John Peel.

Disc 2
'Oblivious' by Aztec Camera is one of only maybe a dozen songs I knew before buying the box set. It is stunning, a young Roddy Frame striving for pop perfection. It stands out a mile, so melodic and well structured.

The tracklisting on the boxset is roughly in chronological order and if I didn't know many band names on disc 1, then I recognised the names of Del Amitri, Lloyd Cole and The Commotions, Microdisney, The Jazz Butcher, Jasmine Minks, June Brides Revolving Paint Dream, James, Jesus and Marychain and The Loft on here. The demo version of JAMC's 'Just Like Honey' is stunning.

One band I hadn't heard of is In Embrace with their song 'This Brilliant Evening'. I was hooked on first listen. It sounds quite polished, quite 80's, compared to a lot of the songs on here. The chorus is absolutely HUGE and hits at just 25 seconds.

I don't care if you are just deceiving

Who could care this brilliant evening

I can't tell the floor from the ceiling

Who can tell this brilliant evening

'Southern Mark Smith' by The Jazz Butcher is brilliant; upbeat with spoken/shouty vocals, handclaps, a great guitar solo/instrumental and a great lyric 'I'm gonna find out what makes your heart sing.'

A very strong CD!

Disc 3
'Velocity Girl' by Primal Scream is rightly heralded as pure indie guitar pop perfection. Chiming guitars, bittersweet lyrics and coming in at just 1 minute and 24 seconds!

I don't need anyone to hurt me

No not anyone at all

Because my so called friends have left me

And I don't care at all

Leave me alone

Leave me alone

Leave me alone

The guitars are Byrds-esque, it is just beautiful. Described in the superb sleeve notes as 'possibly the quintessential indie-pop song'.

'Something Happens' by The Mighty Lemon Drops is excellent, powerful garage guitar pop with more than a nod to the 60's.

 

'Is There Anyone Out There?' by Mighty Mighty caught me immediately on first listen to the extent I played it four times in a row. The organ intro leads into a chiming/jangly intro and soon on to the lyric;

'the summer brings out the best of girls and the worst in me'

The song flows superbly, the vocals (by Hugh McGuinness) contain a hint of Morrissey - perhaps no surprise given it was released in 1986. The harmonica solo towards the end lifts the song.

Elsewhere we have 'Red Sleeping Beauty' by McCarthy, two of whom went on to found Stereolab and a brilliant slice of pinky guitar pop in the shape of 'Big Pink Cake' by Razorcuts.

'Almost Prayed' by The Weather Prophets is melodic and upbeat with excellent guitar riffs. 'A Gentle Sound' by The Railway Children was released on Factory and contains a chorus that just bursts out of nowhere, great stuff.

Disc 4
'Shine On' by The House Of Love (below) kicks things off in style and it still sounds glorious. The chiming guitar intro that you can sing to and the verse leading to the delicious chorus.

'Love Is Blue' by Hangman's Beautiful Daughter stood out for me, very 60's and with a lovely female vocal. 'Deliah Sands' by The Brilliant Corners sounds like it was recorded fresh after listening to Love - no bad thing in my book. 'Shimmer' by The Flatmates…shimmers in a lovely indie-pop way with a strong melody and chorus.

Glasgow/Scottish bands are liberally sprinkled throughout this boxset (copyright reasons prevented Orange Juice and The Pastels getting tracks on). I'd never heard of The Clouds before, although this probably isn't that surprising considering they only released one single 'Tranquil' which features here. It's a shame they didn't get round to recording/releasing anything else as there is a lot of promise in this single, featuring a young Norman Blake.

'The World Is' by The Hepburns is rather glorious with Marr-esque guitar and rightly compared with Talking Heads in the sleevenotes.

'Son Of A Gun (demo)' by The La's captures a rawness and magic that Lee Mavers would forever strive to find. I remember reading rumours of him buying old 60's recording gear and never allowing it to be cleaned so that the 60's dust remained!

Disc 5
The flowing and chiming 'The Hardest Thing In The World' by The Stone Roses starts off disc 5 with a band. Tucked away on a b-side, all the ingredients that generated so much love for the Roses are on display here.

Their Mancunian counterparts Inspiral Carpets follow them with 'Keep The Circle Around' with ferocious drumming and Clint Boon's trademark organ sound. The pace is fast and furious, a real garage punk 60's vibe going on.

'Indiepop Ain't Noise Pollution' by The Pooh Sticks follow it, charming with its rawness and innocence.

Another excellent title is 'I'm In Love With a Girl Who Doesn't know I Exist' by Another Sunny Day, wistful indie pop.

I'll be writing a blog on East Village very shortly after discovering their debut album 'Drop Out' following its reissue on Heavenly Records at the end of the year. They are represented on this boxset with the tremendous warm guitar pop of 'Strawberry Window'.

I would recommend 'Scared To Get Happy' to anyone with a faint interest in indie pop. The Smiths are an obvious omission (like The Pastels and Orange Juice this is due to licensing issues) but their is so much to discover on a boxset that has been lovingly compiled.

I am finding myself googling bands and delving into their back catalogue as a result of buying this - surely one of the objectives for any compilation/boxset.

Enjoy if you delve in.