Grand Prix b-sides

Released in 1995 on Creation Records, Teenage Fanclub's Grand Prix album is home to some of the bands most beloved songs. About You, Sparky's Dream, Mellow Doubt, Neil Jung, Don't Look Back, Verismilitude, Discolite and Going Places are among the very best of their extensive back catalogue. Not to mention Tears, an underrated gem and Say No - surely one for Raymond to consider bringing back when the band tour later this year.

Teenage Fanclub were on fire. Remarkably, a further 11 original Blake, Love or McGinley originals are spread across the b-sides of the Neil Jung, Mellow Doubt and Sparky's Dream singles! In addition, there are choice cover versions of songs by Yo La Tengo, Creedence Clearwater Revival, The Rutles, The Buffalo Springfield, The Creation and Velvet Underground.

Back in the 90's, record labels chose to release multiple versions of the single with different b-sides to capitalise on the huge interest in CD singles. They were great value for money, tending to cost only £1.99 if you bought them on the day of release/first week of release. 

As someone who was regularly in HMV Sauchiehall Street most Monday lunchtimes, this meant I had rich pickings! With The Grand Prix singles being a real treasure trove.

My Neil Jung single

and signed Grand Prix CD above

Teenage Fanclub were prolific through the 1990's. Releasing 7 albums (including The King) and (by my reckoning) 20 singles or EP's. 

The CD singles from the bands Grand Prix were released in 2-parts, each with different b-sides. They also had slightly alternative versions of the lead song. There is another stunning album in there! 

Reflecting on their career and particularly the era of b-sides, the band could consider a trilogy of b-sides compilation records. Or a box-set of rarities - sessions, live songs, songs that were on compilation records  ... many have never been release on vinyl. I have heard through a number of sources that Raymond has an extensive (and carefully curated) archive of everything that the Fanclub has recorded.

Teenage Fanclub recorded Grand Prix in just 5-weeks. As a result, there is a warmth and freshness to the album that also comes across in the b-sides. I'm guessing that the covers (and even some of the others) were recorded live or within a couple of takes.

Here is a run through the 18 b-sides from the Grand Prix singles. An interview from around this time suggests that the band considered a b-sides album entitled Pit Stop ... or Pits Top! 

Also, check this YouTube playlist of Fanclub b-sides and rarities. Enjoy.

Neil Jung b-sides

My Life (McGinley)

Every Step Is A Way Through (Love)

The Shadows (Blake) 

Traffic Jam (Blake)

Hi-Fi (McGinley)

I Heard You Looking (Yo La Tengo cover)

The Neil Jung b-sides see Norman sounding beautifully melancholic and reflective on The Shadows. Traffic Jam has a gorgeous sparseness to the verses, Blake delivers a really relaxed vocal performance that I love, before the song bursts into life for the chorus; things are changing, can't you see? the lights are turning green for you and me Raymond's guitar solo is glorious.

Speaking of Raymond. He delivers a couple of gems. My Life sounds almost demo like, with McGinley in typical autobiographical form. So many of his songs start with I ... Here, among other things, he is singing;

I'm tired of philosophy

I think that I know where I wanna be

Gerry's Every Step Is A Way Through is spellbinding, absolutely beautiful. I'd forgotten about this song until the band played it at Oran Mor in 2008 and I was convinced it was a cover. But no, it's a Gerard Love original that is sprinkled with the same fairydust quality of the 60's choice cuts that he loves. Look at the fun Norman is having on the outro from their Manchester show in 2018 HERE

Meanwhile, TFC's epic cover of Yo La Tengo's instrumental I Heard You Looking is 12 minutes 47 seconds of guitar heaven. Your spine will tingle as the intensity builds and your emotions will be heightened by the sound of Blake, Love, McGinley and Quinn at their very best. If you've never heard this then CLICK HERE to check it on YouTube. If you have, then I'm sure you won't need any encouragement to listen again. I'd love the band to play and jam on this live.

Mellow Doubt

Getting Real (Love) 

Some People Try To Fuck With You (Blake)

You're My Kind (McGinley)

About You (acoustic) (McGinley)

Have You Ever Seen The Rain (Creedence Clearwater Revival cover)

Between Us (Rutles cover) 

The Mellow Doubt CD singles contain 2 of my very favourite Fanclub flip sides. Gerry's Getting Real is a garage guitar pop banger, the band fly through it and the energy leaps out to grab you, shake you and lift you. A gem.

Speaking of gems, Norman's Some People Try To F**k With You is a sparkling example of author and band at their best. Blake has written so many songs about love that his fans can relate to. Here, he cuts to the chase with the chorus; 

Some people try to fuck with

They'll get down on your luck with you

For covers, I'm pretty sure that this was my introduction to Creedence Clearwater Revival, resulting in me buying their exceptional Chronicles compilation album.

Sparky's Dream

Burned (Buffalo Springfield cover)

For You (McGinley)

Headstand (Love)

Try And Stop Me (The Creation cover)

That's All I Need To Know (McGinley)

Who Loves The Sun (Velvet Underground cover)

God bless Teenage Fanclub and their b-sides. They turned me on to so much good music. Burned is incredible guitar pop music and resulted in me buying some Buffalo Springfield albums from FOPP. 

Try And Stop Me is a cover by The Creation (the band that gave Alan McGee the name for his label). It was really Ride's cover of How Does It Feel To Feel? that prompted me to buy their best of compilation. Norman's voice is beautiful on The Velvets Who Loves The Sun.

Raymond's For You is pretty emotional, his voice and guitar sounds really tug on the heart strings, while his That's All I Need To Know has a beautiful hook - it's your love, I dream of and that's all I need to know. I love his voice on this.

Gerry was quite simply on fire during this period. Look at his songs on the album, plus his b-sides. Headstand is a 3-minute rush with Gerry sounding chilled while singing about sunlight in your head, before a beautiful line while you get so high coming down leading into the chorus;

She wants to be thrilled by you, she wants to be thrilled by you

And every morning sun feels like number one

Turns Into Stone

I missed Stone Roses eponymous debut album in 1989, but then, I was only 13. Two years later, in 1991, I was buying the NME and Melody Maker every week, listening to the Evening Session and discovering albums like Teenage Fanclub's Bandwagonesque, Nirvana's Nevermind, Primal Scream's Screamadelica, Massive Attack's Blue Lines and R.E.M.'s Out Of Time. What a year for music that was!

The fifth year common room was ripe for music tapes and I fell for the magical melodic guitar pop of The Stone Roses big time. Over a year or so, I bought up all their old 12-inch singles, also on 7-inch, CD and sometimes even cassette tape. I was hooked ... line and sinker.

The Stone Roses are the most perfect band I have ever fallen for. Their music, artwork, hair, clothes, personalities ... I bought the Live At Blackpool Empress Ballroom film on VHS and must have nearly worn it to death. How could a band be this cool?!

International, Continental - Ian Brown in Blackpool. Photo by Justin Thomas

Virginia Galleries in Glasgow had a shop that sold old music magazines, so I collected NME and The Melody Maker's that told of the Roses court hearings with their record label Silvertone. 

Ah ... Silvertone. The label that promised so much. Following the release of Sally Cinnamon on FM Revolver in 1987, and after years of building a collection of songs, The Stone Roses were courted by several labels, most notably Rough Trade, who funded the recording of Elephant Stone, with Peter Hook on production duties.

However, the Roses, thanks to a slap up Italian dinner, signed an 8-album deal with Zomba Records, later transferred to Silvertone (a subsiduary). The Roses were able to buy the Elephant Stone tapes off Rough Trade as part of the deal.

The Silvertone years were golden ... pardon the pun. 

• 1988 - Elephant Stone 
• 1989 - the impeccable run of Made of Stone, She Bangs The Drums and the double a-side of Fools Gold / What The World Is Waiting For in 1989, 
• 1990 - One Love in the July of a hot hot summer. This single was released on the back of the Roses playing Spike Island in May and Glasgow Green in June, the latter of which would be their final show for 5-years.

The whole world in his hands - Ian Brown at Spike Island

By now, the Roses had realised they had been ill-advised and hasty in signing their deal with Silvertone and they were trying to get out of it. Within a year, a period that halted the best band in the world in their tracks, the Roses were free and they signed to Geffen for a reported £1 million.

Silvertone, scuppered recordings when they appealed against the court decision to free the Roses. They also went on to release Adored, Waterfall and Resurrection as singles from the album. The court case, money, drugs, travel, deaths and births meant that it would be mid-1993 before work began properly on what would become The Second Coming. It eventually came out in December 1994.

Never Mind The Pollocks - photo by Kevin Cummins

Back to Turns Into Stone though ... another Silvertone cash in, although this was welcomed by fans - bringing together b-sides and non-album singles, it's an absolute gem of a compilation.

Reni's high-hat ushers in the sublime 12-inch version of Elephant Stone, then he is all over his drums, Mani comes in on bass (his first recording with the band) and Squire sprinkles chiming riffs like sugar over the top. Literally the icing on the cake. He places a cherry on top after a minute and 15-seconds later Brown yells break and his band take it up another notch. There is a break down and another build up, before finally Brown begins to sing, 10-seconds shy of 2-minutes. 

The second half of the first verse contains lines that meant so much to me as a teenager ... and they do to this very day.

Dreaming 'til the sun goes down

And night turns into day

Reni is on fire, Mani holds the groove and Squire is free to flow. This is an incredible single and it is little wonder that Hooky was lined up to produce the album, only timings didn't fit ... eventually leading the Roses to John Leckie, which worked out rather well.

Seems like there's a hole

In my dreams

Or so it seems

Nothing means

Anything ... anymore

From a different planet, in their own world - like all the best bands

The Hardest Thing In The World was the b-side and had been played as early as May 1986. Merging the Roses harder sound from their earlier days with their growing feel and understanding for guitar pop, it's a glorious burst of energy, wrapped up in 2-minutes 43 seconds.

Searching for a perfect day

It never happens that way 

Going Down is another gem from Squire and Brown's incredible songwriting streak of 1986-87. Melodic and melancholic, it's a real favourite of mine. I love the imagery in the lyrics, the tale of someone in love, lust and awe.

Penny's place a crummy room

Her dansette crackles to Jimi's tune

I don't care I taste Ambre Solaire

Her neck, her thighs, her lips her hair

And then of course the magical;

There she looks like a painting

Jackson Pollock's number 5

I really love the dreamy outro;

To look down on the clouds, you don't need to fly

I've never flown in a plane

I'll live until I die

Guitarist, songwriter, artist and dreamer - John Squire

The chiming guitar pop perfection of Mersey Paradise is one of the first guitar riffs I took the time to learn. Built around the D chord, Squire creates a chiming masterpiece and Reni is all over his kit - pounding, rolling and grooving. When Brown lets out an oh yeah before the final chorus, it is the sound of a singer in love with his band and music.

Lost In Music - Ian during the magnificent outro to I Am The Resurrection - Live at Blackpool

Standing Here is a real favourite of mine. 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. The outro is very arguably the most blissful moment in the Roses discography.

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

Pollocked - Photo by Kevin Cummins

Dating back to 1986, Where Angels Play was first played live in January 1987 and remained unreleased until Silvertone releases I Wanna Be Adored as a single in 1991. Brown is steadfast and defiant in his delivery of the lyrics, while the shimmering 60-second outro is sublime. This fades out and I wonder if there is a long version sitting in the vaults somewhere.

Simone is Where Angels Play backwards. A trick the Roses repeated several times to create trippy psychedelia. 

I wrote a feature length blog on Fools Gold (12-inch version) HERE that included the intro - Fools Gold was (and 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.... oh and the Marquis de Sade.

Later I would say - 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.

Fools Gold on Top of the Pops

What the World Is Waiting For is a burst of guitar pop telling tales of religion, gold and greed, making it the perfect companion for Fools Gold that it was released alongside. 

He loves his brother

He'd sell him for a fistful of gold

Things move up a notch to the outro;

Any time you want it, then it's there

All you gotta do is stop it on the corner and ask

Say hey, you don't live today

Stop the world, stop the world, I'm getting off

I've also written a feature length blog on One Love and Something's Burning that you can check HERE. I describe the songs as  - Squire on guitar, Mani on bass and the effervescent Reni on drums stretched out blissfully to create almost 16-minutes of dreamy, groove based psychedelia.

Riding in on some outrageous Squire guitar heroics, Mani and Reni fall effortlessly into a groove behind him, allowing Ian to come in with a hushed promise, sung in an almost menacing whisper.

Any time you want me

Any time at all

Any time you need me

All you gotta do is call

Mani and Ian at Spike Island

The bridge to the chorus is all kinds of trippy cool. Brown sings about being a dolphin who doesn't live in the sea, before the beautiful line you feel my flow and you flood my brain , slowing things down into a delicious groove ...

Show me your vision, your wild apparition

And sink to the depths of your soul

... before Squire delivers some star spangled riffs as the band hit the chorus;

One love, we don't need another love

One love, one heart and one soul

Reflecting on One Love in 1998, Ian Brown said "The chorus wasn't strong enough. We tried for an anthem. We wanted to cover all bases and ended up covering none."

After another run through the first verse and a slightly different bridge, the chorus is then extended, ending with a lyric that would become the title of their phenomenal Turns Into Stone compilation of non-album single and b-sides.

Your fruit's in season

And these feet fall surely sound

And what goes up must come down

Turns into dust, or turns into stone

Remarkably, all of the above (and more) is delivered in 2-minutes 45 seconds, leaving the Roses a full 5-minutes to play with on the 12-inch version. Mani's bass is central to the extended outro, allowing Squire ample room to play and Reni to jam along with some kind of sample/programmed beat.

The beat goes on - Alan 'Reni' Wren - a generational drummer

Tantalisingly, the song seems to have found another groove just as it ends. It could have gone on and on. The Roses look super cool in the video, playing and grooving as flames shoot up all around them.

John Squire, One Love video shoot

Something's Burning is as fluid and trippy a song as the Roses produced. The first 70-seconds sound like the band just mucking around with programmed beats and some effects for inspiration, then Squire coaxes a gentle riff from his guitar and a whispered Ian Brown vocal comes in, singing proverbs through the first verse.

There is a lift into the chorus and I particularly love the flowing melody of the final line.

I can see the love and the hate in your eyes

Penny for the thoughts behind your disguise

What you gonna go and what you gonna day?

I'm not the only one believing there's an easier way

And then a little groove into the next section that ends with a classic Ian Brown line;

It doesn't pay to disorientate me

It doesn't cost to be someone

I am the vine 

And you are the branches

I've said it before on this blog and I'll say it again. The Fools Gold and One Love b/w Something's Burning singles are a glimpse of where the Roses could have gone if they hadn't got caught up in legal wranglings. Can you imagine an album full of blissed out psychedelic grooves, jams and beats? 

Turns Into Stone is a remarkable collection of songs and the album is a real favourite of mine. I've enjoyed revisiting it a few times to write this blog and hope that by reading it, you might be encouraged to stick it on too.

Acquiesce

Trust me #92
Acquiesce by Oasis 

30-years ago, on Monday 24th April 1995, Oasis released Some Might Say, their 6th single in a year and first to reach number 1. The single was backed with Talk Tonight, Acquiesce and Headshrinker.

Fans were becoming accustomed to the band releasing some absolute gems as b-sides. Songs like Take Me Away, Fade Away, Listen Up and Half the World Away had been sprinkled liberally across 1994's singles, to the extent that Oasis CD/12-inch singles were effectively EP's. 

Noel Gallagher was in a rich streak of writing that arguably hit it's peak around this time as through 1995 he would release the likes of The Masterplan, Rockin' Chair, Round Are Way and Underneath The Sky as b-sides to singles off Morning Glory.

Acquiesce should never have been just a B-side. In a career full of anthems, it remains one of the Oasis’ most beloved and electrifying tracks—a song that’s both euphoric and full of defiance.

Two days prior to the release of Some Might Say, my brother, best friend Reddy and I travelled down to Sheffield to see the band play their first arena headline show. This was their last with Tony McCarroll on drums. Noel played Don't Look Back In Anger, a song he had written days earlier. It was all going on!

5-day before that, on 17th April, Oasis appeared on Channel 4's The White Room for the first time, performing a short set of b-sides; Acquiesce, It's Good To Be Free and then Noel performed Talk Tonight with Paul Weller. The band were absolutely flying, something that presenter Mark Radcliffe underlined in his introduction!

This next lot have been on a meteoric rise for the last 18-months.  They come from Manchester, they support city,  they write great songs of their own and borrow good bits from other people.  The all conquering Oasis!

Facing a huge bank of white speakers with a Marshall stack on top, Noel fires up the opening riff and the band crash in behind him. Liam stands motionless at the mic, hands clasped behind him, wearing a heavy brown leather pilot jacket with a huge fluffy collar. Portraying no emotion physically, his voice says it all as he begins to sing;

I don't know what it is that makes me feel alive

I don't know how to wake the dreams that sleep inside

I only wanna see the light that shines behind your eyes

Before Noel soars in on the chorus with that instantly iconic refrain;

Because we need each other

We believe in one another

It’s a simple, yet powerfully emotional lyric. It hits hard. It means something. It means everything.  Whether Noel was actually writing about his relationship with Liam or just throwing out another universal, stadium-ready sentimental chorus, tailor-made for sending tingles down spines, it doesn’t matter. Acquiesce feels massive. It was massive. It remains massive. This summer it will be off the scale!

Part of what makes Acquiesce so special is how the vocals are shared by Liam and Noel, something that, arguably, Oasis didn’t do often enough. Although, that's also why this is so special. Let There Be Love is the only other time they did it.

On Acquiesce, Liam takes the verses, snarling and swaggering his way through them, full of punk attitude and the spirit of Lennon and Lydon. Then Noel comes in for the euphoric yet tender and heartfelt chorus. 

Recorded during the Morning Glory sessions, Acquiesce begins with a clip of the title track being sung by Noel over an acoustic guitar. Then the guitars crash in immediately, the drums drive everything forward relentlessly, Liam sounds incredible and the whole thing feels unstoppable—like it could burst out of the speakers at any moment.

A phaser guitar effect, similar to the one that Squire uses on the Roses Made of Stone, drives the song to the sky scraping double chorus that may well cause tremors on the Richter scale when Oasis play Cardiff on Friday 4th July. After Noel sings what's sleeping in our soul for the second time, Liam is straight into the next verse.

There are many things that I would like to know

There are many places that I wish to go

Everything's depending on the way the wind may blow

After singing the first verse again, Noel is back for a double chorus that leads to the super positive short mini-mantra-like outro;

Cause we believe 

Yeah we believe

I'll always believe in Oasis. Yes, and by Noel's own admission, they released some albums that were not up to scratch - musically, lyrically and production wise, but they also released songs like Acquiesce that made people feel incredible ... invincible. Not many songwriters can do that.

Here is an old blog I wrote in 2016 reflecting on Oasis 1994-1996. They could do no wrong in these golden years and I was there on the ride. Good, good times!

Acquiesce is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE 

Check below for all previous blogs in my Trust Me series.

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton

1A. Crimson and Clover by Tommy James and the Shondells

2. I Am, I Said  by Neil Diamond

3. Where's The Playground Susie?   by Glen Campbell

4. If You Could Read My Mind by Gordon Lighfoot

5. Gimme Some Truth by John Lennon

6. Gone With The Wind Is My Love by Rita and the Tiaras

7. In The Year 2525 by Zager and Evans

8. The Music Box by Ruth Copeland

9. The Ship Song by Nick Cave

10. Sometimes by James

11. I Walk The Earth by King Biscuit Time

12. Didn't Know What I Was In For by Better Oblivion Community Centre

13. When My Boy Walks Down The Street by The Magnetic Fields

14. The Man Don't Give A F**k by Super Furry Animals

15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser

16. Are You Lookin' by The Tymes

17. A Real Hero by College & Electric Youth

18. Feelings Gone by Callum Easter

19. Sunday Morning by The Velvet Underground

20. Did I Say by Teenage Fanclub

21. Don't Look Back by Teenage Fanclub

22. Your Love Is The Place Where I Come From by Teenage Fanclub

23. Belfast by Orbital

24. Clouds by The Jayhawks

25. Dreaming Of You by The Coral

26. Everlasting Love by Love Affair

27. Walk Away Renee by The Left Banke

28. Teenage Kicks by The Undertones

29. Shaky Ground by Sneeze

29. Rill Rill by Sleigh Bells

30. I Can Feel Your Love by Felice Taylor

31. The State We're In by The Chemical Brothers w/ Beth Orton

32. Sunshine After The Rain by Ellie Greenwich

33. Losing My Edge by LCD Soundsystem

34. Mondo 77 by Looper

35. Les Fleurs by Minnie Riperton

36. Rat Trap by The Boomtown Rats

37. How High by The Charlatans

38. I Can't Let Go by Evie Sands

39. Pop Song 89 by R.E.M.

40. Summertime Clothes by Animal Collective

41. There She Goes by The Las

42. We're Going To Be Friends by White Stripes

43. Autumn Sweater by Yo La Tengo

44. Sister Rena by Lomond Campbell

45. Revolution by The Beatles

46. Lazarus by The Boo Radleys

47. Wrote For Luck by Happy Mondays

48. American Trilogy by The Delgados

49. Loser by Beck 

50. Silent Sigh by Badly Drawn Boy

51. Comedy by Shack

52. Take The Skinheads Bowling by Camper Van Beethoven

53. Freakscene by Dinosaur Jr

54. Thank You For Being You by The Pastels

55. I Think I'm In Love by Spiritualized

56. Chestnut Mare by The Byrds

57. Cannonball by The Breeders

58. Like A Rolling Stone by Bob Dylan

59. You Make Me Weak At The Knees by Electrelane

60. Lucky by Radiohead

61. Strange Currencies by R.E.M.

61. I Am The Cosmos by Chris Bell

62. Like A Ship (Without A Sail) by Pastor TL Barrett and the Youth for Christ Choir

63. Nothing But A Heartache by The Flirtations

64. Made of Stone by The Stone Roses

65. Tonight In Belfast by Orbital, David Holmes, DJ Helen and Mike Garry

66. Anything by Adrianne Lenker

67. I Hold Something In My Hand by Bill Ryder-Jones

68. I Meant Every Word by Burnett Sisters

69. Dream Baby Dream by Suicide

70. Stove by The Lemonheads

71. Red Lady by Phil Cordell

72. Little Fluffy Clouds by The Orb

73. I Can Do It With A Broken Heart by Taylor Swift

74. Turnin' My Heartbeat Up by The M.V.P.'s

75. Razzle Dazzle Rose by Camera Obscura

76. Such Great Heights by The Postal Service

77. The Rat by The Walkmen

78. My God Has A Telephone by Aaron Frazer

79. Unfinished Sympathy by Massive Attack

80. Sweet and Tender Romance by The McKinleys

81. Hoppipolla by Sigur Ros

82. 69 Police by David Holmes

83. Hey Lisa by David Holmes

84. I Am A Rock by Simon & Garfunkel

85. Kung Fu by Ash

86. Kids by MGMT

87. Slight Return by The Bluetones

88. Give Peace A Chance by John Lennon / Plastic Ono Band

89. Cut Your Hair by Pavement

90. Race for the Prize by The Flaming Lips

91. Waitin' for a Superman by The Flaming Lips

Dillon Squire at The Rum Shack

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.

Poster Paints by Poster Paints

Poster Paints released their self titled debut album earlier this month, following it up with a joyful launch party at The Glad Cafe in the Southside of Glasgow. 

Support was from Flinch, a 4 piece outfit who have self released their album Enough Is Enough on vinyl. They display a punk indie pop energy on stage and off. Fanzines, pin badges (support your local girl band) and stickers, harmonies, fuzzy & reverb laden guitars, hooks and harmonies.  Expect a separate blog on Flinch in the near future.

Poster Paints played all 12 songs released to date. Their 10-song album, plus Blood Orange and their loving cover of The Lemonheads Into Your Arms. It was the best I've seen them play. Simon Liddell creates wonderful sounds from his guitar, little riffs and chord progressions that just sound sublime, whether gentle and fragile, or dreamy, shimmering and bursting with sunshine energy.

My sister Carla sang beautifully. I honestly think it was the best I have seen and heard her sing. Her voice could be sweet and tender, or it could rise and soar, sometimes to dramatic effect.

Backed by Calum Muir on drums, Suse Bear on bass and Kim Grant on ryhthm guitar, with Lomond Campbell duetting on Ribbons, Poster Paints created beautiful music that left everyone in the audience beaming. 

On to the album.

As summer becomes a distant memory and autumn unfurls in its uncertain, bittersweet glory Poster Paints are here to provide the perfect soundtrack - all hail the unique undimmed beauty of Scottish pop.

Line of Best Fit

I still remember the first time I heard Poster Paints. I was out at our Mums house in Carluke and Carla messaged me asking if I'd like to hear some demos. The answer, of course, was yes.

It was October 2020 (I just checked my old emails). With the kids happily playing with their Gran, I decamped to our Mums wee summer house in her garden, sat in a chair with my headphones on and pressed play on a song called Circus Moving On. Within a few minutes I pressed play again. Then I moved on to the other song titled Not Sorry. Also playing it again immediately afterwards.

Both songs moved me. The slowness of Circus Moving On, the gentle keys, the ache in Carla's voice, then the strings and Simon's guitar coming in ... the flow of Not Sorry .... they didn't sound like demos.... I messaged Carla to say they were the best songs she had done. They felt more wordly, more mature, but still with the vivid imagery through the lyrics and tumbling and catchy melodies that are Carla's key strengths.

Simon's arrangements were sublime. There seemed to be so much space in the music, yet there was also still so much to appreciate with each listen.

Later in lockdown Carla had tweeted out a message asking for band names as she and Simon now had enough songs for an album. She phoned me up and I was in our back room (formerly my music room, meant to be a playroom, but essentially a dumping room for toys/washing etc) having just finished a #timslisteningparty with a few beers. I looked at the mess around me and suggested names like Blue Crayons, a few others that Carla meh'd at and then Poster Paints, which she seemed to like. 

And that was that. I named a band!

Two years down the line and the album is out on Olive Grove Records & Ernest Jenning Record Co.

Proceeded by a string of singles that built momentum, the eponynmous album is gathering a lot of love from those who discover it.

And it's easy to hear why.

The album floats gently and dreamily into life with Still Got You. At 1-minute 19 seconds the song drifts beautifully, everything cutting out as Carla sings

I've still got that taste

In the back of my throat

The swallowed secret

That makes me choke

Liddell's subtle, shining and shimmering guitar sounds hazily gorgeous over lazily funky beats in the closing minute. It's an absolutely stunning opening.

The pace changes and quickens with debut single Number 1. It's chiming guitar pop with Spector-esque beats. Kids are so naive, I wear my heart on my sleeve, cause baby you're my number 1, baby you're my number 1 is a brilliant chorus. There is a sublime instrumental that takes us to a final refrain.

Not Sorry slows things down again, the verses have so much space for the reflective lyrics, building to the chorus where Liddell's guitar bursts to life to back Carla singing.

My favourite memory of you will be of you in the morning

Never Saw It Coming was the second single that Poster Paints released back in August 2021. The flowing melody and guitar riff are beautifully entwined through the verse, leading to the chorus and the realisation of love lost.

I can't believe you're gone

I never saw it coming

Reflection and realisation come across in the lyrics throughout the album. I think they are the best that my sister has written. Equalled by the flowing melodies that deliver them. Her voice has matured beautifully and just seems to fit perfectly with Liddell's arrangements.

A splash of psychedelia/dream pop in the middle section is just lovely.

Circus Moving On is one of the best songs I've heard this year. Floating and gliding beautifully through the verses, it's mellow, tender and dreamy. Then ... at 48 seconds ... the slow burning star becomes a shooting star lighting up the night sky at pace. A double chorus is delivered with strings, beginning with the lines;

You say I need to walk before I float

But I'm already flying every day

Falling Hard is a pure pop sugary jangly rush, with Easton singing defiantly giving up is not on the cards, when I fall, I'm falling hard. Liddell's guitar jangles, chimes and fuzzes through an instrumental that takes us back to the chorus, one that you may well  find yourself singing after one or two listens.

Lomond Campbell is someone my sister has known for a while and I know that she was absolutely delighted to get the opportunity to work with him on a song. Ribbons aches beautifully, vocals and music are just sublime. Liddell's guitar in harmony with his friend Jonny Scott on drums.

There is plenty of space in the arrangement, playing and production. Everything seems to beautifully unrushed and dreamy.

Campbell & Scott are just a couple of the guests that the duo roped in. Both have declared that it was easier than normal to ask friends (from across the world - see below) to contribute to songs during lockdown restrictions. Ambitions helped by Creative Scotland which ensured that all musicians were paid. 

Poster Paints started when Simon sent Carla a piece of music and asked her to contribute some ideas. Easton wrote lyrics and a melody and returned a completed song. That song was Rupture, so it's only apt that it is included on the album. Liddell's guitar has a dirty jangle to it, taking an abrupt turn at 1 minute 25 seconds to chime. Easton's voice rises in the second half of the song as again she reminisces about a lost love, reminded of this every time she smokes cigarettes, I guess that's why I smoke them as much as I do.

Hard to Sweeten is a real favourite. It's like a lullaby, a truly special song. Guitar and keys/synth, draped with the most gorgeous vocal my sister might have sung to date. The closing instrumental section is just sublime. 

I was warned of love like yours, that's hard to sweeten

I adore a fire that burns, that scars me deeper

Another favourite is album closer My Song. This song builds slowly, surely and sublimely with Carla singing to a lost love I have you the chance to, have and to hold me. At 2 minutes 27-seconds the song begins to soar and glide on a gorgeous guitar riff, New Order-esque bass and synth. You get 2-minutes of this, but I would love an extended 12-inch remix stretched to at least 8. 

Poster Paints album is out now. Order online (can be delivered from the UK or the USA) or check your local record shop. Check a track by track run through by Carla HERE

What next for the band? 

Well they have been offered the chance to go to SXSW in spring 2023. Exciting ... but ridiculously expensive. Personally, I just hope they keep writing and recording. Simon and Carla have conjoured a collection of magical songs and have an amazing pool of friends they can call upon to create the sounds in their heads. With this album, they've brought out the best in each other.

Poster Paints at Nice n Sleazys

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. 

So good I bought their t-shirt. Lemon Drink play The Hug & Pint on July 31st.

Photo by Kat Gollock

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.

I have heard the album and it is incredible. 

Poster Paints setlist

Rupture

Still Got You

Number 1

Not Sorry

Falling Hard

Circus Moving On

Never Saw It Coming

Hard To Sweeten

Ribbons (featuring Man of Minch)

Blood Orange

My Song

Into Your Arms (Sneeze/Lemonheads cover)

Photo by Kat Gollock