10 from Edwyn Collins

This weekend I should have been heading to the wonderful Kelvingrove Bandstand in the West End of Glasgow to see Edwyn Collins gracing the stage with his presence and songs.

Edwyn's hometown shows are always a celebration, I think this one, in the stunning outdoor amphitheatre, surrounded by the greenery of the park, would have been a little extra special.

Glasgow is particularly fond and appreciative of the work and art of Collins. A handsome and super cool devil, Collins displayed a great ear for melody, married with clever lyrics (with dashes of humour) from the very start of his career. Equally appreciative of The Velvet Underground and Chic, Collins created wonderful guitar pop with his band Orange Juice that captivated many. If those bands had inspired him to pick up a guitar, the circle was nearing completion as teenagers across the country jumped on the Sound of Young Scotland and the early Postcard Records singles to buy guitars.

It was really in the 00's that I properly fell for Edwyn's music, specifically the Losing Sleep album that was released in 2010. The title track blew me away and it sent me scurrying to explore his extensive back catalogue - a very rewarding experience.

Edwyn suffered a cerebral haemorrhage in 2005 and his recovery is documented in the 2014 film The Possibilities Are Endless.  It might be due to my age (having only been 4 when Orange Juice released their debut single) but 2007 onwards is my favourite period of Edwyn's; full of incredibly personal, soulful, reflective and forthright lyrics. 

Each time I watch Edwyn live, I gain even more appreciation of his talents as a songwriter and performer. The way he crafts his songs is absolutely fascinating. His wordplay is joyful, his passion and soul shines through and it sends me back to exploring his extensive body of work and his history.

And what a rich history Edwyn has. From the Postcard Record days where he would drive overnight to London with Alan Horne to rouse the media, through celebrated singles and albums with Orange Juice, to his mega hit A Girl Like You in the 90's, through to present day.

A DIY ethic and fierce work attitude is at the heart of Collins story. Whether with albums, studios, artists or labels. I love the story from the Losing Sleep album about Edwyn only allowing a day for each song with collaborators from The Cribs, The Drums and Franz Ferdinand, pushing them to create something with a sense or urgency.

Edwyn has the ability to get people dancing, pogo-ing, singing and he has the ability to warm and melt hearts with his poetry and delivery.

In many ways I think he is vastly under-celebrated, but I think that suits him just fine.

Here are 10 of my favourite songs that span Edwyn's career.

In Your Eyes

From the Losing Sleep album that saw Edwyn collaborate with a number of bands including Franz Ferdinand and The Magic Numbers. This song is with a band called The Drums and it contains an absolutely euphoric chorus. It was thrilling to hear Edwyn play this last year with his son William singing the part of The Drums singer Jonathan Pierce.

Blue Boy

Released in August 1980, Blue Boy was the second single from Orange Juice. It is positively bursting with energy, from the militant drums that lead to a burst of organ, bass and guitar. Collins spits out a couple of lines before he is into an uplifting chorus.

She wasn't listening to the sweet words

He wasn't listening to her lying tongue

He was listening to the words being sung

By the Blue Boy

The second verse contains two incredibly poetic lines (below) before we head back to the second chorus, which is completed by 1 minute 12 seconds, allowing plenty of time for the band to jam over a funky bass before the third verse and chorus are sung at pace by a frantic Collins. There is still time for a brilliant outro and its all over in under 3 glorious minutes. I can never play this song only once, I always have to play it again.

Friends told him of her young hearts passion

Down by the sea where the blue waves crashing

I Can't Help Myself

Orange Juice released a remarkable run of singles from 1980 to 1984. Listening to them back to back, their development is quite staggering. Their 1981 cover of Al Green's L.O.V.E (Love) is absolutely exquisite and I'll feature that in a forthcoming cover version of the month blog. It really highlights their influences and where they wanted to head in terms of quality and soul.

In 1982 Collins and his band released I Can't Help Myself and it's a real favourite of mine.  Deceptively simple, but full of humour and clever references, this is 5-minutes that, in comparison to Blue Boy mentioned above, make you wonder if this is the same band. Have they really moved on so much in 2-years?

The additional 2-minutes of time gives Collins and his band time to stretch out with loads of great riffs, hooks, use of backing vocals and even a saxaphone solo!

I felt I had to tell the world

About you

It's 5-minutes of absolute joy.

Home Again

This absolutely melts my heart. Written and recorded before Collins cerebral haemorrhage in 2005, upon release in 2007 it took on a whole new meaning. Certainly for me and other fans. You could have heard a pin drop when he played this at Mono a number of years back.

The acoustic guitar is sublime, Edwyn's voice is incredibly gentle. He has always told stories very well, yet this time it seems even more personal, like he is speaking really directly to his audience. The little lift to when I was a boy and I heard somebody singing is just beautiful.

I'm home again

Hardly certain of my role and then

I started searching for my soul again

But there was nothing I could find

I'm home again

But I've been here before, old friends

And I know I'll be consoled again

In the past I've left behind

A Girl Like You

This is just a monster of a tune. Everything about it is perfect, the feeling, the beat, the riffs, the lyrics, the vocals, the hooks.

Collins' love of northern soul screams out from every inch of this record, as does his understanding of what makes a hit.

The song took on a life of its own. The aforementioned The Possibilities Are Endless captures this superbly. But for now, turn the speakers up, dance, play air guitar or grab something to sing into. I've included a live TFI Friday performance as well as the original video.

Losing Sleep

Edwyn lays his soul bare in this stomper of a track. This is very public personal therapy as Collins confronts his feelings in verse and chorus. The song opens with a remarkably frank chorus; 

I'm losing sleep, I'm losing dignity, 

Everything I own is right in front of me, 

And it's getting me down, I'm losing sleep

Collins doesn't stop, it's pouring out of him, honest confessions; I'm holding on, I'm insecure, about my life, about my work . His self awareness leads to Collins giving himself a good talking to 

I must believe, I must retrieve

The things I know, the things I trust

This confessional northern soul stomper is extraordinary and as Collins pours his heart and soul out, there are all kinds of delicious backing vocals going on.

Too Bad (That's Sad)

This list of 10 songs highlights how much I love Edwyn's love of northern soul and the influence on his songs. Too Bad (That's Sad), from the 2013 Understated album, has an upbeat jaunty feel and groove from the off, even though Collins is singing that he can't stay another day with you.

The little riffs are excellent and the beat is pure Motown, the guitar solo is very George Harrison.

Edwyn has written better songs, but this grabbed me on first listen and I still love it. This blog is 10 of my favourite Edwyn songs, not what I consider to be 10 of his best - although I think some are! :-)

Rip It Up

So fresh, so cool, so funky. Collins and Orange Juice introduce synths to their grooves. The squelchy synth bass groove and a simple beat underpins Chic style guitar riffs and Edwyn's voice sounds incredibly pure. The harmonies are in all the right places, Collins voice is on its own in all the right places.

Lyrically and musically playful, Collins sounds like he is enjoying being allowed to confess and also shout loud to contemporaries and the scene to rip it up and start again.

And there was times I'd take my pen

And feel obliged to start again

I do profess

That there are things in life

That one can't confess

Make Me Feel Again

Such a beautiful song, I love the guitar intro, the feel, Edwyn's voice, the beautiful structure of the song with a kind of double bridge into the chorus that is heartachingly romantic.

From the 1994 Gorgeous George LP, this is Collins in absolutely stunning form. Possibly my favourite Collins melody, the chorus is just beautiful, it flows superbly.

The way you turned your head

When I called your name

All I needs your love

To make me feel again

Don't Shilly Shally

I love the feel to this, the guitars, the playful lyrics. It's real fun guitar pop. Edwyn looks fantastic in the video, with a huge quiff and an Elvis vibe going on.

I love the build up to the conclusion as Edwyn urges lets ride this train together before going on to shout space rocket. Live he really goes for it at the end, creating a beautiful racket. 

The solo acoustic rendition of this song in the film The Possibilities Are Endless sends chills down my spine. I can't find it on YouTube though so you'll need to make do with the official video.

Edwyn Collins at the QMU Glasgow

I can't remember the last time I attended a gig at the QMU in the leafy West End of Glasgow. But last night I was reminded what an excellent venue it is as Edwyn Collins returned home to deliver a spell binding and life affirming show to fans who lapped up every minute.

Collins was backed by an oustanding 5-piece band; two guitars (Little Barrie and Andy H), bass (Carwyn Ellis), drums (Jake Hutton) and keys/saxaphone (Sean Read). Little Barrie on lead guitar was an absolute joy to watch and Collins urged him on several times through the course of the show, he seemed to be enjoying the guitarist just as much as the audience.

There was a sense of occasion to the show, the atmosphere was warm, the audience appreciative and respectful. Edwyn seemed to recognise this and his humour was on display throughout - poking fun at himself and at his rhythm guitarist who needed help from a guitar tech on several occasions.

Oh what a catalogue this maestro has at his disposal. And Collins delved deep into his songbook to play songs from start to present, new songs, classics and a few surprises as well.

Edwyn's song In Your Eyes with The Drums from his Losing Sleep album is a particular favourite of mine. I love the guitars, the flow of the song and the euphoric chorus. So it was a real delight when Edwyn's son William came out to sing the part of Jonathan Pierce. It was a lovely moment to witness, Edwyn introducing his son and asking him how he was to a shrug of the shoulders 'alright' and their voices combining towards the end was thrilling.

What Presence? was an early highlight, A Girl Like You is timeless guitar pop with a nod to northern soul and Little Barrie shone on guitar, Don't Shilly Shally fizzed with energy, It's All About You from latest album Badbea was northern punk soul, Home Again was tender and beautiful yet delivered with real vocal power, while the double blast of Blue Boy and Falling and Laughing was a delight with Collins standing to deliver them and also to take the ovation from the crowd.

Badbea by Edwyn Collins

Welcome back Edwyn Collins, it has been a while, 6-years to be precise since Understated his last LP was released. Edwyn's December show at Mono in Glasgow that year was an absolute joy. We then had the beautiful documentary The Possibilities Are Endless with accompanying soundtrack which was released in 2014.

Since then Edwyn has moved to Helmsdale on the North East coast of Scotland, building his Clashnarrow Studio from scratch and recording with bands ranging from Hooton Tennis Club to Teenage Fanclub.

It's great to have Edwyn back with his new album Badbea. I was too young for Orange Juice and it was only from Edwyn's Home Again album that was released in 2007 that I really started to form a bond with one of Scotland's greatest songwriters, digging his new stuff and digging back into his discography.

Home Again was followed by the excellent Losing Sleep which featured a string of guests including members from The Cribs, Franz Ferdinand, Magic Numbers, The Drums and Roddy Frame. The title track and the superb In Your Eyes are real favourites of mine. And then there was the aforementioned Understated.

On to Badbea. Edwyn's love of northern soul shines through, as does his humour and his wonderful ability to reflect so eloquently and poetically. There are times Edwyn reflects with a bite that goes straight to the point, and at others with beautiful melancholy. At the heart of everything there is love and hope.

Pounding drums and electric guitar usher in the opening It's All About You and Edwyn croons about the sky, the mood, the sea and the summer before leading to the chorus that you can sing on first listen. The song progresses to include horns, Chic style guitar and develop into a real groove - off to a flyer.

In The Morning is a rip roaring northern soul influenced monster containing responsive backing vocals, horns, a soaring guitar solo and Edwyn singing about his uncertainty in the morning, in the evening and in the twilight. The song has a great feel to it and flows superbly with Edwyn's vocals rising with the music as it drives to conclusion.

The reflective I Guess We Were Young is another belter, the chorus has a beautiful melody with Edwyn's band mates harmonising beautifully.

It All Makes Sense To Me slows the pace, a gorgeous acoustic number beginning with the sound of birds singing merrily as Edwyn reflects on a magical day in his life as he walks, dreams and thinks and everything makes sense. The instrumental section is lovely and Edwyn comes back in gently to repeatedly sing it all makes sense to me, it's beautiful, perfect.

The pace quickens dramatically on the punk garage guitar charged Outside with Edwyn simply stating at one point now I'm old, I don't care. Then we change direction with a bass synth, drums and handclaps starting off Glasgow to London with Edwyn singing I must admit I could not give a fuck.

Edwyn is on the train, Glasgow to London, but it's in the past. It sounds like a reflective piece on his move to Helmsdale, he was moving away from going back to reality, back to the grind. But then he sings repeatedly it's in the past, it's in the past and the song gets into a real groove.

Tensions Rising kicks in with what sounds like a nod to The Temptations Get Ready, there is a cool bass groove underpinning the song and fuzz guitar cuts loose.

Beauty is very aptly named, I played it 3 times on first listen. It is gorgeous, a slow acoustic ballad and a Collins vocal that melts the heart.

Carry on, do your thing

Look ahead, don't give in

Don't give in, don't give in

I Want You finds a psych groove that is darker than the rest of the album, I'm OK Jack is much lighter in comparison sounding almost McCartney-esque at times, while Sparks the Spark has more outstanding guitar work from Collins band which includes long term friends Carwyn Ellis and James Walbourne.

Badbea is named after a village near to Helmsdale that was built and then abandoned by crofters. The closing title track is beautifully dreamy, it has a Brian Wilson feel to it at times with Collins singing of a ruined monument to life and death.

Collins is in good form and it is fantastic to have him back. Edwyn will be playing a short set and signing his album at Mono on Tuesday 9th April while the night before sees him play Saint Lukes as part of a BBC Quay Session. I hope to make both and you can order limited signed copies from Monorail.

Photo by John Maher - blog on his Edwyn photos for the album HERE

Pocket Knife at BLOC

Last night I exchanged a few text messages with a friend to determine whether or not I was venturing out on a wet Thursday night to see Pocket Knife at Bar BLOC in Glasgow. I decided I would try and find out what time they were on.

If they were on too late then I was just going to sit in and enjoy Peaky Blinders with my wife. Hey, I'm 42 and had an early start today!

At 8.34pm precisely I received a text that said 'They're on at 9.15pm, I'm going to head in'. I swiftly replied that I would make it in. Peaky Blinders could wait.

I'd only heard one song by Pocket Knife previously, the stunning Half the Presents on the Olive Grove Records Christmas album which saw the band discuss Jesus being such a Capricorn over a funk cool Belle and Sebastian-esque style groove. The groove, humour, cheek and melodies captivated me and I played it over and over.

So when I found out that they were playing BLOC I kept it in mind. I'm glad I ditched Peaky Blinders.

Nursing a non-alcoholic beer (the 18-year old me would not be impressed - what is the point?!) after driving in to make the start, I caught up with my friend as the band soundchecked.

They eventually came on at 9.45pm. A two-piece; Louise on vocals, synth and drum machine and Michael on bass and very occasional backing vocals.

The opening rumble of activity sent people scurrying from the bar and all of a sudden, from having a perfect view at the sounddesk we had to push through to see what was going on.

Smoke billowed from the BLOC smoke machine and the lights changed. I suddenly remembered what a cool little venue BLOC is. It had been a while.

Basic synth chords underpinned a beat while Michael grooved on the top and Louise sang sweet melodies, riffing off herself. We were immediately transported into the world of Pocket Knife. Bedroom/living room recordings suddenly springing to life in the BLOC.

We had a song that had been written just 2 days previously, a song in French, a beautiful laid back cover of Rip It Up by Orange Juice (bonus), a super cool song called Custard Cream and a cracking tune which had Louise talking to herself and saying

Just be cool, be cool

You're trying to hard

The duo looked like they were having fun. There were smiles and giggles as they introduced and played songs. Louise asked if the drum machine could be turned up and found the space to dance.

In a short 25/30-minute set Pocket Knife won me over with their fun, sparse, laid back grooves and I look forward to catching them again throughout the year. The band are planning a release via the excellent Olive Grove Records and through OGR they have contributed to an Indie Sampler released on Gold Mold Records bringing a number of bands on different DIY labels together.

A year of Spotify

Around a year ago I joined Spotify!!!!

F**K!

I always said I wouldn't......I held off for so long.......but I joined. Read on as I try to justify it to myself, try to do the sums for the company and for artists and scroll right down to the first playlist I created- almost 7 hours long and featuring 100 songs by Scottish artists!

I can actually remember the day I joined.  I spent a pleasant day off with no kids, anything on my to do list or anything really to do at all. That doesn't happen too often! I spent about 4 hours listening to loads of Scottish music. Some of my faves, songs I haven't heard in ages and bands/songs I have always wanted to check out.

And then on Saturday when the kids went to bed I checked out an album Carole King made with her short-lived band The City. I had read about it in The Times that day and then, just like that, it was at my fingertips.

Fear not artists and record shops. I will always buy records or merch. It is vitally important to support musicians by buying their work...if you enjoy it. They need money to to buy equipment, to rehearse, learn and gel, to get around and ultimately to record. And quite simply, I do love browsing in a record shop! I don't think I have ever been into Monorail without coming away with something!

Spotify - it initially felt like cheating. Even though it is legal.

A year down the line, any thoughts of cheating have long been banished. Spotify is now part of my life on a daily basis, it is the new norm. It is convenient, user friendly and it allows me to explore all kinds of stuff quickly and with ease. I don't think I have used iTunes since I joined Spotify for the pricely sum of £9.99 per month. Jeez, when I think of what I used to spend on a Monday lunchtime in HMV in the mid-90's!

I'm not alone, more and more people are joining the Spotify revolution - Forbes reported that they had hit 50 million paid subscribers back in March 2017. That was less than 6-months after reporting they had hit 40-million. Pretty strong growth!

The amount of money actually paid out to artists is negligible. Something like 0.004p per play/stream. In comparison, 1 play on Radio 1 will earn the songwriter around £50.

So for the likes of Calvin Harris whose This Is What You Came For is approaching an unbelievable 800,000,000 (yeah 800 million) plays - he should be earning around £3.2 million from Spotify just for that one song.

For another Scottish artist Duglas T Stewart has seen his seminal BMX Bandits song Serious Drugs achieve over 55,000 plays. Sounds like a lot, but it only earns the artist (the songwriter) around £220.

Gerry Love from Teenage Fanclub should have earned around £8,800 for the 2.2 million plays of one of his most loved songs - Sparky's Dream.

But do the sums. Lets say they now have 60 million subscribers paying £9.99 per month. So, unless my calculator is mistaken, that is a whopping £599,400,000 per month that Spotify rakes in. I know they have a lot of songs - but how much goes out to artists on a monthly basis?!

All quite interesting. Songs (to an extent) have a shelf life on radio, unless you are talking Christmas hits. Online and on Spotify, they are timeless.

One of the reasons that I used to put off joining Spotify was the fact that I want artists to be rewarded for their efforts. So Spotify do....whether they pay enough or not is another matter entirely.

It doesn't look like Spotify is going anywhere anytime soon and artists are having to adapt to the fact that actual physical sales will never return to way they once were and why download when you can stream?

I regularly blog about my Never Ending Mixtape playlist on Spotify, but here is my first playlist. It has 100 songs and clocks in at almost 7-hours!

Named after a classic Fanclub album the 100 songs fly through Scottish musical history; from The Poets and Lulu in the 60's, early Simple Minds with the glorious Chelsea Girl, The Sensational Alex Harvey Band, The Skids, 80's heavyweights like Deacon Blue, Wet Wet Wet and Texas, loads of indie legends like Orange Juice, Teenage Fanclub, The Vaselines, The Pastels, BMX Bandits and Jesus and Mary Chain, gone but not forgotten acts like AC Acoustics (great to listen to them again), Dogs Die In Hot Cars, the likes of Churches, Catholic Action and loads of DIY bands like Stanley Odd, Colonel Mustard and the Djion 5.

Not to mention Mogwai, Remember Remember, Arab Strap, The Blue Nile.....

Too many to mention, but check the playlist here. Volume 2 might follow soon. Arguably I should have titled the playlist after the first song!

Catholic Action and Bellybuttons at Nice n Sleazys

Glasgow has a fine history of guitar pop bands with a sense of humour, intelligence, fun and a gang mentality - think Orange Juice, Teenage Fanclub, Belle and Sebastian and Franz Ferdinand. Last night Nice n Sleazys fell in love with Catholic Action who showed all the signs required to join those mentioned above in the near future.

Of course, many had already fallen for the band who showed so much promise through 2015 (see my interview with singer Chris from Dec 2015 HERE ), a few more had been added following the re-release of their song L.U.V as a 7-inch single on Luv Luv Luv Records. The song had originally been released on cassette through local label Fuzzkill Records.

I have been really impressed with the taste and work ethic of Fuzzkill and one their other bands, The Bellybuttons, were second on the bill. Sadly due to kid duties (and a swift pint in The Variety) my mate and I didn’t make it in time to see The Van T’s who opened an excellent 3 band bill.

We arrived bang on 9pm just as The Bellybuttons were tuning up and turning on. Joe and I had both caught them at Mono back in November when they supported Ultimate Painting and had enjoyed their guitar interplay (think Velvets and Pavement). The band were clearly having fun on stage and during Battling With Caring they had the confidence and skills to slow things down and go into a Dexy’s style talking mode all about the subject of care and caring. It was brilliant and really got the crowd on their side. Bellybuttons were beautifully tight and slack at the same time, finding a sound and a groove and jamming on it with Lou Reed style vocals at times - I look forward to seeing them again in the near future.

Catholic Action came on stage at 10pm promptly, thanked the crowd and burst into life. You know how I mentioned about those classic bands having a gang mentality? Catholic Action look like a real gang, like a band. They were super tight, flying through 3-minute guitar pop/rock songs with ease.

Catholic Action marry frenetic rhythm and lead guitar superbly, echoes of Thin Lizzy at times (playful, melodic, soulful, poppy) and also a touch of AC/DC (or am I going too far?) - but in a guitar pop/rock way. Simplistic disco/soul baselines and funky/simple beats help allow the duelling guitars to play and gel beautifully, with both guitarists showing fantastic skills and ears for rhythm, melody, riffs and fun. They pulled it off with ease, making their songs sound familiar yet different - does that make sense?!

Probably not! But think Franz Ferdinand and early Teenage Fanclub in a basement bar, the band brimming with energy and belief.

New songs mixed with old - not that any are that old, the band only formed in November 2014! They tore through L.U.V and must have knocked 10-second off its already poptastic 2 minutes and 30 seconds.

Encore? Well the band literally went off for 10-seconds before bounding back on to play a song dedicated to an X-Factor judge. Rita Ora was the subject of a quite brilliant upbeat guitar pop/rock song with a hooky chorus playing on her name.

I mentioned humour and fun in the opening paragraph and Catholic Action displayed it in abundance by finishing with a stunning version of Hi Ho Silver Lining, ripping through it with style and panache.

I SEE YOUR SUN IS SHINING

Everything Flows Podcast 4

Everything Flows Podcast #4

The Chemical Brothers at their best with Beck, a lysergic lullaby remix of The Charlatans by Brian Jonestown Massacre, heartfelt emotion by the BMX Bandits, sublime songwriting and performance by Edwyn Collins, raw soul from the summer of love, a classic from the Hacienda and art school guitar pop by White. LISTEN HERE.

Wide Open - The Chemical Brothers featuring Beck
So (Brian Jonestown Massacre remix) - The Charlatans
The Unforgiven - BMX Bandits
Make Me Feel Again - Edwyn Collins
I Wanna Testify - The Parliaments
Rhythm Is A Mystery - K-Klass
Living Fiction - White

Previous Everything Flows Podcasts

Podcast #1 featuring Teenage Fanclub, David Bowie, Dr Cosmos Tape Lab, Brian Wilson, Dennis Wilson, JR Green, The Undertones

Podcast #2 featuring The Troggs, Happy Meals, Rose McDowall, The Frank Popp Ensemble, Fun Boy Three, Jo Mango and The Pictish Trail, Miaoux Miaoux, Yo La Tengo

Podcast #3 featuring Primal Scream, My Bloody Valentine, Sonic Youth, Marlena Shaw, Natalie Prass, November Lights, Molly Nilsson

The Possibilities Are Endless

Last night I attended the Glasgow premiere of The Possibilities Are Endless, the new film/documentary on the recovery of Edwyn Collins from a major cerebral haemorrhage in 2005.

As a fan of Edwyn's music, having seen the trailer and read Grace Maxwell's fantastic and deeply personal book Falling and Laughing - The Restoration of Edwyn Collins, I was very keen to see the film at the GFT - especially with the added bonus of a Q&A and short acoustic set afterwards.

The Possibilities Are Endless is a fascinating, beautiful, artistic and moving film, directed with thought, empathy and a real creative flair by Pulse Films.

We are placed inside Edwyn's mind as he wakes from his stroke - the confusion is evident, illustrated by shots of a young boy seemingly drowning, the wind blowing through the grass, a storm brewing, distorted and stuttering words.

There was a Q&A with Edwin, Grace and Ed from Pulse afterwards and the audience learned of how Pulse interviewed Edwyn first (with no cameras), before considering how to set the story to film. Possibly a risky tactic, but one they have pulled off superbly.

At the heart of the film lies a love story, the love between Grace and Edwyn and also that of their love for Helmsdale in the north of Scotland where they are moving to.

There are lovely scenes of them walking through a park and sharing a can of ginger beer, Grace looking on with care as Edwyn attempts to find the words he knows are in there during an interview and the pair of them laughing in a car as they drive to their beloved Helmsdale in the north of Scotland. Grace's encouragement and patience was crucial to Edwyn's recovery.

We learn of how Edwyn could only say 'The possibilities are endless' and 'Grace Maxwell' when he woke from a coma. There is a great TV interview with Edwyn and Grace that ends with Grace strumming Edwyn's guitar as he plays the chords and emotional footage of the moment he returned to the stage.

Throughout the film there are scenes of Edwyn in his Orange Juice days, at his peak (sales wise at least) with the success of A Girl Like You. These work in tandem with the scenes of Edwyn regaining his strength and skills - writing, drawing, singing and creating.

There is humour as well - Edwyn and Grace bounce of each other with real affection that you can't help but smile at times and laugh at others.

What I got from the film is that the possibilities are endless if you have love and support. Edwyn is very lucky to have a lovely partner and the help and support of family, friends and musicians. It's a life affirming film that makes you stop and take stock of your health and those that care about you. I would thoroughly recommend catching it on the big screen if possible or downloading it from iTunes now.

The East End Social and Edwyn Collins at Glasgow Green

I last blogged about Edwyn Collins back in June following an outstanding performance at Oran Mor. In the blog I said that I would love to see him do a full stripped back acoustic set at some point.

Well the Gods must have been smiling upon me as on Saturday Edwyn travelled North to play an acoustic show for the East End Social at Glasgow Green as part of the Commonwealth Games. Not only that - it was completely free!

The team behind the East End Social must be heartily commended for the exceptional programme of music that they have curated before, during and after the Games. There have been pop up shows in Dennistoun, a Neu! Reekie extravaganza at Platform in Easterhouse, shows in teeny tiny Bowlers bar in Bridgeton, we had a full on festival at Glasgow Green over the weekend and things are due to be brought to a close in epic style at the end of August with a weekend in Richmond Park featuring Mogwai headlining one night and Optimo the second!

The blank canvas that the team were given has been coloured in beautifully; legends, innovators, cult bands, young bands breaking through and everything in between have been given a chance to demonstrate the musical talent and variety that is on offer in the city of Glasgow.

To be quite honest, it is music that has been the highlight of the Commonwealth Games for me. The East End Social is one thing, there has also been the Belle and Sebastian show at Kelvingrove Bandstand (also loads of free shows there as well as stuff by the likes of The Waterboys) and all kinds of things going on down by the waterfront at the BBC featuring the likes of Simple Minds and the gorgeous Rachel Sermanni.

I could have done with a few weeks off to try and make the most of it!

Anyway, back to Edwyn at Glasgow Green.

Edwyn was thankfully playing inside a beautiful big tent called The Playhouse. I would love to see it installed permanently on the Green, it was a brilliant venue.

What made this show extra special was the fact that we took our 3-year old daughter Zoe. It was her first full gig -quite something for a 3-year old!

There were a number of young families down the front, so we got down and grabbed a seat on the floor, the friendly crowd stood behind the young kids, allowing them the chance to sit and watch a master at close quarters.

Zoe watching Edwyn and James

Edwyn was accompanied by the guitar virtuoso that is James Walbourne and there was a clear bond between the two, despite the fact Edwyn forgot his surname; causing laughter on stage and in the crowd and becoming a running joke.

The duo opened with Losing Sleep and Make Me Feel Again, the tent was packed - due to the fact that a genuine Scottish musical legend was playing - and the rain. People were listening from outside according to friends I spoke to later.

Edwyn was in great form, getting more and more into it the longer the show went on.

Home Again was exquisite; full of melody and emotion. It was my first time hearing it live since reading Grace Maxwell's book Falling and Laughing - The Restoration of Edwyn Collins. I had a little tear in my eye.

When I was a boy

Well I heard somebody singing

And I heard the guitars ringing

And it brought me home again

Home again

James was truly brilliant on the guitar, able to play anything and everything - and that is exactly what they did; delighting the crowd with Orange Juice classics Blue Boy, Falling and Laughing and Rip it Up.

Rip It Up was great fun with Edwyn egging James on and taking the mick in just the right way. The crowd loved it.

Don't Shilly Shally was brilliant and I was a proud Dad as Zoe clapped along and nodded her head.

A Girl Like You closed things in style with Edwyn humming along with the melody and congratulating James on his guitar playing.

This was a great little show. I'd love to see Edwyn play his songs in this stripped down acoustic way again in the future.

Edwyn Collins at Oran Mor

I'm just in from watching Edwyn Collins; a national treasure, a Scottish pop poet who is still producing first rate material at the age of 54 and he shows no sign of letting up.

Paul Cook from the Sex Pistols provided the beats in Edwyn's incredible band, joined by Carwyn Elle on bass, Andy H and David Page on guitars and Sean Read on keyboards. Carwyn and David also played in the support band Colorama. Page was sensational on guitar.

The band took to the stage and launched into a soulful and funky jam before Edwyn was helped on to the stage by his wife Grace; walking across with the help of a cane and taking a seat to huge applause.

Falling and Laughing opened the set in real style, raw upbeat indie guitar pop at its very best. Collins poetic pop lyrics are just beautiful.

Only my tears satisfy the real need of my heart

I resist

Fall, falling, falling again

Cause I want to take the pleasure with the pain, pain, pain

It was swiftly followed by another Orange Juice classic in the shape of What Presence and the upbeat Make Me Feel Again from Edwyn's smash solo album Gorgeous George. There was a sense of urgency about the performance.

Collins was comfortable stretching away back to the start of his career, up to the present time with a selection of material from his acclaimed Understated album and everything in between.

Understated was represented by searing versions of Understated and Dilemma and a gorgeous version of Forsooth with Edwyn owning up to ripping off the Velvets and Lou Reed.

Wheels of Love from the Hope and Despair album was a stand out from a very strong performance, the band jammed on with ease and style.

Bridge from the Texas Fever album went down well with some of the guys down the front, one of who in particular was dancing like his life depended on it.

Edwyn back in the day

One of my favourite Edwyn songs is the Motown-esque Losing Sleep which just flows superbly and the band ripped through it with Paul Cook outstanding on drums. Orange Juice were well represented throughout the set and Poor Old Soul was superb.

Collins and his band then delivered three killer songs in a row, with Collins rising to his feet to deliver them. Blueboy got more people dancing and then Rip It Up received a rapturous reception, only topped by the cheers a superb version of A Girl Like You generated.

Edwyn seemed to get stronger and more into the show the longer it went on and he was on top form, sharing banter with the crowd on several occasions.

Fan - I love you
Edwyn - I love you too
Fan - I love you more
Edwyn - I love you more, more

Edwyn left the stage to allow the band to rip it up (pun intended) and jam on at the end of A Girl Like You. I thought that might have been it, especially given the fact that Oran Mor has strict curfews.

Thankfully there was more to come.

Edwyn came back on with Carwen and David on acoustic guitars for stunning versions of Low Expectations and Home Again. Edwyn's voice was strong and true. I particularly love his upbeat pop songs but he knows how to write a heartfelt ballad as well. I'd love to see him do a full stripped back acoustic set at some point.

The rest of the band came on to race through Orange Juice fave Felicity before ending with a rip roaring version of Don't Shilly Shally. Edwyn left to a greta reception and he gave a thumbs up and said he would see us soon some time.

I hope it isn't too long. In this form and mood Collins and his band are an absolute joy and delight to watch perform. Edwyn has an incredible back catalogue and is still producing material that sits alongside his classics from years ago.

A national treasure, a pop poet.

30 Odd Years by Vic Goddard

It's been almost a month since I bought 30 Odd Years; a 2-disc, 44-song compilation of Vic Godard songs from throughout his career.

With so much material on offer for an artists I was previously largely unfamiliar with, it has taken me quite a bit of time to digest what is on offer. The same could be said about his career - from punk to postman! Find out more HERE 

There are some real stand outs amongst a rather eclectic mix. Punk, pop, northern soul, garage, to the downright off the wall. Vic Godard isn't afraid to change style to suit his taste or muse. That said, there is something immediately identifiable on all these songs that stamps Godard's mark and talent on them - a sense of freedom and fun, a rawness, a feel and most definitely energy.

So…what are the stand outs for me?

Disc 1
Different Story
Quite Belle & Sebastian-y. Loose, melodic and clever.

Empty Shell
Scratchy electric guitars are then underpinned by acoustic before Vic comes in.

You used to be see in important places

Make Me Sad
I again I thought of Stuart Murdoch, Stevie Jackson and Belle and Sebastian on hearing this. Probably one of the most accomplished songs on the compilation in terms of songwriting, production and structure. Lovely.

Same Mistakes
So simple, so clever. Strong melody, nice harmonies, flows superbly with a great motown beat,

The same mistakes again will be the end of me

Won't Turn Back
Orange Juice are one of many bands that have been touched by the influence of Vic Godard. This could easily be an Edwyn Collins number. Total pop soul. Brilliant.

Incidentally - just found out that Edwyn produced this and played guitar on it!

Disc 2
We'll Keep Our Chains 
Buzzsaw guitars over an infectious synth riff and brilliant pop punk melody.

Common Thief
A falsetto vocal backed with gospel singers, a tinge of harmonica and more than a dash of northern soul.

I Wish
This immediately reminded me of J Spaceman in terms of vocal, melody and lyrics. One of my faves.

I wish I could be like a bird in the sky

How sweet it would be if i found I could fly

I'd soar to the sun and look down at the sea

Then I'd think I would know how it feels to be free

Best Album
A mod style riff and beat keep a groove going throughout and let Goddard do what he does best over the top; just let loose and go with the flow.

(Oh Alright) Go On Then
Fuzzy, choppy punk chords kick things off. Goddard's unmistakable voice leads us to a beautiful guitar solo before things break down in a pretty unique style, before it all just kicks back in.

Regular readers of this blog won't be surprised that I've chosen the popper, catchier numbers on offer through this compilation. Godard's most well known song is arguably Ambition, yet the version here is a throwaway live version that sounds like a pisstake. There is a real eclectic mix in style, also in production (well hey, this is over 30 odd years), yet there is a lot to delve into. This is an artist who is fiercely independent, doing things his way, making friends and influencing people.

For the record, here is the original of Ambition in all its glory.

Edwyn Collins at Mono, Sunday 15th December 2013

Last night was a joy. Edwyn Collins played an intimate show at Mono in Glasgow, we were just a few rows from the front and got to witness one of Scotland's finest at close hand.

London Mississippi were the main support act, with Edwyn's young son Will playing bass. The 3-piece played well, delivering a high energy set of guitar power-pop with loads of soul and attitude. Dropping in a bit of Whitney Houston's 'I Wanna Dance With Somebody' towards the end of their set. A song that may or may not be titled 'Stay' was a real highlight.

Mono is one of my favourite venues (indeed places) in Glasgow. Tucked neatly out of the way but still within walking/stumbling distance of trains and the city centre, it has a unique vibe, laid back to the max, fiercely independent, supporting the arts and it has a great record shop to boot.

I didn't need any proof that Mono represented an intimate show, but evidence presented itself to me when I nipped to the loo just before Edwyn was due on and found myself taking a pee just along from the great man! There are no backstage areas at Mono!

I can't remember the exact setlist order, but here is what went on.

We had tucked ourselves in three rows from the front, so we had an excellent view. Edwyn's band took to the stage before he came on stage to a huge ovation. Sitting on an amp he introduced the opening song - 'Falling and Laughing', his debut single with Orange Juice, released away back in 1980. As openers go, this was up there and it set the tone for a wonderful set that drew from his extensive back catalogue and this years fantastic 'Understated' album.

Edwyn introduced his band who were absolutely sensational from the off. 'Dilemma', '31-years', 'Understated' and a gorgeous 'Forsooth' from the current LP all slotted in with ease next to songs that Edwyn has been singing for over 30-years.

'What Presence', 'Felicity' and 'Blue Boy' thrilled the crowd and Edwyn looked just as pleased and happy to be singing them.

There were a number of times throughout the show when I reflected on Edwyn's lyrics - very positive but also reflective on life and death, even the early stuff. I guess they take on a new perspective following his brain haemorrhage in 2005. This was a life affirming gig in more ways than one, there was such warmth in the room.

There were some emotional moments when Edwyn rose to his feet and tried to move his microphone up on the stand but needed his tour manager to help. Even more so in the encore when he tried to do this with his mouth, lost in the moment of the music.

'Losing Sleep' was brilliant, a pounding Motown drum and a song that just seems like one long chorus. 'Ghost Of A Chance' flowed superbly, highlighting the brilliance of the band and the genius of a songwriter that Collins is.

'Rip It Up' was a buzz, I took the time to look around the room and everyone was grinning and dancing along. It has to be one of the best pop songs ever produced by a Scottish artist, if not the best. It was then followed with 'A Girl Like You', the searing guitar sounded incredible.

Edwyn came back on and announced that although he was born in Edinburgh he was home again, playing a lovely version of 'Home Again' back by acoustic guitar and keys.

'Don't Shilly Shally' sent the crowd out into the winter night with huge smiles on their faces. This was a stunning show from an exceptional artist. The added bonus is that I get to do it all again at the re-opening of the Glasgow School Of Art in the new year.

Scotland's Music Hall of Fame

Around 10-days ago I received an email inviting me to come along to King Tut's Wah Wah Hut for some food, beers and the opportunity to meet and chat with a guy called Ewan MacLeod, the curator of Scotland's Music Hall of Fame. They obviously knew how to get me!

The hall aims to open in late 2014 and has come to music fans attention recently thanks to some promo videos from artists like Belle & Sebastian, Franz Ferdinand and Biffy Clyro discussing the three artists they would like to nominate for inclusion.

So last night I was joined by Richy Muirhead from the brilliant Scottish Alternative Music Awards (the SAMA's) and a young girl called Heather who writes for a blog in Edinburgh called Indulge Sound.

The conversation flowed easily form the start, Ewan described his vision for Scotland's Music Hall of Fame with a high level of knowledge and passion. He had the stats, facts and stories about music in Scotland and a clear vision of how the nations love of music and the incredible talent that we have produced should be curated, displayed, honoured and promoted by the Hall.

It made sense in so many ways and as a music fan I quickly became excited about what the Hall could do for music in Scotland. The Hall will open in Glasgow, the UNESCO World Heritage Site for Music. That last sentence alone kind of tells you how silly it is that we don't have something. As someone who has been extremely fortunate to travel extensively, I've been to loads of UNESCO sites and they all seem to have a focal point. We have countless venues ranging from the classic King Tut's and the Barrowland, through to the modern day ABC and the Hydro, with long gone venues like the Apollo in between. But no focal point.

The fact that the SMHoF will have (and indeed already does have) an education wing is also extremely important and after a couple of beers I waxed lyrically about an education officer going into a school and speaking about bands like Orange Juice and Franz Ferdinand and inspiring a young kid to pick up a guitar.

Conversation came round to which 3 people/artists I would nominate for Scotland's Music Hall of Fame, so here they are;

1. Teenage Fanclub

I guess it goes without saying that I would nominate the Fannies. They came into my life when I was 15-years old and they have played a heavy part in the soundtrack of it ever since. They are consistently brilliant and with 3-songwriters in the form of Norman Blake, Gerry Love and Raymond McGinley they have produced some of the best guitar pop music ever. 

The fact that Teenage Fanclub are extremely well respected by journalists, DJ's and other bands all over the world also influences my decision. The band are fantastic ambassadors for Scotland; friendly, passionate and also very knowledgeable about music from all over.

2. Alan McGee

My second choice isn't an artist or a band, although I could certainly argue that Mr Alan McGee is just as creative. Alan is unique, a real one-off, someone who was bitten by the bug of punk music and has never been able to shake it off ever since - despite recently trying, he has come back with a new label 359music, staying true to his punk ethics but having incredible natural entrepreneurial resources.

Alan formed Creation Records and released albums by Scottish artists like Teenage Fanclub, Primal Scream, Jesus & Marychain as well as lesser known artists like The Diggers, Superstar and Momus. Not to mention non Scottish acts like Oasis, Ride and My Bloody Valentine.

Alan gets my nomination as he is a walking talking advert for the DIY punk ethic, someone who had a dream and went for it, someone with balls, someone with true passion and someone who could fill an entire room in the Hall of Fame with his stories.

3. Primal Scream - Bobby Gillespie and Andrew Innes

Primal Scream receive my third vote. The Scream are an incredible example of band who are not afraid to explore new sonic adventures or to work with a variety of different people to enable them to do just that. Andrew Weatherall, George Clinton, Robert Plant, the Chemical Brothers, Kate Moss and Kevin Shields are just a small number of people who have helped inspire the Scream to strive for more.

Like Alan (a dear friend of Bobby and Andrew's) the Scream are pure punk rock, yet they are capable of producing the most gorgeous tender ballads imaginable, blissful electronic music that will send you to a special place, out and out rock'n'roll stompers, psychedelic pop and white noise jazz.

They keep on keepin' on, they keep on keepin' strong. They have lived a life and would thoroughly deserve a place in Scotland's Music Hall of Fame.

Who would you nominate?

Stay tuned for more blogs about the Hall in the future.

Lets catch up

It has been a while since my last blog post, I've been pretty busy with my day job, managing Nevada Base and Vigo Thieves and being a Dad.

I've still had time to enjoy lots of music and gigs during that time so I thought I'd write a short blog about some of the stuff I have been enjoying over the last couple of months and then aim to do 3 or 4 blogs a month after that. So here goes....

Edwyn Collins

Collins released an album 'Understated' on his own label back in February and followed that up with a home coming show at the ABC in Glasgow in March. The album rolls back the years, fusing Collins love of Northern Soul with his passion for pop and the Velvets. 

The show at the ABC was utterly sensational. Grown men were in tears as he rolled out a load of Orange Juice classics, although it was a rare performance of his worldwide solo smash 'A Girl Like You' that truly brought the house down as Collins left the stage to leave his exceptional band jamming on.

I will eventually post a review of the album but check out my personal fave 'Too Bad, That's Sad' below.

Steve Mason

Former leader of the Beta Band, Steve Mason released 'Monkey Minds in the Devils Time' and showcased his talent in a number of ways through the 20-tracks on the record; playing virtually every instrument (I particularly like his bass grooves), self recorded and produced a large percentage and by using his unique voice to bring politics to the fore.

Every second track is an instrumental recorded in Mason's home studio, flushing out the album and turning it into something you can truly get lost in and enjoy spending time with. 

'Oh My Lord' is sensational while 'Fight Them Back' gets into a Beta Band groove. A cracking follow up to the outstanding 'Boys Outside'. Steve Mason is on a roll.

David Bowie

I started writing a review of Bowie's 'comeback' album 'The Next Day' but I haven't got around to finish it. I will at some point, in many ways I'm still exploring it. 

This album has so much to offer the listener; Bowie is on top form with glam, punk, pop and rock all combining to startling effect. His voice sounds stronger than ever as he pours scorn on rumours surrounding his death and conjours up songs that other acts would give their right arm for with ease.

Somewhere Brett Anderson is wishing that he wrote this number;

Five for a Friday

In what may or may not become a regular post, here are five songs for your weekend.

I discovered this gem on the St Etienne mix album The Trip. This is just sublime, the vocals are reminiscent of a young Michael Jackson, the musicianship is tremendous, the feeling of the playing and the production just oozes soul. This is Foster Sylvers with the 1973 track Misdemeanor.

Next up we have Glasgow art school combo Orange Juice with this outrageous slice of pop-soul-funk. I've got this on 12-inch and the sticker in the middle looks like a sliced orange - I love that kind of stuff - geek.

For some reason when i search to post the 'long version' it doesn't come up - how annoying, so click HERE


For my third choice it is one of my all time favourite songs, the original version of Come Together by Primal Scream. Utterly magical pop music, later transformed into a gospel house anthem by Andy Weatherall for the Screamdelica album. I never knew this version existed until I bought it on 7-inch vinyl out of the original Missing Records many moons ago.

Again, youtube isn't letting me embed it so click on the link above.


Moving forwards we come a little bit more up to date with this track featuring two of my favourite acts/artists; Hot Chip with Bernard Sumner. This is pure old school with Bernard clearly relishing the chance to produce something of note after the demise of New Order.

We end with track number 5, a recent discovery through Moshi Moshi, this is Clock Opera with the sublime Belongings.