Named after the debut single by Teenage Fanclub.
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past and present), playlists and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
Insta - @everythingflowsglasgow
Glasgow's Camera Obscura played their first hometown show in 5-years in the famous Barrowland Ballroom on Saturday 11th May, following on from the release of new album Look to the East, Look to the West. The album is perfect for a lazy, hazy, sunny day.
Glasgow was still basking in glorious sunshine when I arrived just before 8pm to meet my friend Lorna. The area around the Barras was jumping with a mix of music fans and Celtic supporters. The green half of the city were out in force, many of them for the full day judging by those celebrating inside and outside some of the bars around the Barras.
Lorna and I caught most of support act Liz Lawrence and we thoroughly enjoyed her energetic set as she blasted her guitar over beats and backing tracks. Liz recently released her 4th album Peanuts and it is well worth checking out. There was an energetic edge to Lawrence's performance and songs, some rock n roll guitar, some funky beats, honesty and soul. Well worth checking out.
Pat Nevin introduced Camera Obscura on to the stage and their ninety minute set was an absolute delight. Sensitive, melodic, soulful and at times soaring. The trumpet solos were spine tingling.
The band received an exceptionally warm welcome and many songs generated the famous Barrowland roar. While I'm a sucker for the pure pop of French Navy and Lloyd, I'm Ready To Be Heartbroken, my favourite (at least at present) Camera Obscura song is the heart melting beauty Razzle Dazzle Rose.
After self-producing previous releases, Camera Obscura brought in some external support for their 2006 album Let's Get Out Of This Country. The forever helpful Stephen Pastel recommended Jari Haapalainen from the band The Bear Quartet as a producer, so the band decamped to Sweden for recording, with Bjorn Yttling of Peter, Bjorn and John helping with arrangements.
So the band really did get out of the country!
And the results were truly beautiful. The whole album has a beautiful warm feeling to it.
Razzle Dazzle Rose, the final song, shimmers into life as the band build a gentle groove with rhythm guitar, percussion, bass, lead guitar and trumpet all introduced over the space of a glorious first minute.
Tracyanne Campbell's voice melts my heart;
Rose, I'm feeling older
I was as lucky as, a four-leaved clover
I tried to be happy it wasn't easy
When I choose my colour it will be Razzle Dazzle Rose
The trumpet comes back in, the shuffling beat has a little pace injected into it and Camera Obscura give me all the feels with the way they gel together so effortlessly. The extended instrumentals between verses swoop and soar, slowing, speeding, but the mournful melancholic trumpet holds everything together.
The song feels like it is collapsing after 4-minutes, but there is still another 90-seconds of beauty before the band finally wrap it up. Glorious!
Razzle Dazzle Rose 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.
A joyful burst of exuberant guitar pop perfection, Thank You For Being You by The Pastels was released 30-years ago. As far as I can remember, this was the first single I bought by the band, closely followed by the Truckload Of Trouble compilation album that also came out in 1993.
Thank You For Being You explodes gloriously into life from the start with fuzzy electric guitar over acoustic, a funky bass and cool beats. Stephen Pastel ends the first verse by crooning
Baby you know you are
Getting close to my heart
Love simply pours out of this song. In the second verse Pastel recognises that he is a better person for having this love in his life; my hope, my faith and my guiding light, your love is super fine and it feels good in my heart
Indeed, Stephen is so head over heels in love that he needs 5 words rather than 3. The chorus is beautifully simple and it says everything you need to know.
So good to know you
So good to hold you
Thank you for being you
It's so good, to know you
Behind Stephen, The Pastels sound sublime. Annabel (Aggi) Wright on bass, Katrina Mitchell on drums and David Keegan joining Stephen on guitars. Norman Blake sings harmonies on the chorus. Paul Chisholm was on co-production duties with the band for this gem and it's a winning team. Listening on headphones, you hear the extra little strums of the acoustic and the way strings are allowed to ring out melts my heart. The little riff is gorgeous. The guitar solo is exquisite.
The brass section isn't overpowering, becoming part of the song, almost melting into it. The production and arrangement really is top drawer.
Pastel is taking nothing for granted, empires may fall part and rivers may part but all he cares about is being part of his new love.
I hope that I'm a part of you
Thank You For Being You is a f**king brilliant guitar pop song that melts my heart every time I hear it. I've actually just listened to the song 6-times in a row on my headphones while writing this blog and I doubt I'll ever tire of its many charms.
Enjoy if you are listening for the first time. For many of you reading this blog, I'm sure you'll know this song and I hope you love listening back.
A list of all previous songs I've blogged about in my Trust Me feature are listed below, along with links to each blog. Thank You For Being You joins them.
I've also collated them all into a playlist on Spotify that you can find by searching for Everything Flows - Trust Me , or you can CLICK HERE
20 years of Monorail Music. 20 years of popping in for records, cd's, tickets and books. Not to mention meeting friends, beers, food, events and gigs in Mono.
The record shop, venue and the people involved in both have left an incredible imprint on the Glasgow music scene. The splash they have made has generated ripples that have spread across the world.
Musicians playing in Glasgow will seek out the venue, friends who have come to the city from further afield have the store earmarked and ask 'does Stephen Pastel really work there'. Music fans worldwide benefit from the knowledge and taste of Dep, Michael, Russell, Stephen and co from their weekly newsletters and Twitter musings. And their end of year lists are always so lovingly compiled. In fact everything about the store oozes a warm love and genuine passion that you can't help fall for.
On the Monorail website they mention they pride themselves in being independent, focused and friendly. And I think everyone who visits is proud of those qualities and all they have achieved.
I wonder how many times I have visited over 20-years. Nowhere near as often as some of the store regulars, but a decent enough amount to be on nodding or name terms with most people who work there. I don't think I have ever left the store empty handed. Does browsing exist in Monorail? It's going to lead to the purchase of something!
Monorail encourages and supports the arts in so many ways. The store is effectively a base for record labels like Geographic, Night School and Monorail's own sometime label. The Pastels and Sacred Paws are two of the many bands that work, or have worked, in the store.
And so, time to celebrate a landmark. 20-years. The party arrives at a good time, everyone needs escapism and a reason to celebrate something good. Monorail is good, in fact Monorail is great.
As a possible sign of age, I opted to drive in. Freezing temperatures, an ongoing lack of taxis and the fact Glasgow Central would be crazy with Christmas party goers were the reasons. Shout to Mono for having an excellent selection of no-alcohol beers, the Brooklyn Special Effect lager was lovely.
I arrived in plenty of time to see Water Machine setting up on stage and immediately recognised the artist Flore de Hogg who is (or has been) in a number of cool bands. I caught her at Mono on a Record Store Day a number of years ago in a brilliant band called Wet Look. I don't think they ever got to the stage of releasing, but they were super cool.
Water Machine were a bundle of fun and nervous energy. Opening song Water Machine 'we have at least 3 songs called Water Machine' set the tone. A lofi groove, synth melody and catchy vocals (with ace use of backing vocals) quickly won the room.
A song about the drummer always being late for rehearsals was fun, with a pop (almost playground) hook and melody that had people dancing and even singing on first listen.
Trying to find a website or social page to link to the band is proving impossible! I'm rarely on Instagram but you might get some info from Flore's page.
The LH DJ set before Gerry Love was excellent, paving the way for Gerry, Noel (guitar and backing vocals), Paul (percussion), Jamie (bass) and Tom (all kinds of things) to take the stage and begin with the heavenly chiming guitar of December.
This apt opener from the seminal Bandwagonesque LP generated a heart response from the crowd. Gerry and his band then took us on a musical journey the setlist weaved through Lightships and Fanclub songs.
Gerry's voice on Silver & Gold was exquisite, Sweetness In Her Spark was gentle gorgeousness, Starsign was flowing and dreamy and Take The Long Way Round was euphoric guitar pop, even when stripped back.
Paul Quinn's percussion skills really came to the fore on Every Blossom while the whole room seemed to sing Don't Look Back, the Mono choir. It was a wonderful moment and the ovation afterwards was long and heartfelt.
Sunlight To The Dawn is one of my very favourite Gerry Love songs. The opening guitar riff sends warm tingles down my spine, a second layer is added and the band fall in, creating a great groove.
Slow, contentment to your soul
A golden sun sets in your eyes
When love's in your willing heart
Gerry and Noel warned the band were running out of time and could fit in a couple more. There were cries of play them all and I don't doubt that the crowd would have settled in for the night if that was possible.
As it was, closing with Ain't That Enough and Sparky's Dream, was quite enough! Two incredible songs that had the backing of the Mono choir again. Gerard Love and friends left the stage to huge cheers and cries for more. I can't wait to hear what Gerry records next year.
Before long Stephen Pastel was playing records including September Gurls and Daytripper to keep the good vibes going.
The party was just getting started, but it was time to head home to my Mum and daughters.
I hope everyone who stayed to party to Apostille (a brilliant live act - check this blog) and DJ's had a goo time and got the dancing started.
Katrina Mitchell and Stephen Pastel - the core of The Pastels
Picture by Blair Young
The Pastels have curated the line-up for the Maryhill Community Central Hall section of The Great Western, a new multi-venue one day festival organised by promoters 432 presents. Tickets are on sale now. Gerry Love's Lightships and Sacred Paws are among the bands joining The Pastels. FULL INFO
So I thought I would blog on 10 of my favourite songs from the band, following on from similar blogs on The Vaselines and The Lemonheads.
I fell for The Pastels as a teenager and in many ways I am still falling as I learn more about the band, appreciating them even more with each and every passing year. They are the kind of band I wanted to be in as a teenager and they are the kind of band I wish I was in at the age of 43.
The Pastels just do their own thing, in their own way, at their own pace and they do it exceptionally well. The Pastels are cool without wanting to be cool, they have inspired and supported so many bands from Glasgow and beyond.
Thank You For Being You was the first Pastels record I bought. I also had a red Pastels t-shirt from that era and the 1993 Truckload Of Trouble LP that is full of all kinds of gems ranging from singles to a glorious cover of Different Drum and a a brilliant instrumental Kitted Out.
Not surprisingly, there are a few songs from this era of The Pastels that feature in this blog.
I first caught The Pastels live at King Tut's Wah Wah Hut in 1994. I love the band on record but I probably love them even more live. There is something about the way Stephen plays his guitar (a beauty) and the way the band gel. I love how the line-up and sound has expanded. I love Katrina's drumming that sounds and looks so effortless and carefree at times and her voice is all kinds of melodic gorgeousness. And I love that live and on record, The Pastels music still has a loving, soulful, homegrown, could fall apart at any moment, type of immediacy and quality to it.
The Pastels are an incredibly important band to (and in) Glasgow. Stephen Pastel formed and released music on the legendary 53rd and 3rd Records and now runs the Geographic label. They have put on bands (and most probably put up bands), championed bands from Teenage Fanclub and The Vaselines through to bands like Spinning Coin and The Orielles from further afield. And they have shared their impeccable taste and knowledge via the support bands they cherry pick to play with them, their social media postings and through Stephen's work at Monorail Records.
Classic line-up
Three minutes and 20 seconds of glorious guitars and gushing lyrics about sunshine, Glasgow and love. Stick this song on the next time you are walking about Glasgow (or any city) in the sunshine and your life will instantly improve.
See the sunshine split those buildings
And I'll feel my heart uplifting
Cause the city casts a magic spell
And my life seems so special
Glasgow is a brilliant city, it has so much to offer and Pastel's love for it comes pouring out in melodies and a love letter in a song.
When the tenement world reveals it's charm
You better grab it fast with both your arms
Crawl Babies
From the seminal Up For A Bit With The Pastels album this is brilliant. Everything seems to just come together, the guitars, the melodies, Stephen's vocals.
Says she's open like a book
She's got everything I need
Even wants to take the time
To teach me how to read
I wanna build her up, up as tall as a church
Just to to watch her, just to watch her falling down
Vivid Youth w/ Tenniscoats
How gloriously mellow and gorgeous is this? Just so beautiful, sublime and in the moment. Katrina's voice is so gentle and pure. I love the way the melody picks up so naturally for the all ashes are grey in the day section.
Check My Heart
Pure guitar pop perfection. This could warm the coldest of days. Katrina takes lead vocals that are melodic, catchy and sing-song-y. Check My Heart is upbeat and completely infectious. I was overjoyed when The Pastels returned from a long absence with this as the lead single. Sublime!
Katrina sings of grabbing life and love we're on a mountain top and I wanna leap out and get it
And Stephen comes in with the gorgeous I wanted a lifetime, not just to fall in your arms.
Million Tears
I only discovered Million Tears when I came across a YouTube playlist of every single Creation Records release a few years back. I couldn't believe I hadn't heard it before!
This is a pure two minute and 40 second rush of guitar pop brilliance. There is still time for a 30-second intro
Oh if I can't have you I don't want nobody else
And if I can't have you I won't take nobody else
I'd tear myself apart
And cry a million tears
Break down the walls of pain
And fall into the heartache scene
By 1 minute 20 we have reached a little breakdown and instrumental and then we're straight back into the verse and chorus. In truth this song is just one big chorus for me. It is perfect.
Truck Train Tractor
I love the humour and also the urgency in this song. It drives along (pardon the pun) and it always makes me smile.
Comin' Through
More incredible guitar pop! When you listen to songs like Comin' Through it is no wonder The Pastels made such an impression, such an impact and created such love from music fans all over the world.
I particularly love the closing 40-seconds or so. The Pastels are absolutely on it, everything collides beautifully as extra layers are added.
Nothing To Be Done
Pastel and Aggi (Annabel) duet and melt hearts. The song flows, crashes and tumbles beautifully as Stephen and Aggi take it in turns to trade verses before their vocals gel towards the end.
Take my hand and take my heart
I shiver when you're near
Baby Honey
Baby Honey thrills, it grooves, it drones, it ignites, it excites, it is utterly captivating. Baby Honey is young Glaswegians discovering The Velvet Underground and the thrill of finding out what sounds can be coaxed from an electric guitar.
If I wish upon a star
Take you just the way you are
There is magic in her fingertips
There is magic in the lips I kiss
There is magic in her beautiful eyes
Justify the tears I cry
Thank You For Being You
And we end 10 from The Pastels with the first song of theirs that I fell for. I hope you can hear why! This is guitar pop perfection, Pastel is so in love he needs four words rather than three.
I always enjoy lists of bands, songs and albums. So welcome to a new feature where I'll choose a favourite band or artist of mine and then list and discuss 10 of my favourite songs from their career.
I remember going into Missing Records on Oswald Street in Glasgow to buy The Way Of The Vaselines, a compilation of all previous releases by the band. It came out in 1992 when interest in the band was reignited thanks to Nirvana, one of the biggest bands in the world, covering Son Of A Gun and Molly's Lips on their Incesticide album. I was a mere 16-years old and the cool girl that served me seemed pretty impressed that I even knew who The Vaselines were, never mind that I was asking after their album. If Kurt Cobain and this cool girl in Missing were into the band then they must be good! The Vaselines had a new fan.
The Vaselines had already broken up by the time I got into them. Eugene went on to form and lead Captain America/Eugenius and release a brilliant solo album, Man Alive (definitely need to do a blog on that at some point) before getting The Vaselines back together with Frances in 2006. Since then they have released two new albums and played shows all around the world.
A number of years after buying the album I went looking for it in my then alphabetised CD collection and it was missing! I hated my brother or sister taking stuff without my permission but I was pretty impressed to find that the CD was in my sisters room along with some other great albums she had 'borrowed'.
Somewhere along the line, a few years later, my sister Carla emailed Eugene out of the blue to ask if would contribute to a dissertation she was doing at Art School on pop music and pop art. She was amazed that he replied and since then they have become really good friends, playing numerous shows together and recently Carla JOINED THE VASELINES as their keyboard/synth player.
AMAZING!
The Vaselines are such a fun band. There early material is pure punk pop. Some songs sound like they were almost made up on the spot and that has helped their songs sound fresh decades later. Their post reformation songs and albums definitely keep the fun and innuendo at the heart of everything, but there is a more mature sound to songs like the gorgeous Single Spies. Live, the bands warm guitars and onstage banter between Eugene and Frances can't help but bring a smile to my face.
So The Vaselines are one of my favourite bands and here are 10 of my favourite songs that they have released to date;
Teenage Superstars
All 4 songs from The Vaselines 1988 Dying For It EP released on Stephen Pastels 53rd and 3rd Records feature on this blog. They are raw, pure and in many cases, including this one, they are electrifying. The beat is primal, Eugene lets rip on his guitar and sings lyrics mixing sex, religion and youth rebellion leading to an incredible closing 80 seconds of Frances and Eugene yelling I'm a teenage Jesus superstar with the energy leaping out and grabbing you. This is brilliant punk pop that sounds raw and dangerous.
Molly's Lips
The great thing about early Vaselines material is that they really sound like they were in their own world not giving one f**k about anything else going on in the world. Molly's Lips is well under 2-minutes yet there is time to pack in 3 verses, 3 or 4 choruses, a horn and a great break to a guitar solo.
High Tide Low Tide
The lead single from 2014's V for Vaselines album. This is so catchy. I love Eugene singing about playing hard to get, there are bah bah bah bah bah's, warm noisy guitars, a video with Eugene and Francis in leathers, on scooters, hoola hopping and playing crazy golf. Pretty much everything I love about the band in song and on film!
Single Spies
With Single Spies The Vaselines capture something quite beautifully in a way I don't think they ever have before. Absolutely sublime. Almost mature - in a Vaselines way of course! Eugene and Frances voices combine and entwine so naturally.
Stop denying
That it meant nothing
You're lying
Sex With An X
The Vaselines 2010 comeback single and album. Frances dressed as a nun and Eugene as a vicar in the video! This is a delicious romp of a song with The Vaselines innuendo and sense of pop pushed to the fore. It's like it is just one big long chorus with a glorious guitar solo and handclaps. Brilliant. Their comeback show at the ABC in Glasgow around this time was a joy.
I Hate The 80's
From the aforementioned 2010 comeback album, Eugene and Francis display their knack for catchy punk pop by filling it full of brilliant observations with pure cheek. You put a bullet in a Beatle, started beating on the people is an incredible lyric! The where did that girl go, what did that boy know hook is infectious, as is the it wasn't all Duran Duran Duran Duran line.
Check this great live version - live on KEXP.
Dying For It
I kind of like to think of Dying For It as a garage nuggets pop punk tribute to Motown....by way of Glasgow. I'm not sure if anyone else thinks of it like that but the way Eugene and Francis sing the hook I'm hanging out, baby I'm hanging out really does make me think of the kind of hooks Motown would produce. A glorious racket with pop melodies. The sound of a band having fun.
The Day I Was A Horse
Possibly my favourite live Vaselines song. They fizz through it and the kiss off line on the chorus I think I'm on a f**king trip is sheer brilliance. This is 90-seconds of catchy punk pop brilliance that sounds fresh, energetic, fun and vital.
Jesus Wants Me For A Sunbeam
For me this is one of the most beautiful songs ever by a Scottish band. The handful of chords, stunning vocal, the imagery in the lyrics, the cello and the whole feel to the song - just perfect. Listening back to some of the early Vaselines material, they really captured something on the recordings - there is a rawness and purity to them, beautiful.
Son Of A Gun
Eugene and Frances at their very, very best. The way this song flows is perfect, so perfect that I think I could listen to the chorus on repeat all day long. The whole song is super catchy, the verse is like a nursery rhyme, but that chorus ... with Frances singing;
If I was 20 odd years younger I would probably be a little jealous of Spinning Coin; releasing on Stephen Pastel's Geographic label with support from Domino, recording with Edwyn Collins and touring with Teenage Fanclub and Dinosaur Jr... the stuff of a young indie guitar fans fantasies.
And as I approach 42 it still is a kind of fantasy of mine to put together an indie guitar band and have loads of fun. I can't afford the mid-life crisis sports car, so that might happen!
It is a reality for Spinning Coin, they are playing great shows, they have recorded a great indie guitar album that is at times; fragile, raw, rough n ready and full of harmonies, humour and playfulness.
Photo by Stuart McIntosh
Spinning Coin have released a number of singles from the album over the last couple of years; drip feeding their sound on to record tables and into hearts.
Only 5-songs (one by a mere 2 seconds) across the 14 on Permo break the 3-minute barrier. They don't mess about with the two songwriters Sean Armstrong and Jack Mellin displaying their talent in many ways.
Fuzzy melodic guitars and beautiful strained vocals usher in Armstrong's Raining On Hope Street, while there is pace, power and more frantic riffs to Mellin's Tin.
We then have two songs referencing money in the title; Money For Breakfast and Money Is A Drug. The first has some beautiful lyrics and has a great melancholic vibe to it, a kind of stoned groove.
So soothing, it's so soothing when the sunlight reaches your bed
Armstrong's fragile and melodic tunes with his storytelling lyrics that somehow fit into a song are pretty special. It almost kind of should't work, but it really does as evidenced on Metronome River.
Floating With You is a gorgeous tune, possibly my favourite from the album. Did I mention stoned groove earlier on? Well this is the sound of someone in a special place, just happy, gloriously so.
Everything you say just gets me higher
I'm happy just floating with you
Sides punky pop urgency has delightfully simple lyrics that we can all relate to and a brilliant guitar break/riff halfway through that propels the song towards a great conclusion with Mellin and Armstrong's voices combining deliciously.
Telling lies all the time
Telling lies is a waste of time
I've blogged about Sleeplessbefore and it is another fave; melodic, fragile, heartfelt and soulful with lovely chiming guitars.
There is definitely an element of Collins and Goddard to some of Mellin's songs in his style, phrasing, lyrics and delivery. Powerful is an example of the raw yet melodic punk pop racket he demonstrates throughout the album.
These words just can't express
Just how much I have been blessed
Starry Eyes has an unexpected political tone, while Running With The World is another of my favourites before the album closes with the gorgeous I Feel The Need To Be An Actor.
Well I sure love the rain
I love the way it defeats me
I try to explain
But I don't have the brains to
You can order the vinyl from Monorail's website with a signed print, or pop into the store.
Last night The Pastels and Saint Etienne clearly nailed their REMAIN EU colours to the mast and they were all too aware that they were playing a show as voting around the UK came to a close. Sadly that flag is flying at half-mast today.
Things were running late as Saint Etienne’s train up to Scotland had been hugely delayed, meaning they only arrived into Central Station at 6pm. Load-in, soundcheck.....
The Pastels took to the stage to cheers and Stephen Pastel was quick to thank people for coming and then voice that the referendum results were weighing heavily on his mind.
The 6-piece line-up (two guitars, bass, drums, keys and flute) started with the (largely) instrumental Slow Summits, the title track from their latest album. The contemplative and reflective song was a perfect opener, certainly giving the audience a chance to think about the night and decision ahead as The Pastels weaved their magic.
Songs from the album made up the majority of the set, Night Time Made Us was a particular highlight with the band gelling together to create something quite gorgeous.
The 6-piece became an 8-piece when they were joined by an extra guitarist and Tracy Anne from Camera Obscura for a delicious romp through Nothing To Be Done. The pace quickened and it sounded sublime.
When I was young
I used to sing
I didn’t care for anything
Tracy Anne departed and Stephen strapped his guitar back on (after a little mis-hap) and the 7-piece line-up of The Pastels had 3 guitars creating a wonderful Velvets meets Spector wall of sound for a stunning version of Baby Honey. Originally released in 1984, the song zips with zest and an electric energy. It was great to see the band play again.
Saint Etienne were a 7-piece for the night. Pete and Bob were set up behind banks of equipment at the back, someone on keys was at one side of the stage, then there was someone on viola, a backing singer, guitarist and multi-instrumentalist. And then the gorgeous Sarah Cracknell on vocals.
Nothing Can Stop Us opened the show and the band were sounding good. There was a slight technical glitch afterwards, Sarah engaged with the audience but as it dragged on she ended up in fits of giggles before we were back on the way.
The set mixed classic singles with some new(er) album cuts and singles. The audience lapped it up as the band showcased their fantastic mix of pure, melodic, catchy, clubby and cinematic pop.
You’re In A Bad Way was the very first Saint Etienne 7-inch record that I bought, away back in 1993. It still sounds fresh, fun and joyous. Tonight was a highlight from later day Saint Etienne that will definitely see me delving into some of their more recent albums. It was glorious.
The acidic pop of Like A Motorway was probably my highlight of the night, bubbling synths, beats and a dreamy Sarah Cracknell vocal - sublime.
The Saint Etienne cover version of Neil Young’s Only Love Can Break Your Heart (that I previously blogged about here) was just perfect, the old synth sounds still sound timeless, futuristic and Young’s lyrics will always ring true.
The encore started with a beautiful rendition of Hobart Paving, with Sarah Cracknell in fine voice. The poetic lyrics paint picture and it was a stunning performance with Sarah really shining.
Pete and Bob came back on and then it was on to pure pop with He’s On The Phone with the seemingly never-ending chorus that flowed and flowed and flowed, as we all danced, sung and raised our hands in the air. The blissful pop removing the referendum result from our minds.....for a while...
So sings Katrina Mitchell, drummer and co-singer from The Pastels. As Guiding Star is a cover version of West Coast of Scotland contemporaries Teenage Fanclub, the chances are/were that a lot of their own fans will/would have.
The line has added irony due to the fact that Gerry Love (who wrote the song and sang the original on Bandwagonesque) from Teenage Fanclub plays and sings backing vocals on The Pastels version. I can imagine there were a few smiles in the studio as Katrina was singing that line.
Bandwagonesque came out in 1991, with Spin magazine declaring it album of the year ahead of the likes of Nevermind, Screamadelica, Out Of Time, Blue Lines and Loveless. Guiding Star was the penultimate song on a glorious album of guitar music. Fuzzy and controlled distorted guitars are played over a warm acoustic, Fanclub voices combine to create a sense of dreamy, psychedelic calmness as the album heads towards conclusion with Is This Music?
The Pastels version (below) has a different kind of calmness to it - a velvet-y (underground) lullaby with Katrina’s pure vocals, raw guitars and the melody picked out on a glockenspiel (?).
Stephen Pastel had this to say on their Facebook page very recently (pushing the cover of the month I had planned back to next month);
‘We recorded it in Stuffhouse Studio, off Great Western Road, Glasgow in 1994 or 1995. We rehearsed there often - mainly Annabel, Katrina and me, but sometimes with David (Keegan) or Jonathan (Kilgour) or Gerard (Love). We would get a sandwich from Bakehaus on the way to the studio, so it always felt like a conceptualised event although our playing was often the opposite. The guys who ran it were brilliant and had a group called The Ocean who could properly play their instruments. They seemed to like us too and painted a room for us and encouraged us to record there. We started Mobile Safari there before moving on to CaVa which was very plush in comparison. I can’t remember why we recorded this but it sounds nice and Gerard is obviously playing and singing too. It’s been out of print for too long, a definite contender for inclusion on a retrospective.’
This follows on from Stephen confirming that The Pastels would be working on archive project this year when I spoke with him a couple of months ago in Mono. As someone who discovered The Pastels in the early 1990’s, I’m excited by the prospect of gems like this receiving a welcome issue alongside songs like early Creation singles Something’s Going On and the quite stunning Million Tears that I sadly only discovered via YouTube earlier this year.
I’ve read a lot of books on alternative Scottish music and The Pastels (and Stephen in particular) is a name that crops up regularly. They actively encouraged and supported countless bands back in the day (The Vaselines, Teenage Fanclub and Jesus and Marychain to name but 3) and that still happens today through their Geographic label and over the counter and across cups of coffee in Monorail/Mono.
An archive project/anthology/re-releases will be very welcome, highlighting the incredible output of The Pastels and I’m sure the blogs and articles that come out of the project will also highlight the bands importance in indie/alternative music.
This is a beautiful heartfelt cover version. Enjoy.
I read something recently that made me go hunting for my old Beta Band cd's. I do have a couple of Beta Band 7-inches, but it was the 3 EP's compilation that I was after and anyone who has that on vinyl is extremely lucky indeed.
I couldn't find them. I used to have all my cd's in alphabetical order. Now they are all over the place in the racks and on shelves, in piles on the floor. I need to spend a pleasant evening getting them into some sort of order. I'm pretty lazy, I've still not transferred all my cd's to my laptop and itunes as I still like to have an excuse to browse through them.
So I went on to YouTube and searched for 'Dry the Rain', my favourite Beta Band song. I was a bit shocked to discover that there isn't a video for it. Now the Beta Band were very careful with their art, they liked to be underground, not sell out etc etc. But this still surprised me.
There are some home-made efforts and there is a live performance from the Beta Band, but no video. Anyway, I'm blabbing on. The purpose of this blog was to highlight what a f**king brilliant song 'Dry the Rain' is and for me to reminisce about going to their last gig at the Liquid Rooms in Edinbugh. It may well be in my top 10 gigs of all time.
The Beta Band were suitably charged for a gig in their home city. They jammed, went off at tangents and when they played 'Dry the Rain' the place went nuts. My sister and I were down near the front and it turned out quite a large contingent of the bands girlfriends and close friends were too. So when the song finished we all kept singing the refrain/mantra.
'if there's something inside that you wanna say, say it out loud it will be OK'
'i will be alright, I will be alright, I will be alright, I will be alright.'
It was an absolutely spine tingling, magical moment with people punching the air, hugging and the band looking genuinely pleased, a little shocked and possibly wondering if they should stay together. The same thing happens in the live recording above, glorious....and I thought it was just at the Edinburgh gig! I still have my ticket....They didn't want to come off and Steve Mason ended up freestyle rapping!
Of course when I went on YouTube and typed in The Beta Band, the famous scene from High Fidelity came up near the top and I couldn't resist watching it. I'll need to order it from Love Film as well, I used to have it on video tape! Check it out below;
Jack Black (Barry) on top form (in the film that made him unless I missed something) pushing a Jesus & Marychain album and bringing out Dylan's Blonde on Blonde and saying 'it's gonna be OK', Dick flirting with a girl over Green Day and pushing The Clash, and then Rob saying 'I will now sell 5 copies of The Three EP's by The Beta Band.' Just brilliant, I imagine Stephen Pastel and Dep in Monorail having conversations like that.
So there you have it, a glorious song. It's DIY indie, punk, folk, pop, euphoric, shambolic, funky, groovy....I love it. Check it out.
