Slight Return

 

Trust me #87
Slight Return by The Bluetones

30-years ago, on 22nd February 1995 I visited King Tuts Wah Wah Hut to catch a couple of hotly tipped bands - Supergrass and The Bluetones. Exceptional value for a fiver!

Supergrass were building towards the release of debut album I Should Coco and had made waves with debut single Caught By The Fuzz in late October 1994.

Meanwhile, The Bluetones were being spoken of in hushed tones by the NME and Melody Maker. A 4-piece who had been holed up in a garage crafting melodic guitar pop songs inspired by the Roses. I can't remember where I bought it, possibly at the gig or maybe in HMV Sauchiehall Street, but I managed to get my hands on their debut single, a beautiful blue limited edition 7-inch of Slight Return b/w The Fountainhead.

Despite being such an incredible double header, I really don't remember too much about this gig! That could be down to the fact that it was 30-years ago, or be down to the fact that I probably had 3 or 4 beers as I do distinctly remember my friend Scott driving. 

My memories of those heady Britpop days may be a little hazey at times, but Slight Return still sounds as fresh and effortless as the first time I heard it. Cool, melodic and full of charm, The Bluetones re-released it in January 1996 and it reached number 2 in the charts.

The Roses influence was clear from the off with Adam Devlin playing a beautifully warm guitar chord to allow Mark Morris to come in with the opening lines

Where did you go?

When things went wrong for you

When the knives came out for you

Devlin begins to riff after the delivery of the opening line with a tight yet loose rhythm section coming in alongside him. There is plenty of space throughout Slight Return, a purity that ensures it has a timeless quality, unlike many of the songs from around this time that could easily be identified as mi-90's Britpop wannabe's. It doesn’t try too hard; it just flows. The rhythm section, led by Scott Morriss on bass and Eds Chesters on drums, keeps things tight but never overpowering, allowing the song’s melody and atmosphere to shine through. There’s an understated confidence to it—a song that doesn’t need to shout to be heard.

You don't have to have the solution

You've got to understand the problem

And don't go hoping for a miracle

All this will fade away

So I'm coming home, I'm coming home

Around 10 or so years later, Mark Morriss played at Maggie's London Night Hike as a lovely colleague of mine at the time (Claire) was friends with him through being a bit of a superfan. Mark was absolutely lovely and played a cracking acoustic set as hundreds of people arrived to hike through the night. Claire also managed to get me backstage at a Bluetones gig at the QMU - good times.

30-years on from seeing The Bluetones for the first time and buying their debut single, the band are playing in my home town of Uddingston. Almost literally in my Mum's back garden! I must message Claire!

Musicfest Mainstage has a line-up of The Bluetones, Echobelly & The Supernaturals with more to be announced. It's a brilliant family-friendly event, held at Uddingston Cricket & Hockey Club, 10-15 minutes walk from the train station. That in itself is a mere 14-minute train ride from Glasgow Central.

MUSICFEST MAINSTAGE - INFO & TICKETS
Slight Return - original video 

Slight Return - Later with Jools, 1996

Slight Return 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

It's A Shame About Ray at 30

It's A Shame About Ray, one of my all-time favourite albums, is 30 years old!

And it's 30-minutes of joyous guitar pop! Always has been, always will be. Sometimes it's guitar pop with a punky edge, sometimes with real melancholy, others with a country tinge to it. Sun-kissed, but naturally warm anyway, this is a real gem of an album that has aged beautifully.

The combination of acoustic and electric guitars is one that still wows me all the years down the line. Evan's vocals tug on heart strings. The storytelling is exceptional and Juliana Hatfield (bass and backing vocals) and David Ryan (drums) gel with him superbly.  Nic Dalton played bass on Mrs Robinson (added on as a bonus on the initial reissue only months after the album had been released) and would go on to replace Hatfield. 

The friendship/romance with Juliana and the link to the Australian music scene where Dalton was central thanks to his Half A Cow label, band Sneeze and friend Tom Morgan of Smudge, brought out the very best in Dando. 

It was arguably the most stable and supportive period of his life and career. Everything came together, before it very publicly fell apart.

Pin-ups - Juliana Hatfield & Evan Dando

Now reissued with loads of bonus tracks (on vinyl for the first time; it's time to revisit It's A Shame About Ray and all the added extras in feature length blog taking in Evan and The Lemonheads celebratory show at Glasgow's QMU and then a look at the album track by track.

The QMU was sold out and absolutely rammed. Fortunately we (me, my sister Carla and friend Paul) got a great position standing upstairs with an excellent view. 

Evan ambled on stage to a huge roar and started with Being Around before going straight into The Outdoor Type, two of my favourite Lemonheads songs. Dando was in fine form throughout, joking with the crowd and enjoying an early heckle of play a fast yin. The crowd were in fine voice from the start, singing along tenderly. Hard Drive from his Baby I'm Bored album was gorgeous, leaving me all fuzzy inside, as did All My Life. And Evan's version of Into Your Arms could thaw the coldest heart.

Before long he was joined on stage by the latest incarnation of The Lemonheads for a romp through the classic album. 

The band barely paused between songs, sometimes they just went straight into the next. Evan's guitar screeched, soared, stunned and went straight into my heart. His latest rhythm section kept things tight and allowed him to play.

After the ... Ray album the band were off, on, Evan was off and on and behind drums and we were treated to 45-50 minutes of fun via Evan's back catalogue and some of his favourite songs. There was a setlist taped to the stage but I'm not sure how often it was referred to!

Hospital, Break Me, Tenderfoot, a euphoric romp through If I Could Talk I'd Tell You (joined by friend and co-writer Eugene Kelly on stage), Big Gay Heart oozed with humour and soul, Different Drum, Stove ... brilliant stuff.

Taking requests during his acoustic session, Evan played a beautiful Favourite T and hearts melted. Then Evan clambered behind the drums and sang along to his own beats; Al Stewart's Time Passages and the Jackson 5's I Want You Back. Great fun.

Closing with another request, the incredible Ride With Me, Evan unplugged his acoustic and stepped to the front of the stage for the final section, before jumping down to high five some of the crowd.

What a show. What a guy. What a band.

My friend Bobby Motherwell on Facebook was also at the show and posted this when he got home;

Magnificently shambolic, mistake strewn poignancy, emotionally stark, raw and funny. But those songs ... those songs.

Bobby captures the show perfectly. 

Photo by Nic McAllister

Now for the album; track by track. 

Opening with the 1 minute 45 second blast of Rockin' Stroll, you're immediately into the world of Dando's Lemonheads. A little riff and then a flowing, tumbling rhythm with Dando telling the tale of life through the eyes of a kid in a buggy people's knees and trunks of trees, smile at me.

Yet Dando could be singing about life through his own eyes as he sings;

I'm still aware of little but I'm gonna try

I'm gonna try

Rockin' Stroll oozes warmth, the riffs and the way the band hurtle through it is just joyful.

Rockin' Stroll video

Another flowing rhythm riff ushers in Confetti, words spilling out of Dando in a ridiculously hooky manner. The whole song is like a big chorus, there is a little guitar break at 56 seconds and then a guitar solo for 30-seconds at 1-minute 46. And I love the little scrape along the fretboard at 2 minutes 22.

He kinda shoulda sorta woulda loved her if he could've

The story's getting closer to the end

He kinda shoulda sorta woulda loved her if he could've

He'd rather be alone than pretend

Promo around the 30th anniversary highlights that Evan wrote the song about his parents divorce. Hiding dark and deep thoughts within bubblegum guitar pop. Dando looks super fresh and cool in the video. 

Confetti video

I remember an old school friend called Craig Richardson showing me the chords to It's A Shame About Ray. They were so simple that even I could play them. Although the little riff before the start remains beyond me! A co-write with Tom Morgan, Ray flows along in dreamy, sunshine-y kind of way. I used to drive about the back road of Carluke down to the Clyde Valley, or to Lanark with this on the car stereo. 

If I make it through today

I'll know tomorrow not to leave my feelings out on display

I love the feeling to Rudderless, it's really reflective, almost tinged with sadness. Even the chords Evan plays at the start sound a little sad, but beautifully so.

Hope in my past

Hope in my past

I love when Evan sings walked back home to my place and Juliana then sings tired of getting high. And the closing ship without a rudder section is one I always try and sing without needing to stop for breath. Just a super cool song. Check this great version from Tokyo in 1994 with Dando looking all kinds of grunge cool with his hair hanging all over his face.

Rudderless, Tokyo 1994

My Drug Buddy is, at least for me, one of the most beautiful songs in Evan Dando's locker. Telling the story of his friend/lover coming over to go a walk to  score drugs, My Drug Buddy is sung with real feeling, it sounds beautifully melancholy. The way Evan and Juliana harmonise on I'm too much with myself, I wanna be someone else is so dreamy it hurts.

She's in the phone booth

And I'm looking in 

There comes a smile on her face

There's still some of the same stuff they had yesterday

There's still some of the same stuff they had yesterday

Yeah

The organ adds to the lazy feel of the song, this is peak Dando and Hatfield together. 

My Drug Buddy video

The Turnpike Down is a short song, kind of country punk, repeated twice. I love the line between a want and a need to. 

The Turnpike Down, Evan Dando in Sydney

I'm a sucker for the Dando and Morgan co-writes. They are so simple yet so clever. Bit Part is only 1 minute and 51 seconds long. Acoustic and electric guitars collide, the lyrics are brilliant, the solo is fizzing, Juliana compliments Evan perfectly and it builds to a brilliant climax with Dando hollering the final verse/chorus - it's all one in this song.

I want a bit part in your life

A walk on would be fine

I just want a bit part in your life

(A bit part in your life)

I want a bit part in your life

Rehearsing all the time

Bit Part live at Glastonbury 1994

There is a line in Alison's Starting To Happen that is one of my all-time favourite lyrics. 

She's the puzzle piece behind the couch

Made the sky complete

2-minutes of perfection. A pop punk romp about Alison Galloway from Tom Morgan's band Smudge. Dando and Galloway were on ecstasy and he came up with the line Alison's Starting To Happen. 

All these years (decades!) later, this song still sounds like the band are having so much fun. The Lemonheads were really in the zone on this album.

Alison's Starting To Happen (live video)

Jeff 'Skunk' Baxter joins the band on slide guitar for the sublime Hannah & Gabi. It's a beautiful song, the guitar playing is so inventive and melodic. I would often think of this song when I was on the train to Glasgow as a teenager, watching a girl who got on from Lanark. I'd try to catch her eye in the reflections of the windows. This and Norman 3 by Teenage Fanclub were my songs for her. I had a major teenage crush. We eventually talked, but no more than that. Really up there with the most gorgeous Lemonheads songs. 

Hannah & Gabi (video)

Nic Dalton wrote Kitchen and it really emphasises how effortlessly he fitted in with Evan and the ethos of The Lemonheads around this time. Further cementing Evan's bond with Australia. The bassline practically bounds out of the speakers, the vocal melody is deliciously fast and again Dando & Hatfield harmonise with ease. I love the closing 42-seconds - the sound of a band having fun jamming along.

Ceiling Fan In My Spoon is 1 minutes 47 seconds of psychedelic melodic babble, it has a harder and punkier edge to it than anything else on the album. 

Evan's cover of Frank Mills is just perfect. It fits so well with Dando's move towards telling more stories through his own songs and also with the way he continued to highlight his taste in music through acoustic covers. And with the whole sunshine-y, stoned vibe to the album.

He was last seen with his friend, a drummer

He resembles George Harrison of The Beatles

But he wears his hair, tied in a small bow at the back

Of course, It's A Shame About Ray has been re-released several times, including once not long after the original release date to include The Lemonheads cover version of Mrs Robinson. A pop punk bubbledum performance that introduced the band to many. Would the album still have broken without that addition? Who knows, who cares, it's a f**king brilliant album and I'm sure it would have found its way.

In terms of 30th anniversary bonus tracks, we have songs from Evan's trip to Australia; covers of Divan by Smudge and Shaky Ground by Sneeze. The latter featured in my Trust Me series of blogs. 

Check my 10 songs by Smudge here.

We also have a KCRW radio session of My Drug Buddy, an acoustic cover of ABBA's Knowing Me, Knowing You and demo versions of songs on the album. It's interesting to hear Ceiling Fan In My Spoon in that form.

It's A Shame About Ray is sun kissed, warm, melodic, romantic, funny and the sound of a songwriter not only finding himself, but friends.

I Can Feel Your Love

Trust Me #30 - I Can Feel Your Love by Felice Taylor

Whenever I visit the wonderful Monorail in Glasgow, I often gravitate to the soul section. There are always wonderful compilation records available and for me, they can easily make a case for the most value for money records in the store. Most recently, I've bought 2 of the Shaolin Soul compilations - songs that RZA from Wu-Tang Clan has sampled - he has unbelievable taste!

Kent Records are arguably the masters of the soul compilation. Originally released back in 1982, their For Dancers Only compilation is a record I pulled out of the rack while browsing in Monorail one day, many years ago. I am a real sucker for sleeve notes and some soul comps go to the trouble of having a track-by-track run through. 

On the For Dancers Only sleevenotes, the words every track is a great 60's dancer leapt out at me before the curator, Harboro' Horrace, went on to say the record was for dancers, drinkers and DJ's. Those words were enough for me.

That's the other reason why I love soul compilations - indeed, all kinds of compilations. They are great for DJ-ing as (unless your a purist) they mean you don't have to cart quite as many records around! When I bought this some friends and I would put on the odd DJ night in the downstairs basement of a pub called O'Henry's (now the Yes Bar) across from the famous Horseshoe Bar in Drury Street, Glasgow.

We always played vinyl. And on the rare occasions I do DJ, I like to use vinyl. I'm not a purist who plays originals only and I totally get the ease of using downloads/streaming, but I love the thrill of the needle drop and the skill of getting the next song right.

the aforementioned Shaolin Soul record - when I DJ'd in Mono in November 2021

Anyway, For Dancers Only was full of songs I could play when I DJ'd but one jumped out at me in particular - the mighty I Can Feel Your Love by Felice Taylor.

After a glorious introduction with horns leading us into a groove, there is a run of I Can Feel Your Love backing vocals sounding sweet and sublime, and then we're introduced to Felice Taylor's voice cutting through; strong, true, soulful and packed with emotion.

I can't explain this feeling that I get when you pass by

I guess I always knew that your love would get me by and by

I see the stars above me and my heart starts to cry

Cause you're the only one that I need by my side

And I can feel your love, oh yeah, coming down on me

And I can feel your love, oh yeah, coming down on me

What a vocal! The song is relentless, the backing vocals are delicious, the beat is perfect and somehow beautifully understated, the horns stab in all the right places.

And then things are lifted in a short instrumental section with horns to warm hearts before kicking back in to soar higher.

My darling when, I feel alone

I feel like I, just can't go on

Nothing seems to go right

Baby when you're, out of sight

What a song! It never fails to make me smile or reach for the volume to crank it up. I Can Feel Your Love continues to blow me away every time I hear it. Enjoy.

CHECK ON YOUTUBE HERE

You'll find a list (and links to) of all the previous songs featured in the Trust Me series below.

And you can check them all out via my Spotify playlist by searching for Everything Flows - Trust Me or by CLICKING HERE

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

Endless Arcade

Teenage Fanclub's 10th studio album (12th if you count The King and Words Of Wisdom and Hope) was originally scheduled to be released in Autumn 2020. The band decided to push it back to Spring 2021 and I think that will prove to be a wise decision, the timing feels perfect.

Written and recorded pre COVID, Endless Arcade mirrors many of the emotions we've all been through over the last year; emotions have run high, there has been separation, hearts have been broken, friendships mean even more, we've needed advice, support and we've all wanted someone to tell us there is hope of brighter days. 

As I write over coffee, with sun streaming through the window to the sounds of the album playing for the umpteenth time, I'd say the Endless Arcade is fantastic on first listen, but it reveals greater depths the more you play it; the lyrics, the voices, the playing, Euros' keyboards low in the mix at times but adding so much (you'll hear and appreciate them more with every listen), Dave's bass grooves, Francis' considerate and always brilliant drumming, Raymond's exceptional guitar playing and the gorgeous harmonies.

I've had tears in my eyes at times, I've got lost in it at others, I've smiled, and now, more than ever, I'm so grateful that this special band have been in my life for so long. This may be Teenage Fanclub's most direct and personal album. 

Lets go through it song by song.

I've been losing sight of what it means to be

And all this time I've been holding on, to our memory 

Norman Blake sounds wistful on the reflective Home that opens Endless Arcade. Blake's heartache is clearly portrayed by his lyrics, the tone in his voice and the feeling is beautifully echo'd by his friend and bandmate Raymond McGinley on electric guitar. 

As Blake sings I just don't know when I'll open that door again for the final time, McGinley takes over and takes off, leading the band for four further minutes. It's a glorious melancholic jam to end a beautiful song, I can't wait to hear this live. Home is 7 minutes and 4 seconds of Teenage Fanclub at their very best.

Heartache, heartbreak, love, reflection and friendship are at the heart of Endless Arcade. Norman pours his heart out and Raymond seems to wrap his arms around him in return. 

Home video

Don't be afraid of this life, don't be afraid of this endless arcade that is life is McGinley's advice on the title track. The rhythm guitars crash and there is a keyboard/synth solo that comes in unexpectedly to lift things leading to McGinley going into a melodic flow towards the conclusion.

Warm Embrace is 2-minutes long and the melody, beat and structure reminded me instantly of Norman's work with Euros in their side project Jonny. Warm Embrace is an outpouring of frustration with Norman openly declaring exactly where he is mentally and emotionally;

I've been lost and lonely, and I've been thinking of you only

Your love can save me, from the darkness that unfolds me

A pale imitation of the life I knew, I'm all forlorn for the loss of you

Now I don't know what I'm going to do

When I first heard Everything Is Falling Apart I immediately thought the opposite. The first song released after the departure of Gerry Love sounded like a band with the bit between their teeth to me. Relax, find love, hold on to the hand of a friend is Raymond's advice as the band settle into a groove, there are delicious bass runs from Dave, an outstanding solo from McGinley, Norman really drives the rhythm guitar and Francis is in sensational form on drums. I love the outro, it sounds like it could have been extended and the band could have taken the song off somewhere else. 

Falling Apart? Coming together more like - of course I miss Gerry, but this album is real proof that there is a lot of life left in the band, indeed, it already sounds like they are planning the follow up. Let's hope they break the 5-year routine between albums that they have got into.

Video from Leith Theatre

Teenage Fanclub by Donald Milne

The Sun Won't Shine On Me begins with chiming guitars and although there are only 2 verses over two minutes 40 seconds, another excellent instrumental section and then a repeated refrain, we learn so much. It is the sound of a broken heart and it brings a tear to my eye. This is a beautiful song, those chiming guitars soundtrack tears. Raymond's guitar is perfect, Norman and Euros harmonies tug on heart strings - emotional.

I have lost any sense of belonging, I am drifting like ice on the sea

With a troubled mind, I am in decline

And the sun won't shine on me

We had a love I thought was forever, but it travelled 180 degrees

With a troubled mind, I am in decline

And the sun won't shine on me

Did I say things are emotional? Well I probably won't be the only person to get tears in my eyes after listening to Raymond's Come With Me. It's one of his very best and coming on the back of Norman's The Sun Won't Shine On Me it really hits home.

All of this time you've got in front of you, all of this time you've got in front of you is how the song starts, Raymond delivering a vocal with warmth, compassion and consideration, backed by gorgeous harmonies.

Come with me, together we'll ride to infinity

Come with me, together we'll hide from reality

This is going to melt hearts. Straight up (for me) with Raymond's greatest songs, the feeling that the band capture here is really special. There is an ache to Raymond's voice, an empathy, an understanding, care. The way he sings lines that repeatedly begin with time is just tugs on my heart strings. Come With Me is a very beautiful and emotional song.

Time to heal and be with you

Wiping the tears away, electric guitars burst in and McGinley talks of sleepless nights dreaming about life, then living inside dreams, while coaxing brilliant sounds and riffs. 

Raymond has a knack in his songwriting of finding a refrain/groove and just running with it. The outro melody and lyrics are dreamy and poetic.

What we did and we didn't do

A memory isn't always true

I just don't know what it's coming to

We've lived a dream but we never knew

I'm More Inclined was the second single lifted from the album and the band included in their live shows dating back to the summer of 2019 (if not before). It's classic Fanclub, Blake sounding optimistic in the face of heartbreak. This life is complicated is how he begins the song and despite singing of being blue, feeling isolated, the writing being on the wall and more, Norman is still more inclined to put his faith in his love. The harmonies are exquisite, Euros' keys lift the chorus and Raymond's guitar solo has a little zip to it.

I'm More Inclined video

When I heard Back In The Day for the first time I immediately said 'oh!' aloud as it engulfed me like a warm blanket. It's just gorgeous! And catchy! I find myself walking around humming the melody. Norman Blake's voice is one that I fell for 30-years ago. I'm still falling! I still marvel at it, the way he sounds so good on his own or harmonising with others, how he delivers more soul and emotion with every passing year, how it all seems so effortless.  Norman reflects on how happy he was, in comparison to where he is, over a flowing melody and lovely backing vocals; 

I'm downbeat in a daze, a sad malaise has taken hold of my heart 

I can't seem to find, the peace of mind, I knew back in the day

With each new passing day, I see that old world fading away

I just can't seem to find, the peace of mind I knew back in the day

Picture by Donald Milne

So many of Raymond's songs start with a confession. I've mentioned this in previous blogs, but listen back through his songs and check how many start with 'I .... '

The Future is lovingly melancholic. There is warm, dreamy feel to the song, beautiful harmonies and a mellow instrumental. McGinley's voice aches, sounding world weary and experienced, stating I know I waste time, don't know what I'm doing while later on he offers the advice;

slow down, take time, to know what' worth knowing 

walk out the front door and see what's new

Norman's final offering is the melodic heart on sleeve Living With You, with Blake singing of needing a minor miracle in the chorus and the heart-aching line I'll love you 'til I cease to be. Raymond delivers another excellent solo over a super tight rhythm section, the keyboards are excellent throughout. Other lyrics (maybe I'm reading too much into them) suggest the song could have been written while the band were touring in Australia. 

The world is upside down, I'm lost, don't know what to do

With you so far away from me

Endless Arcade concludes with McGinley's super mellow Silent Song, Euros' keyboards sit beautifully behind Raymond's guitar, the band gel to create something super dreamy, as close to a lullaby as Teenage Fanclub might ever get, albeit one with a slightly psychedelic tinge to the lyrics and feel. The melody is beautifully slow and Raymond's voice aches in all the right ways.

See what I want to say through my eyes

Hear what I feel inside

See the soul behind the disguise

Feel what is real

Endless Arcade is out now. I managed to order a dinked edition from Monorail who have CD's and the indies only green vinyl available to order HERE

Tim Burgess is hosting a #timstwitterlisteningparty on Thursday 6th May at 9pm.

Endless Arcade - tracklisting

1. Home (Blake)

2. Endless Arcade (McGinley)

3. Warm Embrace (Blake)

4. Everything Is Falling Apart (McGinley)

5. The Sun Won't Shine On Me (Blake)

6. Come With Me (McGinley)

7. In Our Dreams (McGinley)

8. I'm More Inclined (Blake)

9. Back in the Day (Blake)

10. The Future (McGinley)

11. Living with You (Blake)

12. Silent Song (McGinley)

45 45's Part 2 (11-18)

Part 2 of 45 45's packs a lot in, so much so that I only get through 8, rather than 10.

I reminisce about managing a band, funding and releasing a 7-inch, discovering 2nd hand copies of versions of favourite songs I didn't know existed, old record shops, getting a record signed, numbered and coloured vinyl and helping to form a record label and the first release.

Young Folks - Peter, Bjorn and John
Easy Boys - Sonny Marvello
Come Together (Farley mix) - Primal Scream
Nothing But A Heartache - The Flirtations
Can't Get Out Of Bed - The Charlatans
Slight Return - The Bluetones
Free Again - Teenage Fanclub
The Ballad Of The Nearly Man - Mark W Georgsson feat. Katie McArthur

45 45's - Part 1 (1-10)

With a little more time on my hands I decided to try my first vlog.

I had the idea of writing a blog called 45 45's, about memories of 45 7-inch records I own, ahead of turning 45 next year. Something to work away at over the months ahead.

I then decided to go for a vlog. I really enjoy 10-15 minute vlogs on YouTube, so here is my first. There will be 3 more parts to the 45 45's series and then I'll consider others.

Part 1 focuses on 10 7-inch records including; the first 7-inch records I had bought for me, two of the first 7-inches I bought with my own money, records bought on the strength of the sleeves, entrepreneurial record buying and exchanging to get an original copy of Everything Flows, a record I bonded over with my sister and one that I remember buying the day it came out.

Let me know if you enjoy the vlog which you can watch by clicking on the section at the start. The records featured are;

Letter From America - The Proclaimers
Got My Mind Set On You - George Harrison
Born of Frustration - James
Movin' On Up - Primal Scream
Babe Come Down - Sammy
Superhero - Smudge
Puss/Oh The Guilt - Jesus Lizard/Nirvana
Everything Flows - Teenage Fanclub
Mrs Robinson - The Lemonheads
Kylie's Got A Crush On Us - BMX Bandits

Velocity Girl

Edie Sedgwick, inspiration for Velocity Girl

33-years after its original release in as the b-side to Crystal Crescent, Primal Scream's Velocity Girl is as pure and as perfect as ever. In the same year it was released the song would open the NME's seminal C86 cassette compilation, going on to inspire bands to pick up guitars and let them jangle and chime.

Early Primals

Somewhere in Manchester, a young John Squire picked up a copy and it is notable how the Stone Roses sound changed from the punk debut So Young b/w Tell Me in 1985 and the songs collected on the Garage Flower compilation to 1987's Sally Cinnamon.

It is easy to hear why the song inspires. Velocity Girl is 82-seconds of a sugar pop rush, a guitar is strummed and a beat kicks in with Bobby Gillespe singing about a girl he is seemingly infatuated by but also aware of how much she could hurt him.

The vocals are over in under a minute following a plea of leave me alone, allowing time for the chiming guitars to take centre stage to drive the song to conclusion.

Velocity Girl is short, but it packs a perfect knockout punch.

Here she comes again, with vodka in her veins

Been playing with a spike, she couldn't get it right

Spelndour in silver dress, velocity possessed

The world was hers against fell apart again

I don't need anyone to hurt me, no not anyone at all

Cause my so called friends have left me

And I don't care at all

Leave me alone, leave me alone, leave me alone

Remastered ahead of its inclusion on Primal Scream's forthcoming singles compilation Maximum Rock N Roll, the single is out now digitally before a limited 7-inch is released on 24th May, it's first repress since 1986.

The video featuring a modern Bobby Gillespe spliced with footage of Edie Sedgwick (Andy Warhol) from the film Ciao! Manhattan.

I had an Edie Sedgwick type character in mind when I wrote Velocity Girl. I read Jean Stein's biography about her and I wanted to meet a girl like that. Hanging out with Warhol, The Velvet Underground, Bob Dylan and shooting speed while looking absolutely fabulous. Super hip and beautiful. She was the muse. I love her.

Bobby Gillespe

Langley Schools Music Project

I first heard of The Langley Schools Music project when their beautifully moving version of The Beach Boys In My Room appeared on an Uncut/Mojo CD many, many years ago. It's a version that stayed with me and when I stumbled across an article that mentioned them last year I went searching on Spotify to see if there were any other songs by them. To my great delight there are plenty and I also discovered there is an album that was released on vinyl last year. Definitely one to go searching for.

The Langley Schools Music Project is a collection of recordings of a children's choir singing songs by The Beach Boys, McCartney, Bowie and more back in the late 70's in Canada, made by music teacher Hans Ferger.

Ferger's unique approach to teaching music is captured beautifully on the recordings, he isn't interested in people singing in tune, he's more interested in capturing emotion, feeling and soul.

I never liked conventional children's music which is condescending and ignores the reality of children's lives, which can be dark and scary. These children hated 'cute' they cherished songs that evoked loneliness and sadness. Hans Ferger

The recordings were lost until a collector found them in a record store in 2000 and sent them to labels, they were rejected by 10 labels until Bar/None released a compilation CD of the two original vinyl LP's.

It's very easy to hear why people have fallen for these songs. They are recorded extremely simply with a rare purity and the sound of a children's choir singing Good Vibrations, God Only Knows, the aforementioned Space Oddity is spine tingling, generating emotion with ease.

their version of Space Oddity is a piece of art I couldn't have conceived of, the backing arrangement is astounding David Bowie

The choir singing God Only Knows is sheer beauty and brings a tear to my eyes.

I may not always love you, but as long as there are stars above you

You'll never need to doubt it, I'll make you so sure about it

God only knows what I'd be without you

And Brian Wilson's In My Room, a song about escaping the abuse he suffered from his father, becomes even more powerful when sung by The Langley Schools Music Project, the way they rise for the following verse is incredible.

Do my dreaming and my scheming, lie awake and pray

Do my crying and my sighing, laugh at yesterday

Wildfire by Michael Martin Murphey is a song i wasn't aware of and it is beautiful, Neil Diamond's Sweet Caroline is euphoric in a new way and elsewhere you have songs from the Bay City Rollers, Fleetwood Mac, Herman's Hermits and The Eagles.

Last Night From Glasgow - 2nd birthday

In only 2-years Last Night From Glasgow has released albums, singles and EP's by Mark W Georgsson, Emme Woods, Stephen Solo, TeenCanteen, Be Charlotte, BooHooHoo, a live Christmas album,  Medicine Men, Radiophonic Tuckshop, Sister John, Sun Rose, Annie Booth, The Gracious Losers, L-Space and Zoe Bestel .... I hope I haven't forgotten anyone!

What would have happened if LNFG hadn't arrived? How many of these releases would have been pressed on to vinyl, or even released at all? Last night in Glasgow (pun alert) wouldn't have happened - and it was amazing!

So much about the label makes sense. So let's just revisit that before I go on to review the second birthday bash.

• LNFG is a crowdfunded label.

• 200 members pay an annual membership fee of £50 (with optional donation that many choose to make)

• For that £50 they receive all planned physical and digital releases plus access to launch shows! 

• Members are the core of the label. They raise the capital to allow LNFG to run and to release records.

• Physical/digital releases are also available to buy/stream for non-members and (get this) almost 100% of sales go to the artists!!! LNFG is a not-for-profit record label with everything directed towards supporting and rewarding artists. In addition to support through sales, LNFG pay our artists well for shows.

There are still a few membership places for our 2018/19 year. Why not take a chance? We will be releasing albums by Zoe Bestel, Radiophonic Tuckshop, Gracious Losers, BiS and one more TBC, plus you'll get access to all these launch shows.

Talk about great value for money.

Anyway, on to last night.....

Stereo was the setting for the 2nd birthday party. It's a glorious hub of leftfield musical, artistic and vegan activity down a cobbled lane just round from Central Station with a fine selection of drinks. Well worth checking if you have never been,

Birthday parties should be celebrations and this was no different. I guess there was an added sense of occasion for those that had been involved from the off - the founding members - and also for those that became label members from the off - investing into nothing more than an idea. We swapped stories and favourite memories from the last two-years. And for relatively new label members, they got to experience something special, something magical - a sense of community.

I guess that is probably the most amazing thing of all, the community that Last Night From Glasgow has created, friendships, trust, a platform of creativity.... last night was special.

Stephen Solo opened proceedings, bursting into a sun drenched blitz of psychedelic pop with LocoCoco. Solo has an incredible talent for melody and for taking the listener on a journey, his songs are packed with glorious breaks, middle-eights, hooks and choruses.

Behind Your Eyes from his debut album contains the most beautiful Albarn-esque chorus, Think Strange from his latest album is brilliant inventive pop music and you have to remember that this guy recorded both his albums on his iPhone. For me, Stephen Solo is a genius.

Sample tweet

Ross Hastings‏ @Ross_Hastings 23h23 hours ago

Just saw Stephen Solo at the @LNFGlasgow show; it was weird and beautiful and fucking marvellous

Photo courtesy of Brendan Waters

Sun Rose were on next. This was only their second ever gig. The band (Albert, Gus and Callum) created their glorious The Essential Luxury album in the studio and online, never really intending to play it live. When they did create a live band, it was a 6-piece, with 4 of the members living Manchester. It was special (blog here). So how would they fair as a 2-piece? They smashed it - Gus and Albert mixed things up live on stage with synths, samples and Albert on guitar. Their voices combined beautifully and as the smoke billowed behind them, they created a real clubby feel with Dry In The Water soaring and flowing superbly. Stereo was rammed and before a glorious climax with Counting Upwards Albert had to ask the crowd to take a couple of steps forwards.

Sample tweet

Carla J. Easton‏ @CarlaJEaston 3h3 hours ago

#6forSunday Can't stop thinking about how good Sun Rose were last night. 'The Essential Luxury' might be my favourite album from last year. Closer #5 - Counting Upwards (Sun Rose) THAT SYNTH CRESCENDO!

Photo courtesy of Brendan Waters

L-Space followed, playing a trippy dreamy set to the biggest crowd of their (so far) short career. They look and sound superb, playfully weaving melodies from synths, keys and guitar together, all underpinned by a groovy bass. Blue Flowers is already a contender for one of my songs of 2018. I previously described it as Mazzy Star meets Portishead and i stand by it. I can't wait to own it on vinyl. Lead singer Lily looks super cool and her imaginative lyrics are set to widescreen sounds with Gordon Johnstone on guitar looking like he was having the time of his life.

Sample tweet

@stephenwattspit

@Lspace_band were glorious at @LNFGlasgow last night. A band still sheathed in shyness in the purest and most positive way.

Photo courtesy of Brendan Waters

On to headliners BiS. The band shot to fame in 1996, being the first unsigned band to appear on Top of the Pops with their glorious and furious Kandy Pop. The band have aged well in terms of appearance (not that they are old!) and on the strength of last nights performance and the poptastic new song that they dropped, they haven't lost any of their energy or sense of fun. They tore through a hit packed set (this song got to number 37) with urgency and the enjoyment on stage was matched by the packed crowd. Eurodisco was a real highlight for me and I know how much it means to label leader Ian Smith to have this band on the label.

Sample tweet

Charity Chic‏ @charchicmusic 21h21 hours ago

@LNFGlasgow ,@thebandbis Bis were the absolute bisters