Thursday 31 March 2016

Last Night from Glasgow Records

So....I have co-founded a record label! Along with 5 friends I have co-founded Last Night from Glasgow Records (or LNfG Records). Top marks to anyone who guesses where the name came from!

Here is a little information about the label that may be of interest;

Objective - to help unsigned artists release their work (mostly) via vinyl, to promote and help them in any way we can.

Music - anything goes....well, almost. I don’t think we’ll release any heavy metal! We would love to release music we fall for - creative, interesting and melodic, music we think warrants a helping hand or platform. At present we need artists to come to us with release ready material (who knows - if things go well in the future we might be able to fund studio time)- electro, pop, guitar pop, americana, soul, funk, disco..... don’t be shy, but be good and be confident and passionate about your material.

Crowdfunding/label members - the label is essentially founded on the crowdfunding principle which makes so much sense. We want to get 100 members (we have 72 at the time of going to press) to help fund a number of releases (5 or 6) each year. Potentially more depending on how sales go.

The label is strictly not-for-profit - All profits will be split between the label and artists, with all of the labels profits being reinvested for future releases.

Membership benefits - Each member will receive each release, so the artist has essentially sold 100 records from the off (106 including the board). We’ll be printing runs of 300, so 200 (196) will be up for sale to the public. Each member will also gain access to exclusive label launch parties and in short play a huge role in helping some amazing artists release records.

Membership fee - Is £50 per annum and I can guarantee that members will get value for money in terms of releases, involvement and lots of fun at gigs and parties.

LNFG 001
A - The Ballad of the Nearly Man - Mark W. Georgsson featuring Katie McArthur   
AA - Söngur hins mædda manns - Sigríður Thorlacius ásamt Arnari Guðjónssyni
The first release on Last Night from Glasgow Records will be a AA sided 7-inch single involving the singer-songwriter Mark W Georgsson and friends.

Around the time Ian and I began to discuss forming a record label (I’ll save that for another blog but Ian first emailed me on January 22nd and we only met for the first time shortly afterwards!), Mark also contacted me with an album he had finished recording. It is a beautiful Celtic-Americana-Folk album produced by Rod Jones from Idlewild. I really fell for it (completely different from Mark’s former pop punk band Velveteen Saints who I really liked) and told him about the idea for a label and wondered if he would be up for releasing something.

Mark was keen to launch his solo career and we hit upon the idea of a double AA side featuring his song The Ballad of the Nearly Man which is friends in Iceland have also recorded in their native tongue for the flip side.

Both versions are absolutely beautiful and I am thrilled that we are launching our label with such a stunning 7-inch single. Arnari (male vocalist on the AA side) is the singer from cult Icelandic band Leaves.

Mark’s connections don’t end there, he is also friends with acclaimed Scottish photographer Brian Sweeney who is a fellow Albion Rovers supporter - there are not too many, so I think they all know each other! Brian has kindly provided 2 stunning images from football grounds in Scotland and Iceland.

If you’d like to find out more about the label visit;


Artwork for LNFG 001 - Pictures by Brian Sweeney

Primal Scream at ABC Glasgow

Primal Scream's light shines on

Primal Scream still have it in abundance. I never doubted it, but it was nice to get it rammed down my throat at the ABC in Glasgow last night.

The Scream Team delivered a blistering set of rock ’n’ roll, electro, dance and punk rock, leaving Bobby Gillespie and Andrew Innes’ hometown in raptures.

Hannah Marsden from The Snides joined the relatively stripped back band (only 1 guitarist) on stage for much of the show last night and she looked incredible. Dressed in a pop star dress with immaculate hair, she shocked and shimmied alongside Gillespie and brought a new dimension to the live show.

100% or Nothing followed by the single Where The Lights Get In opened proceedings. The reaction to these new songs was extremely positive, with many around me going crazy and singing a-long.

The Primal’s then thrilled the crowd with a double dose of rock ’n’ roll in the form of It’s Alright, It’s OK and a ferocious punked up and funked up Jailbird. They cranked it up a notch and flew threw Accelerator at breakneck speed. Gillespie looked in his element.

Highlight from the new album Chaosmosis was When The Blackout Meets The Fallout - under 2-minutes of pop-punk-electro with Gillespie and Marsden singing together and looking like they were having the time of their lives.

Primal Scream turned a Wednesday night into the weekend, blasting through Kill All Hippies and following it up with Shoot Speed, Kill Light. Two incredibly powerful tracks with Simone Marie looking super cool on bass and taking real pleasure in firing out the ferocious riffs.

Cry Myself Blind was beautiful. A sober and straight Gillespie sounded better than I have ever heard him. Innes was outstanding on guitar throughout the night, his riffs and licks on this old fave were soulful and tugged on the heartstrings.

Golden Rope from the new album merged straight into Swastika Eyes and the place erupted. Bobby Gillespie doesn’t smile that much, but he delivered some beautiful grins towards Innes, Simone and to the crowd.

The rock ’n’ roll gem that is Country Girl caused mass pogo-ing, dancing and singing in the crowd with chants of ‘here we, here we, here we f**king go’ when Bobby slowed the band down. Gillespie was visibly moved by the Glasgow crowd then changing the chant to ‘Bobby, Bobby, Bobby f**king G.’

Rocks swiftly followed, still sounding fresh and vital 22-years after release. It was fantastic to hear electric guitars cranked up to the max at the ABC last night and some good time rock n roll.

The encore started with a blissful I’m Losing More Than I’ll Ever Have before Bobby said ‘and then Andrew Weatherall and some chemicals turned it into this’ and the place went suitably bananas for the classic that is Loaded. It was great to get lost in the music and dance like there was no tomorrow.

Movin’ On Up kept the high going and then we were all off into the Wednesday night air to cool down and discuss Electric Fields and Kelvingrove Bandstand.

Keep on keeping’ on, keep on keeping’ strong

Primal Scream play;

Kelvingrove Bandstand and Ampitheatre - 11th August (tickets on sale on Friday)
Electric Fields - 26th-27th August (tickets on sale now)

Friday 25 March 2016

Bryter Layter by Nick Drake

Last week I discovered Bryter Layter by Nick Drake.

My friend Ian stuck on an original record on in his flat. The large bay windows let in the light from the street, I cracked open a beer and padded across his wooden floorboards to inspect the sleeve - the opening instrumental was sheer beauty and the second track was jaunty leftfield pop, who was this? Was it some long lost unreleased Belle and Sebastian number?

I own Pink Moon, I've read several articles on the genius of Nick Drake over the years, but sadly I had never pursued all of his albums and recordings. More the fool me!

Bryter Layter was Drake's second album, released in March 1971. It is incredible.

The aforementioned instrumental is simply titled Introduction and it is 93 seconds of perfection. I sat transfixed as the strings soared and swooped over a lovely picked guitar riff. Cinematic, widescreen, dreamy - perfect music to escape to.

I mentioned Belle and Sebastian earlier and Hazey Jane II must have been a favourite of Stuart Murdoch and co at some point. I am sure it still is.

The song has a brilliant flow, warm feel and production, the band jamming along and Drake sounding like a dreamy and knowledgable angel. The trumpets/horns lift the song, the acoustic guitar playing sounds beautifully furious at times.

Drake’s whispery vocals over his strummed and thumbed acoustic, backed by gentle percussion are incredible throughout the album. On At the Chime of a City Clock they sound even better with yet more glorious strings and a little bit of saxophone.

One Of These Things First is a beauty with Drake singing about all kinds of things he could have been - a sailor, a cook, a book, a pillar a door....

Drake later revisits an earlier song (about the same girl) with Hazey Jane I closing side 1 of the vinyl.

Do it for you
Sure that you would do the same for me one day
So try to be true
Even if it’s only in your hazy way

The title track Bryter Layter (an instrumental) opens side 1 of the album, flute and strings combine with yet more warm sounding acoustic guitar being picked and strummed almost casually, yet with such care.

Fly is sheer beauty, Drake’s voice and lyrics of love are mesmerising and yet again the strings over the finger-picked guitar combine as if they were meant to be together.

Please tell me you second name
Please play me your second game
I’ve fallen so far for the people you are 
I just need your star for a day

Poor Boy has a  bluesy jazzy feel to it with Drake talking of being in a mess (a poor boy) but dreaming of love. Gospel vocals lift the song for the choruses and the jazzy feel is magnified by a little piano and sax solo.

I’ve fallen for this album and Northern Sky is just sublime - does music get much better than this?

I never felt magic crazy as this
I never saw moons knew the meaning of the sea
I never held emotion in the palm of my hand
Or felt sweet breezes in the top of a tree
But now you’re here
Brighten my northern sky

The album closes with a third instrumental by the name of Sunday. It winds and flows like a river.

Bryter Layter is a truly stunning album and I will be buying a vinyl copy in the very near future. I hope this blog leads you to check out the album, because if you do there is every chance you will fall for it like I have.

Visit for some stunning Nick Drake prints

Sunday 13 March 2016

Songs for the Carnegie Deli

There is a blog title I bet you never thought I would be posting!

Saint Etienne presents Songs for the Carnegie Deli is the full title for a new compilation album that yet again showcases and highlights the impeccable taste and knowledge of St Etienne's Bob Stanley and Pete Wiggs.

Stanley's sleevenotes are fantastic, setting the scene, the mood, the atmosphere and location - a diner in New York City - that inspired him to compile an incredible selection of songs.

Stanley has previous - Songs from Mario's Cafe and The Trip are two of my all-time favourite compilation albums, turning me on to songs like All Our Dreams Are Coming True - an instrumental that my wife walked down the aisle to when we got married, Shooting Star by The Mama's and The Papa's shoots for the stars and succeeds in reaching them, the glorious My Love Is Your Love by the Isley Brothers, the heart on the sleeve It Must Be Love Coming Down by Major Lance, the magnificent Music Box by Ruth Copeland and the stunning I Love You For All Seasons by The Fuzz.....and many more.

5 standouts for me;

Night Hawk by The Valli Boys opens the album, a slow instrumental groove (after a short spoken word intro) builds and just draws you in. Funky brilliance.

Summer's Comin' In by Little Anthony and the Imperials sounds exotic - the little instrumental at the start, the slightly raspy vocal and the dreamy and uplifting lyrics are a delight, the melodies are
playful and seductive.

Love (It's Getting Better) by The Groove bursts into life full of love and soul, heartfelt words are sung with real emotion and gusto, the music and production has a lovely uplifting feel to it.

Lover's Melody by Dawn does everything it says on the tin. A beautiful sunshine melody and vocal as pure as you will find.

I'm Fallin' Down (version 2) by Lesley Gore is the kind of song that you know Bob Stanley will adore - it is a particular standout, the surge and flow into the euphoric double chorus is incredible.

Far away from somewhere
Reaching the heights of nowhere
I'm down
I'm fallin' down

Long ago from sometime
Counting the hours of lost time
I'm down
I'm fallin' down

The album is released via ACE Records, so help them release more by buying it DIRECT

Thursday 10 March 2016

March 2015 Podcast

Everything Flows - March 2016 Podcast

Welcome to the March 2016 podcast which rounds up music from albums that I have bought and enjoyed to date in 2016. 3 Scottish artists feature alongside the legendary David Bowie, some choice cuts from a Bob Stanley compilation, Spanish girl band Hinds and Doug Tuttle. 

Listen HERE

They All Know Something
- JR Green
Garden - Hinds
Love (It's Getting Better) - The Groove
Saturday - Sunday - Doug Tuttle
Shipcracks - The Second Hand Marching Band and Benni Hemm Hemm
Dark Skies - Emma Pollok
I Can't Give Everything Away - David Bowie
I'm Fallin' Down (version 2) - Lesley Gore

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

Podcast #4 featuring The Chemical Brothers with Beck, The Charlatans (Brian Jonestown Massacre mix), BMX Bandits, Edwyn Collins, The Parliaments, K-Klass, White

Podcast #5 -Tim Peaks Electric Fields line-up featuring The Charlatans, Yucatan, Blueprint Blue, Documents, TeenCanteen, Horsebeach, Hot Vestry, Riding the Low, Tim Burgess

Tuesday 8 March 2016

I Am The Walrus

Cover of the month #10

I Am The Walrus by Oasis

Expect a few blogs on Oasis this year to mark the 20th anniversary of the year they played 2 huge shows at Knebworth that topped an incredible 2-year run for them.

Oasis from 1994-1996 were sensational. They had everything; captivating a nation with their songs, looks, attitude, humour and good old fashioned work ethic. In those 2-years I went from watching them support The Boo Radleys at the Tramway all the way to Knebworth via The Cathouse, T in the Park, the Barrowland Ballroom (twice), Sheffield and Ingliston. They played and toured relentlessly, provided exceptional press, released 2 landmark albums and 9 singles (EP's) and soundtracked my life.

I Am The Walrus was their staple set closer throughout the glory years, a Pistol-ised take on The Beatles lysergic classic via the council schemes of Manchester.

As cover versions go, this was pretty bold. Oasis as a band, Noel and Liam as people, were pretty bold. They went for it, stretching it for up to 10-minutes in length and putting their own distinctive twist on it with Liam sounding incredible on the I'm cryyyyyying refrains and the goo goo g'joob's 

The band roared through it, the tight pub band rhythm section of Bonehead, Guigsy and McCaroll allowing Noel to create all kinds of glorious electrifying noise and Liam to live out his Lennon in 94 fantasies.

The original version by The Beatles was perfect for 1967, the Oasis version was perfect for 1994. Oasis were a band wanting to break through all the chart bullshit that was being released back then and I Am The Walrus allowed the band to wear their hearts and influences on their sleeves and providing the perfect opportunity for Noel and Liam to state that it was The Beatles they wanted to aspire to. Oasis never wanted to be an indie band, they wanted to be as big as The Beatles.

Oasis in 1993/4 - looking as far removed from The Beatles in 1967 as possible

Noel Gallagher's songwriting talents were in a different vein to those of The Beatles; Lennon, McCartney and Harrison had each other to bounce off and were also digesting far out pop music from the likes of the Beach Boys, Hendrix, The Who, The Stones and The Kinks. LSD was the drug of choice, inspiring the trippy lyrics of I Am The Walrus and many other Beatles songs from 1966 onwards. Shaker Maker wasn't quite the same, although it was good fun!

Ecstasy was as far out as Noel went and the drug possibly helped him to write sky scraping choruses and incredible songs about dreaming, love and breaking free. Live Forever, Slide Away, Wonderwall, Don't Look Back In Anger, The Masterplan, Cast No Shadow..... although all have the stamp of The Beatles on them - structure, hook, melody, flow....

Sadly cocaine would blight Noel's songwriting skills for a while - the bloated Be Here Now and the insepid Standing On The Shoulder Of Giants being prime examples.

However, Noel's fascination and passion for all things Beatles helped him to create some beauties and he had a real knack for a middle eight and chorus thanks to hours and days listening to the Fab Four.

Anyway, back to I Am The Walrus - a cracking choice of cover!

Check this incredible version with The Bootleg Beatles recorded from one of their Earls Court shows back in 1995 with Liam on fire.

Previous covers of the month