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
Saint Etienne and The Pastels at the Barrowland was an enticing prospect to warm the hearts of fans of independent pop music. It showed, the famous ballroom was sold out and packed out. Saint Etienne are on their final UK tour, but have highlighted that they will continue to play festivals and one-off events. So, who knows when they will be back in Scotland?
Has The Pastels ever played the Barrowland before? That was the question on the lips of music fans climbing the stairs to the hallowed ballroom in time for Saint Etienne's special guest support act. A quick google highlighted that they had supported Teenage Fanclub back in 1995. I might even have been there! I imagine I probably was but I can't remember.
The Pastels formed back in 1981 and released their debut single Songs for Children on Whaam! Records the following year. Remarkably, it is approaching 50-years since they formed. Stephen Pastel and his band remain shining lights, guiding lights for independent music in Scotland and beyond. The 6-piece Pastels shuffled on to the Barrowland stage at 8pm sharp and Stephen was quick to thank their friends Saint Etienne for inviting them to play.
This was a beautiful set by The Pastels. Stephen also thanked Kenny on sound, and he was right to do so. The melancholic grooves that the band got into, aided by some sublime trumpet, were lovingly warm, dreamy and soothing.
The Pastels opened with Basement Scam. Stephen crooning, playing a gorgeous chord sequence, the 6-piece Pastels creating a wonderfully warm sound. Summer Rain conjures all kinds of imagery and emotions, Check My Heart is glorious upbeat sunshine pop, while Baby Honey is Velvets-y, garage coolness personified.
Stephen's humour was also on display as he addressed the crowd;'Most of the songs we've played are from our most recent record. Which isn't that recent ... but we are The Pastels.'
Thankfully it won't be long before I see The Pastels again as they play The Glad Cafe in November as part of the annual Tiny Changes series of shows.
Saint Etienne came on stage to the sound of one of their own songs - Filthy, from the deluxe edition of Fox Base Alpha. It is tres cool. Check it out.
Pete, Bob and Sarah were joined by long term collaborator (essentially the fourth member) Debs Wykes on vocals and Loz Colbert from Ride on drums. Also a bass/violin player that I didn't catch the name of.
They were on it from the start. Tonight opened proceedings, with Sarah waltzing in wearing a sparkly jacket, later ditched due to the heart in the room and allow freedom to dance. Like A Motorway (check this recent blog) was next up and the synth bass groove was glorious.
Bob and Pete were on a raised platform behind the rest of the band, like a pair of Chris Lowe fans (slightly less eccentric fashion style!), and they created pop perfection, just like Chris and Neil. Cool 808 beats, funky bass grooves, cheesey keyboards and then Sarah and Debs sang gorgeous melodies and hooks over the top.
You're In A Bad Way was my introduction to the band and I sang along heartily. Only Love Can Break Your Heart generated a Barrowland roar, that would have gone on longer and louder had the band not moved on swiftly to DJ and then the superbly titled Stormtrooper In Drag.
Then it really was pop perfection with a euphoric He's On The Phone resulting in an audience sing-song and huge shouts of YES. Pete and Bob mixed in Seven Ways To Love (their song as Cola Boy), before going back into He's On The Phone for a few more epic choruses.
Nothing Can Stop Us Now sounded utterly timeless and super powerful as an encore, before Saint Etienne ended with The Last Time, the final song on their final album.
There were no emotional or extended goodbyes with the band departing the stage (too?) quickly. It is goodbye, but not, as the tour title suggests, farewell. Saint Etienne will continue to play festivals and one-off shows.
When The Stone Roses broke up in 1996, things didn't exactly go quiet. By that time, the band had left a huge legacy through their music, art, personalities and style. Post 1996, there is plenty to discuss and debate around; drugs, guitars, vocals, Mani joining Primal Scream, Squire at Knebworth, Reni's brief flirtation with The Rub, the sad fact that Reni hasn't drummed on enough recorded and released music, Brown's solo work and collaborations (especially Be There with UNKLE), Squire's solo work, the band reforming - touring the world and releasing 2 new singles, Squire's album with Liam ...
I really loved Ian Brown's burst of solo output post Roses. Three albums and a steady stream of singles from 1998-2001 evidenced a creative energy that had been built up over the years and was now exploding into life with a huge sense of freedom. It was cool, different, but still Ian Brown. Check my 2024 blog on Ian's debut solo album, 1998's Unfinished Monkey Business.
Thirty years ago, on 17th September 2001, Ian Brown released F.E.A.R. , an absolute gem. Unique and cool, drenched in cinematic strings and a lesson in lyrical architecture.
Released as the lead single from his third solo album, Music of the Spheres, F.E.A.R. is, at least for me, the pinnacle of Brown’s solo output. Inspired by his reading of The Autobiography of Malcolm X, specifically the study of etymology and how language can be used to control or empower, Brown set out to reclaim the word "fear."
The result is a song where every single verse is an acrostic. It’s a brilliant piece of wordplay that manages to feel effortless. Although listening back, I do wonder how long Brown had to spend piecing them all together! The end result flows beautifully.
For each a road
For every man a religion
The production on F.E.A.R. is beautifully lush, a super cool trip-hop groove with gorgeous sweeping orchestral strings over the top. The video, directed by Ian himself, features Brown cycling backwards through the streets of Soho, London, in the rain, looking moody and cool. The Roses experimented with backwards tapes through their career, now Brown was doing it with film.
Forget everything and remember
For everything a reason
Brown hasn't released an album since 2019's Ripples, although he did release a single, Rules, in 2023. It's probably safe to say that the world isn't waiting for new Ian Brown material, but listening back to his early solo albums and looking at his singles discography, maybe it is time for a few live dates.
Of course Brown is perfectly entitled to just chill and is certainly able to do so on the back of the hugely successful Stone Roses reunion shows. This is an artist who once described the music business as the filthiest business in the universe. Whether he ever releases anything again or not, Brown has produced a beautifully eclectic discography.
F.E.A.R. 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.
105-107. Wigan Casino - Three Before Eight - Time Will Pass You By by Tobi Legend, Long After Tonight Is All Over by Jimmy Radcliffe, I'm On My Way by Dean Parrish
I was recently invited to join a WhatsApp Album Club group chat by my friend Josh. I admire and respect Josh's music taste and record collection, so I was delighted to accept the invitation.
The concept is simple. Going in alphabetical order (by forename), members choose an album of the week on Sunday and it is discussed throughout the week. A new album is then chosen for the following week.
1-month in and I have already been taken out of my comfort zone on several occasions.
Album club started with Forever Breathes The Lonely Word by Felt. An album I own on CD. It's a good album. I personally wouldn't describe it as brilliant, but the jangling guitars, Martin Duffy's Hammond sounds and Lawrence's poetry and humour shine throughout. All The People I Like Are Those That Are Dead is my favourite song on the album.
Next up was Sister by Sonic Youth. I wasn't aware of this album or any of the songs from it. My exposure to Sonic Youth was exclusively through mixtapes made by my friend Grant Mitchell at High School and immediately afterwards. Grant was heavily into American underground music and culture and was always on the ball, always exploring. I got to know songs from the bands Daydream Nation album -So songs like Teen Age Riot, Eric's Trip, then Dirty Boots from Goo, and Sugar Kane (my personal favourite from Sonic Youth) from Dirty. Yet, I never bought a Sonic Youth record or CD. I'd be lying if I said I listened to all of Sister. It's way too noisy and abstract for me. I like melodies, hooks, grooves and choruses.
Likewise, Rain Dogs by Tom Waits was difficult. There was a lot of chat about needing to create the right environment to listen to an album like this. I appreciate why people like Tom Waits and admire his work. However, it just ain't for me.
Anyway, the whole point of this blog is to discuss The Koln Concert album by Keith Jarrett. Recorded live in January 1975 at Cologne Opera House, The Koln Concert is the biggest selling solo piano record of all time.
There is a great story behind the performance. Jarrett was booked by Vera Brandes, a young 18 year old promoter who booked the 1,400 capacity Opera House for an 11.30pm show, as there was an opera on beforehand.
Jarrett, by all accounts, was in a foul mood. He had exchanged Brandes ticket for a flight to Cologne for cash and instead he drove with ECM Records Manfred Eicher from Lausanne, Switzerland, where had performed a few days earlier. The pair travelled for 350-miles over 5-hours in Eicher's old Renault 4 and arrived at the Opera House late in the afternoon. Jarrett was in pain and wearing a back brace. The long drive can't have helped!
Then there was the piano. Jarrett had requested a Bosendorfer 290 Imperial concert grand piano, yet there was confusion among opera house staff and they found and set up a smaller Bosendorfer baby grand piano. The error was discovered too late for the correct Bosendorfer to be delivered to the venue ...
The venue staff had set up a piano that was intended for rehearsals only. It was poor condition and required several hours of tuning and adjustment to make it playable. The pedals didn't work properly.
Jarrett, understandably, was on the verge of refusing to play. Brandes somehow convinced him otherwise. The recording equipment was set up, the venue was sold out ... the show must go on.
He probably played it the way he did because it was not a good piano. Because he could not fall in love with the sound of it, he found another way to get the most out of it. Manfred Eicher, ECM Records
Jarrett's performance is extraordinary, improvising for over an hour. I was blown away and listened to the album 3 times over the week. It is truly beautiful. I hear gospel, a bit of Carole King, some psychedelic flourishes (particularly towards the end of part 1) that are sure ripe for sampling, and moments where I think - how many hands does this guy have?!
I love when Jarrett rides the bass notes for a while, playing effortlessly over the top. It's kind of bluesy bass, it also reminds me of Ray Manzarek from The Doors. I enjoy when some notes do sound a little out of tune, but he plays on and makes them part of the piece.
So, yeah, Album Club has taken me out of my comfort zone in a number of ways. On this occasion, it has worked big time. Check out The Koln Concert.
This week, I'm back to more familiar sounds with Reading, Writing and Arithmetic by The Sundays.
Cover version(s) of the month #123 Olivia Newton John covers George Harrison
Bonus covers George Harrison and Olivia Newton-John cover Bob Dylan's If Not For You
I recently bought a 7-inch of Paul McCartney's Coming Up on Discogs and was pleasantly surprised when Olivia Newton-John's version of George Harrison's What Is Life? (a record/cover I didn't know existed) was flagged up as another record I might be interested in. I absolutely was! Especially at the bargain price of £3. This is the modern day equivalent of finding a hidden gem in a dusty record crate. Not quite as much fun, but still pretty thrilling!
What Is Life? from George Harrison's majestic All Things Must Pass album, also released as a single in February 1971, is one of my favourite George songs. I get a lift every single time I hear it and adore the incredible guitar sounds that feature throughout.
Released a year later in 1972, Newton-John's version remains true to the original, but it doesn't have the power of George's wall of sound, the Phil Spector produced gem that has roaring brass and rippling reverb. Olivia's voice is beautiful, all sunny, light and country-tinged, super melodic and pure.
I subsequently discovered that Newton-John had also recorded Bob Dylan's If Not For You, a song that the author released in October 1970 on his New Morning album. Dylan is at his poetic best, singing beautiful lyrics in a simple and catchy melody. There is an urgency to it, and also a gentleness, especially with the xylophone played beautifully alongside the acoustic shuffle groove.
If not for you my sky would fall
Rain would gather too
Without your love I'd be nowhere at all
I'd be lost, if not for you
Dylan and Harrison recorded a version together back in May 1970. This would later be released in 1991 as part of Dylan's bootleg series. This is absolutely brilliant, all rustic and organic, Harrison's guitar sliding and piercing in all the right places, sounding utterly sublime against the acoustic groove and Dylan's harmonica. Harrison and Dylan met, jammed and wrote together. I wonder if recordings are lurking somewhere in Dylan's vaults ...
Harrison released his slide guitar infused version a month after Dylan's original on All Things Must Pass. Like many of the recordings on that wonderful album, Harrison sounds positive, hopeful and hopelessly in love. There is a playfulness to the guitars and a lovely nod to Dylan with the harmonica.
Newton-John's version is more akin to George's. She clearly loved his own songs, and his taste in, and arrangement of, others. Her voice is beautifully pure and clear - gorgeous.
What about the original What Is Life?
Opening with a glorious soaring Harrison fuzztone descending guitar riff the song also features Motown-esque beats and ecstatic horns. It's joyous pop music, Harrison sounds head over heels in love and happy to shout it to the world.
What I feel, I can't say
But my love is there for you any time of day
Spread across 4 minutes 24 seconds, there is plenty of time for Harrison to declare how helpless he is/would be without this incredible love he has. The drums pound, horns soar and guitars sound utterly incredible. Everything is super positive and upbeat.
Tell me, what is my life, without your love?
Tell me, who am I, without you, by my side?
Olivia Newton-John's cover version and George's original, plus their takes on Dylan and his original are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE
Welcome to part 110 of my Never Ending Mixtape where the latest additions take us from 5,074 songs to 5,139 with the addition ofWell Done Kid, You Did It by Westside Cowboy. Check their debut album out. It will be in my end of year blog. Likewise with The Womack Sisters album.
Over 5,000 songs! The idea behind this playlist was simple - I'd just add songs in no particular order, with no thought behind the song, artist, genre ... or anything. The complete opposite of the old days when I would make mixtapes or mix CD's!
The result is pretty eclectic!
Thanks so much if you are one of the 386 people who follow the playlist, also if you visit from time to time and welcome if you have just discovered the blog and playlist!
Check out some of the latest additions below.
As always, I hope you find something wonderful that you've never heard before, or that you rediscover an old favourite song. I personally play my Never Ending Mixtape on shuffle, but play from the start, the middle, or scroll down (could take a while!) to the latest additions.
Search for Everything Flows Never Ending Mixtape on Spotify or CLICK
Recent discoveries
Heavy Soup by Cornershop
Love Me Till The Sun Shines by The Kinks
Supersonic Rocket Ship by The Kinks
Loving Arms by Lack of Afro
Everybody's Got Something To Hide Except For Me And My Monkey by Fats Domino
Way back in the 1990's I used to work for a bank, specifically Abbey National and their huge head office at the top of St Vincent Street in Glasgow. Over 3,000 people worked there at its peak! Working for a bank is, in my opinion, not very cool (great pension though!), but for a number of years it was a great place to work. I was 21 and there were loads of people of a similar age. There were regular nights out, five-a-side matches and ... some truly gorgeous girls! Work was just something to do before football or the pub. What more could a young guy want? Oh, the office was directly across the road from King Tuts Wah Wah Hut!
I kept noticing a guy with a mod hair cut, Fred Perry bag and a fishtail parka, cutting about with headphones on. I kind of knew that I wanted to be friends with this guy and that we would very likely be into similar music. Before long, we were. James Barker was also into the Roses, The Beta Band, The Who, Primal Scream and northern soul. He was hanging out at the Art School (much cooler than me!) and in the early 00's he formed a band.
Juno! took on a raft of influences and melded them into their own sound. Beats, samples, guitars, analogue synths and all kinds of percussion ... you never really knew what they were going to come out with. Perhaps, at times, neither did they. That was part of the fun and most definitely part of their charm.
There was radio airplay, some singles, plenty of gigs and James was always working the band. Then it stopped. James has never stopped playing music though and quickly formed Ace City Racers who had their debut Stephen Street produced single released via Fred Perry. They are still going strong and all those years after seeing James cutting about the 301 St Vincent Street offices, we formed Starboard Hazes which was/is great fun.
Maybe it is the age we are getting to, but James decided he had unfinished business with Juno! He pulled together all the bands early recordings and demos to construct an album - Harder Than It Should Be. It's available NOW via Last Night From Glasgow and is a document of a moment in time - MySpace buzz, indie discos, basement venues, electro experimentation, cowbells and tambourines.
Juno! Partying hard at The Rum Shack
Juno! celebrated the album with what is hopefully not a one-off show. Their Rum Shack gig was more of a party, with Tam Coyle DJ-ing before and after their show which was an absolute blast. The band came on stage to Parliament's Come In Out Of The Rain, the music cranked to get everyone in the mood.
James and Juno! were most definitely in the mood. Wonderful was a real highlight for me. James put his guitar to the side to cut loose as the band created a Mondays, Beta Band groove. Shakers handed out to the audience created a great vibe, while onstage there were tambourines and maracas. You can check the Beta Band/Beastie Boys inspired video at the end of this blog.
Manda Rin joined the band for their classic single These Boys Are Athletes, while Mark on keys and vocals rivalled James for the happiest person in the room. Atom Bomb City nearly took the roof off the place with its punky new wave groove. I sincerely hope they play live again.
I caught up with James to learn more about Juno! Read on.
James, Jamie and Manda at The Rum Shack
How, when, where and why did Juno! form? Who was involved?
We formed from the ashes of our previous band, which had the same members as the first incarnation of Juno! being Jamie, Jazi, Jason, myself and our good friend Paul. Paul decided to leave, and in the absence of any other options I overcome my natural aversion singing to give it a go.
Simultaneously Jamie bought a Juno 60 and a drum machine which gave us a new dimension. Probably for the best, as it meant I could stop trying to be Nigel Tufnell and really focus on singing the songs. We had a few leavers and joiners as we went on, with people like Matt, Yoshi, Amanda, Stuart, Dave and Mark all adding to the Juno! gang, meaning at times we had up to 8 people onstage. Rain or shine we always practiced in a Fife barn, which a friend very kindly let us use.
Juno! outside the barn
Were you the sole/main songwriter? What was it like to hear your ideas mushroom into the full band Juno! sound?
The songs were usually written around one of Jamies really well-formed electro backing tracks, which I would then write words and chords around, or one of my guitar/vocal demos which Jamie would then write a backing track for.
By the end we got a bit cleverer and started writing them in the same room together!
I also wouldn’t underestimate how much was added by the rest of the band and producer, who added real musical breadth with their imaginative guitars, trumpets, backing vocals and so on. Plus, Steven as producer left his playing and singing all over the record too.
The first track I consider to really be “Juno!” was Cut it Loose, which was actually a chord progression of Jasons, which we then fleshed out music/lyrics over. I was pretty delirious when we got the mix back because it was so colourful and fresh sounding.
I always remember your shows (and records from the time) as having what feels like a great deal of spontaneity to them. How difficult was it to recreate that spontaneity? Did you ever play songs the same way twice?
Jamie and I used to map out the basic songs (on very big bits of paper!) before we took them to the studio, so we knew where to put the multiple layers of vocals and instrumentation, however they would quite often take unexpected turns dependent on what Steven was hearing. He would hear something he liked and make it a feature. Quite often this would be one of Matts funkier riffs!
Live, the songs would always follow the same basic structure, as we use a drum machine backing track, overlaid with real drums, but the instrumentation on top depended on the playing styles of who actually turned up that! Spontaneity was never a problem, some nights we would have vocoders, extra synth & trumpets, others it would be more of a guitar assault. I can think of one Scottish tour where we pretty much changed lead guitarist for every show!
We always put a lot of energy into our performances, as I genuinely believe if people have paid to see you then the least you can do is put your back into it.
Juno! - Sunshine In My Pocket
What were your highlights from the original days of Juno! Do a song, gig or experience stick out for you?
There are lots of memories that stick out, and happily quite a few of them were recorded at the time, so I can revisit as an old man! Recording Higher was brilliant, as the band went to the chip shop and came back to hear some quite spine-tingling I Feel Love style backing vocals being mixed in by Steven, who had also helped supply them. I got a similar feeling when I first heard Amanda’s vocals on These Boys are Athletes. I also couldn’t believe what a nice-looking video Mark made of Sunshine in my Pocket, just prior to my press ganging him into the band.
We played some great support shows at Tuts & Barfly which I remember being packed, and we felt like we could really feed off the audience energy. I was also very pleased that we played one of the very first televised internet gigs for Nexus live. Oh, and at Rockness my wife through a Glowstick in my eye. This literally stuck in my mind. And eye.
I remember you having a buzz, some radio play, your single with Manda Rin. How exciting was it at the time?
It was really satisfying because we had worked on it for so long, I think Juno! started in 2003, but from 2006 onwards things started gaining in excitement, and hearing your songs playlisted on the radio felt like validation. Thanks Jim! By 2007/8 we actually really struggled with all the Myspace gig offers, and were doing regular interviews, radio stuff and even a photoshoot in a fashion magazine! I miss Myspace, it was by far and away the most organic platform for musicians and fans.
You've always written and recorded. What happened with Juno!?
I failed to turn it into something before real life kicked in. Some of the band were awaiting children being born while we were playing Rockness, and it became unfair of me to keep asking so much of the guys when they had more important things to be thinking about.
Towards the end it also felt like a race against time, as with bands you really have to keep building momentum, before you are seen as being long in the tooth. It may be different now, but in those days, labels had a pretty small window in which they would sign you. We played quite a few high-profile gigs and had songs on MTV shows, but I was really naïve about the business side and didn’t have the ruthlessness or evil genius to take it to the next level.
What prompted the delve into the Juno! archives?
As Vic Reeves would say, “I wouldn’t let it lie”!
It always frustrated me that we had professionally recorded so many songs destined for a release that was pulled. I have a real completer/finisher streak, and it niggled at me that the songs which we spent so much time writing and recording weren’t out there in the world.
What was it like to get back in a room together after so long? What song did you play first?
It been lovely, truly heartwarming. We never officially split, and we all remained good friends, but weddings and social events aside, hadn’t really been together as a proper band since 2009. The only thing that is a little sad is that neither Matt nor Yoshi can make the gig.
We have all played with each other in different projects, but for a few years there we were more likely to meet at a buffet than a rehearsal room!
If memory serves me, I think we started with Cut it Loose, as its both the first one we recorded and probably the easiest to play!
Juno! Reunited at The Rum Shack
How important is it to you and the band to have a physical (and digital) document of your time together?
It’s really important to me, and I think it must have been something the band appreciated too, as I didn’t have to do that much persuading to get people onboard with a release. Just some minor Elwood Blues style hunting down to get them to agree to perform live!
What else are you up to musically?
Well, I play with Mark in the band Ace City Racers, we have an album coming out early next year, a dystopian concept album called Welcome to Ace City which we recorded in Green Door.
I may also have accidentally written a new Juno! demo, which I believe Jamie is mulling over, so fingers crossed we can do something with it and Juno! gets a lifeline after the reunion show.
Dave and I from Juno! also have an offshoot Psych recording project called Stars and Sitars, which have most of an album recorded, but we need to finish. I have the basis of a solo record, a whimsical Syd Barret/Ray Davies ish thing demoed but needs finishing and some discipline brought to it , and I’m in another rather good Glasgow guitar fuzz /melodic band called Starboard Hazes which you may have heard of!
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