Named after the debut single by Teenage Fanclub.
1,000+ blogs!
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past & present) and more. Thanks for visiting - I hope you discover something amazing you've never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
Twitter - @murrayeaston
Email - murrayeaston {AT} gmail {DOT} com
Cover version of the month #93 The Bamboos cover Black Box
What was the best selling single of 1989?
Was it Jason Donovan with Too Many Broken Hearts? The Bangles gorgeous Eternal Flame? All Around The World by Lisa Stansfield? Maybe Like A Prayer by Madonna with the super sexy video?
Nope ... it was Ride On Time by Black Box, an Italian house track that sold over 850,000 copies as it topped the charts for 6-weeks!
Ride On Time came out in the heady days of July 1989, a time that many classed as the second summer of love. House music was everywhere; in clubs and fields all over the country and it was crossing into the charts.
With vocals by Heather Small, who went on to join Mike Pickering's M-People, Ride On Time was absolutely perfect for soundtracking the times. Small's vocal is deep, powerful and soulful, repeated time and time again so people can sing on first listen.
Piano house chords sound sublime, there are instrumental passages, a little breakdown with the glorious;
Cause time won't take my love away
And then back into the beats and piano chords. Ride On Time is euphoric pop music, perfect for the charts, the radio and the clubs. The song still sounds super fresh, energetic and exciting over 30-years down the line.
Daniele Davoli from Black Box has said that Ride On Time was the group's attempt to create a song with the power of Led Zeppelin and Deep Purple with a dance beat!
I'm not sure how to judge him against that - but he created a winner!
Originally released with a sample of Loletta Holloway's Love Sensation. The band thought she was singing ride on time, when in fact Holloway sings want you right on time. But they stuck with Ride On Time.
Their luck was in. Paul Oakenfold was in Italy looking for Italo-house records and discovered their pressings, subsequently buying up all the copies he could get his hands on.
The rest ... as they say ... is history. The song just blew up and rightly so, it's a classic of its time.
I stumbled across The Bamboos cover of Ride On Time after listening to the band The Allergies on Spotify. Algorythms kicked in and before I knew it I was googling to see if this was the original version of Ride On Time.
It turns out that it is a cover from Hard Up, The Bamboos 2021 album.
The Bamboos are a soulful deep funk outfit from Australia who have progressed to incorporating hip-hop, psychedelic pop and cinematic music into their sound. They've been releasing music since 2004 and have developed considerably since that time, getting their music into computer games and on to TV shows like Greys Anatomy.
The Aussies remain pretty true to the original, just funking it up a little with live instruments rather than samples. The big vocal is still there, the piano chords are still vital, but the beats and percussion sound live, the bass groove is sublime, holding it all together and allowing huge horns to come in.
It's an absolute delight. An inspired choice of cover.
Enjoy.
The Black Box original and The Bamboos cover version are added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs below. Search for the title or CLICK HERE
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.
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.
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.
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.
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.
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.
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.
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.
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.
Smudge formed in Sydney, Australia, 30-years ago back in 1991. Tom Morgan wrote the songs, sang (most of the songs) and played guitar, Paul Duncan was on bass (later replaced by Adam Yee) and Alison Galloway was on drums.
The story behind their formation is kind of strange, Morgan and Galloway were asked to form a band and contribute a song (Tom wrote Tea, Toast & Turmoil),to a split EP on local label Half A Cow records, run by Nic Dalton who went on to play in The Lemonheads during their most prolific, successful and exciting period.
Storytelling, melodies, humour and clever word play over fuzzy/acoustic guitars were at the heart of Smudge and they quickly set about releasing singles and EP's via Half A Cow and also Domino Records.
Three EP's were collated on the 1993 compilation Tea, Toast & Turmoil before the band released their debut album Manilow in 1994.
One of the many things I love about Smudge is that a song only lasts as long as it needs to, or, as much as Morgan had written at the time it was recorded! Funny You Should Mention That is only 24-seconds long, Top Bunkin' Duncan is only 4 seconds! While the sublime Real McCoy, Wrong Sinatra is 1 minute 21 seconds. If Smudge want to record squalling guitars feeding back - they do.
But it's the power punk/garage pop gems and the sweet acoustic songs that Morgan seemingly tosses out for fun that I love the most.
In 1991, not long after forming, Morgan met Evan Dando from The Lemonheads during an Australian tour and they became close friends. Dando returned and the two got together, writing/co-writing a number of songs that would appear on It's A Shame About Ray, Come On Feel The Lemonheads and Car, Button, Cloth.
Dando and Morgan appeared a match made in heaven. I'd love for them to get together again to see what they could come up with.
You, Me, Carpark Now (1996) and Real McCoy, Wrong Sinatra (1998) completed a trilogy of albums for Smudge. Although I'd highly recommend their 2010 compilation This Smudge Is True, collated by Nic Dalton and released on his Half A Cow label, which contains an epic 28 songs. If you are new to the band then it's a great place to start.
Smudge still play a handful of shows every year in Australia. Tom Morgan released a solo album, Orange Syringe, in 2013, while he is also still a member of Sneeze with Nic Dalton.
Here are 10 of my favourite songs by Smudge with YouTube links to them all, plus some bonus Lemonheads/Dando versions.
Opening with an infectious guitar riff before Morgan sings without coming up for air, flying through the song, telling a story about getting up in the morning after the night before. I particularly love the section from 42-seconds in (below) where things just flow so effortlessly - listen out for Galloway's little backing vocal - wash my hair - followed by a giggle. CLICK HERE if you don't see the video below.
And it scares me, when I find out
I've been falling
And jumping like a jack in the box
Well I'm gonna go home
Yeah I'm gonna stay in
Gonna wash my hair (wash my hair)
Scary Cassettes
A love song to more than one person, certainly to Lou Barlow and Lou Reed.
I've been told that you've been bold with Harry, Mark and John
That's my second favourite line from my fifth favourite song
Hope you like Lou
Morgan goes on to mention Lou being pride of place at number 1 and 2 and lay his heart on the line with the declaration;
And if you're gonna make a move
For some space in my life
You gotta share it with Lou
It's all over in 72-seconds, guitars fizz, the drums crash and there is just the right use of organ to underpin everything else going on over the top. CLICK HERE
Divan
A perfect example of Morgan's songwriting genius. I imagine he literally turned conversation he had with a friend into this gem of a song. Beginning by telling his friend exactly what a Divan is.
Well it's not much like a lounger, it's more like a sofa bed
And if you get the feeling you'll be hanging around
Well you can, crash out on my divan, you can, crash out on my divan
You can, crash out on my divan, you can, crash out on my divan
Tenderfoot
I love how Morgan begins each line in the verse with this is ...
It works so well, Morgan's vocal sounds as urgent as the guitar riff that introduces the song.
This is the place where I save face
This is the spot where I jump off
This is the part where I lose heart
There is then a beautiful chorus;
Over the pain and I'm past the bleeding
It's not the tracks, it's where they're leading
The song ends with the hook it's irrelevant, I'm an elephant, she's a mouse. Genius! I could imagine this being a huge hit in the hands of Dave Grohl. CLICK HERE and here is Evan playing it live.
Don't Wanna Be Grant McLennan
An early example of Morgan's humour and clever songwriting as he talks about self-doubt he feels about writing songs, lyrics come out like cliches and he sounds like someone else. He wants to be like Robert Forster from legendary Australian band The Go-Betweens but the songs I write in the middle of the night make me sound like Grant McLennan - also of The Go-Betweens.
Morgan cleverly mentions song titles, fits in the names of all The Beatles and rhymes McLennan with John Lennon. This was actually the last song I chose for this feature, but I kept coming back to it as it's so fun, I can imagine being a teenager in Sydney and going to see Smudge blasting this out.
The way Morgan and Smudge flow into a lyrical and melodic nod to The Go-Betweens Bye Bye Pride is genius.
Cos I want you to know
That I didn't know someone could be so lonesome
Didn't know a person could give off so much emotion
Impractical Joke
Smudge in full flight; a bass groove, driving rhythm guitar, acoustic at times, gelling perfectly with electric, chiming in all the right places and a yearning Tom Morgan vocal.
Waiting with that baited breath, for the wind to change
It's just a well-worn out suggestion, to occupy the day
Alison Galloway (I presume) takes on lead vocals for this song. The lyrics to the first verse into the chorus/bridge are so clever; comparing sleeping on the side of the bed furthest from the wall and closest to the door with living by the side of the beach that's furthest from the town and closest to the sea.
Galloway then ponders if this is a tendency to want to be able to get away quick and easy, which is a delicious hook.
Galloway's vocals are super cool, I'd love to hear her sing more. I wouldn't be surprised if she sings in a band that I haven't heard of yet.
Gotta have the time to take time
The time it should be mine
For skating down the line
I love the flow of this song, the big noisy fuzzy guitars, the hooks, the break, the instrumental and then the closing section where the song breaks down to be just Galloway singing over Morgan playing guitar.
At only 1 minute 21 seconds long, this is Morgan in full flow, telling a story and singing a song that seems to just roll off his tongue. I love this live version - below or click here and here is Evan singing it.
She's just a little bit
Less out of it
Than she was when we first met
Meth amphetamine
And dirty magazines
And still buying cigarettes
Down About It
Fellow fans of The Lemonheads will recognise this from the Come On Feel The Lemonheads album. Morgan co-wrote 8 of the 15 songs with Dando. Perhaps, Morgan was particularly fond of this one (or wrote the lions share of it) given that he also recorded it with Smudge.
After a short intro the words just flow out so naturally at a beautifully fast pace, just right. And I love the little instrumental to conclude. All over in 2 minutes 19 seconds. Listen here
It gets the same every time I shy
Away from the blame and I stand my time
But you still wonder why
I get so down about it
Outdoor Type
The finest example of Morgan's storytelling with humour approach to songwriting. This is a genius at work. A chiming electric picks notes over a battered acoustic as Morgan tells his tale of falling for a girl and lying to say that he is an outdoor type like her.
Recorded on a to a Tascam 244 4-track, Outdoor Type funny, heartfelt, melancholic, reflective, sad but also somehow uplifting. This is the art of songwriting at it's absolute best.
Dando covered it with The Lemonheads, but this original is the best version. I do love this version of Evan playing it acoustic in Smudge's native Sydney with the crowd singing along. Goosebumps!
You'll find the full lyrics below the video. And also a list of previous Ten From ... blogs.
Always had a roof above me, always paid the rent
I never set foot inside a tent
Couldn't build a fire to save my life
I lied about being the outdoor type
I never slept out underneath the stars
The closest that I cam to that was one time my car
Broke down for an hour in the suburbs at night
I lied about being the outdoor type
Too scared to let you know
I knew what you were looking for
I lied until I fit the bill
God bless the great indoors
I lied about being the outdoor type
I've never owned a sleeping bag, let alone a mountain bike
I can't go away with you on a rock climbing weekend
What if something's on TV and it's never shown again
It's just as well I'm not invited, I'm afraid of heights
I lied about being the outdoor type
Never learned to swim, can't grow a beard or even fight
I lied about being the outdoor type
Previous 10 from blogs (all at the time of writing)
Last month I blogged on the magnificent Tangled Shoelaces compilation; Turn My Dial - M Squared Recordings and more, 1981-84.
The innocence, the joy, the experimentation, the freedom, the melodies and brilliant raw pop music created by this young band from Brisbane warmed my heart.
Tangled Shoelaces formed in 1980 in Brisbane, Australia, Tangled Shoelaces were aged between 10-14, centred around siblings Stephen, Lucy and Martin Mackerras, with their friend and neighbour Leigh Nelson on drums
After falling for the album, that I discovered through the brilliant Monorail e-newsletter, and then blogging on it, I sent a speculative email off to the band to see if they would be up for an interview.
I was thrilled that Stephen replied to say he would be delighted to answer some questions and his brother Martin would also get involved.
So read on for memories of gigs, the future generation, the 'reunion' gig, other music they have recorded under different guises and plans for what sounds like an incredible album with loads of choirs - if the title is anything to go by!
Stephen & Martin Mackerras, Tangled Shoelaces Interview
EF - There are three siblings in the band. Can you remember what kind of music your parents would play in the house when you were kids? how important were your parents in encouraging you all to pick up instruments and play?
S - Very important! Dad is still a member of the Australian Wagner Society and Mum (who recently passed away) loved Joan Baez and Peter Seeger. They both loved and shared classical music with all of us. Leigh's father was also very influential. He was a professional Jazz drummer in Brisbane in the early 1960's. He was very helpful with our original songs, giving us advice about song structure and key changes that made our songs sound more polished.
Both Mr Nelson and Mum in particular encouraged our musicianship by taking us to lessons, buying instruments and coming to see us play. Lucy and Martin learnt classical music and joined the youth orchestra. Martin ended up going to the conservatorium and is a professional music teacher and prolific composer today. His band is called Maya Dreamers.
M - Yes we always heard music coming from Dad's study. When I said I wanted to learn clarinet he immediately said we will get you a clarinet and start lessons!
EF - I love how you focused on writing and playing your own songs. Did you ever play any cover versions?
S - We were all very keen to be creative songwriters. Martin and I both wrote the songs, but Lucy and Leigh made very important contributions. Lucy's vocals made the songs so much better and Leigh's excellent drumming made the songs move to the groove. But yes, we loved music and we did covers of bands we admired like The Fall and Joy Division.
M - Ha ha! Yes, don't forget we also did a cover of AC/DC's You Shook Me All Night Long. Leigh wanted to do that so he sang it as well! Also Buzzcocks Hollow Inside which I had completely forgotten about until it was mentioned in another interview and then I remembered playing like it was yesterday! The big one which always got the crowd cheering was when Lucy sang Roxanne by The Police. I'm sure we learnt a lot from playing covers.
EF - I hear elements of New Order in the likes of World and Oceans Away, what kind of music were you listening to as the band developed? Would you say you had any specific influences?
S - Oh yes, we loved Joy Division, New Order and all of those Factory bands. Also some Scottish bands like Altered Images. But we also loved local bands like The Go-Betweens and The Church. We went to see a lot of live bands both touring and local Brisbane bands. We also listened to a lot of ABBA and A LOT of classical music, especially Stravinsky and Phillip Glass.
M - Yes I remember being obsessed with Joy Division and New Order. I always remember going to see bands with Stephen.
EF - As someone who also has a brother and sister, how was the sibling rivalry during the years of the band? Did the band and music help prevent you from fighting?
S - At that time we were very close and co-operated a lot. We had a shared musicality and a dream that we could create and perform our own songs. Playing in pubs & clubs and going down to Sydney to record with M-Squared Records, wow! That was fun!!! We were having a great time, so we bonded and became very close.
To this day, Martin and I are very close, especially through our music. Lucy now lives in New York, so we don't see her as much.
M - I don't recall any sibling rivalry at all. We just got on and played the music! There was always a sense of co-operation and shared purpose.
Tangled Shoelaces - in masks
EF - As you reflected back on the band and listened to the songs and recordings for this album, what was going through your mind? Do you have any favourite songs? Is there any you would like to re-record?
S- For decades the songs on the LP existed only as MP3 files on my computer. The release of this record has allowed us all to reminisce and even re-live that exciting time. So, a big thank you must go to Guy Blackman from Chapter Music for seeing the potential. I was surprised that he wanted to put the record out in the first place. I really thought those songs were relics of the past that would never see the light of day! I'm glad to be proven wrong!
M - Yes, i felt the same and it was amazing to hear all the songs remastered etc. I especially love the really early ones I Need A Stamp and Little Bear after not hearing them for so many years. My other big favourite is Giant Rabbits because it shows such maturity and depth of feeling.
S- Thanks Martin - Political Jokes is a gem! You were only 10 when you wrote that!!!
EF - What can you remember about playing live as Tangled Shoelaces? What kind of reaction did you get from people?
S- All I can remember was having lots of fun. It was great to be sharing it all with Lucy and Martin and Leigh was such a good drummer. People seem to like us, I guess because we were so young. But I think the songs were OK. We were always writing new songs and experimenting with our sound. It was a really exciting time.
M - We got really good reactions. At first people were just so surprised! But we did play some gigs later on which were pretty average. I remember once being offended because everyone was out on the balcony when we played and then they all came in when the next band was on!
EF - And I believe you have a show coming up at the start of October! How are you feeling about it?
S - To be honest, I'm a little nervous about it! Martin lives in Melbourne and Lucy in New York. So, Leigh and I have got together with his 10 year old son who is a very talented drummer - like his Dad. We are now playing as a three piece. The gig you mentioned is our first performance ever in 40-years. On 2nd October. We'll video it and put it out on YouTube. Martin, Leigh and I got together earlier this year to do a promo of Movies. WATCH HERE.
I put together Tangled Shoelaces - the next generation! Made up of my three kids and Leigh's son and Martin's son. You can check them out on YouTube - Tangled Shoelaces - What Do You Want From Me Now?
I was hoping they'd carry on the band name and songs into their generation, but they said they weren't interested. Oh well!
EF - Do you have any plans after this? Have you got any other unrecorded songs you'd like to go into the studio with?
S- Ummmm. Let's see. I hope we can get more gigs. We do have new songs but we'll release them on our own, not as Tangled Shoelaces.
EF - Lastly, what have been your musical highlights after Tangled Shoelaces finished?
S - Interesting question - after TS, Martin and I formed another band called Wondrous Fair. We were a psychedelic folk-pop-jazz band and we continued the exploration of creative songwriting to its limits in that band with three other brilliant musicians. We played, performed and recorded music for about 10-years. Inspired by the interest generated by Tangled Shoelaces - Turn My Dial, we have an album coming out next May called Spirals. I hope we can sell some in Monorail where you discovered Tangled Shoelaces and you might be interested in having a listen. Like all independent music, it'll be on Bandcamp.
M - Yes I'm very excited to hear the Wondrous Fair album! We made some really experimental music but always with a great spirit of fun. We were all in our late teens or early twenties, playing at parties and having a great time.
As Stephen mentioned, I have my own band called Maya Dreamer. We have made 2 albums so far and I;m working on a third called Maya dreamer and the Future Happiness Orchestra featuring the Choir of Light. It has a lot of choirs in it! Sadly, very much delayed due to lockdowns.
I've played clarinet with many other artists, but making my own music has been the biggest highlight for me. It's a very different kind of songwriting, but I've tried to follow in the spirit of Tangled Shoelaces and Wondrous Fair.
Tangled Shoelaces, from Brisbane in Australia, were aged 10-14, centred around siblings Stephen, Lucy and Martin Mackerras, with their friend and neighbour Leigh Nelson on drums.
Forming in 1980, they released one 7-inch single before breaking up in 1984, when the oldest members were still only 18. However, they recorded much more and the label Chapter Music has collected 22 songs labelled as some of the smartest, catchiest, most eccentric teenage pop you'll ever hear, releasing it as Turn My Dial - M Squared Recordings and more, 1981-84.
I was alerted to this release by the good people at Monorail in Glasgow who are extremely friendly and beautifully knowledgeable and passionate about music. Their e-newslettter about this release just leapt out of my screen at me, causing excitement in the good old fashioned way when I would read reviews in the NME and Melody Maker.
The newsletter worked! I missed out on the first pressing, but I've just ordered a second pressing and look forward to receiving it as I've been streaming the album regularly.
So what about the album?
Well, there are some exceptional standouts and, as you might expect for a band so young, some scratchy ideas and demos. There are loads of melodies and playful guitar licks, someone sounding like they figured out how to change the tempo of their drum machine mid-song (Political Jokes), innocent sounding vocals and young voices gelling to create something incredibly compelling.
Stick with some of the songs that are rougher round the edges, like the title track Turn My Dial and you're rewarded. The first verse is incredibly childlike in melody, voice and instrumentation and then the band just hit the chorus and it's just joyous.
Baby turn my dial
With your beautiful smile
The Biggest Movie Ever Made is a stunning duet; the band sound like they stumble across a guitar riff and then it sounds like other instruments are playing an entirely different song - but it somehow works!
The break to the chorus is spine tingling, it sounds like they hit a bum synth note or 2 before the synth sound flows in waves as Lucy sings and life is like a movie...
Stephen's second verse seems to predict social media and people embarrassing themselves on camera. The extended instrumental to close after the second chorus is just sublime, a band in full flight for 1 minute 40 seconds.
My own personal highlight is the single Oceans Away, which sounds absolutely timeless. This should have been a hit single! Indie guitar pop perfection, at times coming on like a younger Australian cousin to New Order with the way the guitar, synths and bass mix.
For an even stronger New Order reference check World, the drum machine, bass riff and melodica sound like Tangled Laces had been listening to Power, Corruption & Lies at a very young age. The way Stephen and Lucy's voices gel is sublime. Glorious!
I need to ask a question
Won't someone give me an answer please
Why oh why was I born at all
You're so big and me so small
Sleeping is pure punk pop brilliance, like Television Personalities, there is a beautiful rawness to the guitars, the backing vocals are delightfully off key, the lyrics sound psychedelic but they are just childish jibberish, I love when Stephen (I think) shouts make believe racing cars. 1 minute and 7 seconds of joy.
There is a fantastic sense of innocence and indeed experimentation across the recordings - no surprise given their age! On songs like Rain Clouds it sounds almost improvised on the spot with whatever instruments they could get their hands on.
Some are 4-track recordings, a few are studio and some were even recorded on to cassette. There is a beautiful sense of freedom, learning, experimentation and fun.
I'm delighted to say that Stephen from the band has agreed to an interview, so look out for that in due course.
For now, check out the beautiful raw, playful, innocent guitar pop of Tangled Shoelaces by streaming / downloading or checking if Monorail (or your fave independent record store near you) have a copy of the vinyl.
I can't remember where I first read about Rolling Blackouts Coastal Fever, but whatever I read struck a nerve and I thought I had to check them out. I'm glad I did. The 5-piece from Australia have created a gem of a debut album in the shape of Hope Downs.
The rhythm section is exceptionally tight throughout, allowing two electric guitars to chime and scream, all underpinned by an acoustic.
There is an urgent energy and natural flow to the songs and the album. Air Conditioned Man blitzes by and Talking Straight has a similar drive to it before exploding gloriously into the chorus.
Unless my well worn ears are mistaken, Hope Downs is the sound of a band on the up. They have captured something in a brilliant way and the whole album has a great vibrant feel to it. It is one of my favourite of 2018 and I find myself returning to it regularly.
Rolling Blackouts Coastal Fever are touring extensively and come to Europe in October. No Glasgow (or indeed Scotland) date has been announced yet. Here's hoping!
The AvalanchesSince I Left You was released in late 2000, becoming a word of mouth sensation and being a real favourite at house parties and cool bars in Glasgow all the way through 2001.
I fell in love with the stunning production, the feel, melodies and flow of the album. They played The Arches, coming on stage to a great mix of Dylan's Like A Rolling Stone and Marvin's What's Goin' On with a slice of Madonna's Holiday added in for good measure - this kind of impeccable taste was displayed on a mix-tape that I bought (and it may be up in my loft somewhere) called GIMIX.
The mix was sublime; The Smiths are mixed in with the likes of Ol' Dirty Bastard, The Beatles, Fatboy Slim, Daft Punk, Hendrix and Livin' Thing by the Electric Light Orchestra sounded euphoric when mixed in with house songs.
I loved the album and their taste so much that I travelled down to legendary Manchester club Sankey's Soap to see them do a DJ set. The place erupted and it was a hands in the air moment when they dropped in Queen's I Want To Break Free!
The Avalanches were hugely refreshing, the mix tape was the kind of mix that would be played a pre and post club parties when guests raided the cd/record collection of the host. The way they mixed styles and genres was sublime.
And the album Since I Left You was totally sublime. The title track was a slice of pure pop heaven, capable of brightening the darkest day. A Different Feeling and Two Hearts In 3/4 Time were similarly euphoric and feel good songs/creations.
Stereolab remix of Since I Left You
Elsewhere Frontier Psychiatrist was gloriously weird and clever, while Little Journey and the closing Extra Kings were gorgeous and soulful.
All kinds of rumours came out about the band - how many samples were on the album (estimated to be 3,500!), how long it took to make, how they made it, what they were going to do next.....
And then.....they did nothing.
Perhaps burnt out from the creation of a masterpiece, the reaction and the touring....The Avalanches disappeared.
And now, in 2016, The Avalanches with a current line-up of Robbie Chater, Tony Di Biasi and James Dela Cruz, are back.
Wildflower is the album that marks their return and the good news is that is brilliant. Listening to it has given me the same warm glow that Since I Left You gave me all those years ago.
Because I'm Me is the sound of summer; mixing pop, soul, funk, hip hop, disco and a beautiful sample of a boy talking and singing. The Avalanches tricks are out in force, a particular favourite of mine is when it sounds like they are changing the channel on a radio using an old dial and they just cut stuff out and introduce something that has been bubbling in the background. They pull this off with ease if you listen from 2 minutes to 2 minutes 20. Then the hip hop rap (by Camp Lo) comes back in to just lift it again. In a burst of just over 4-minutes, it's like The Avalanches have never been away.
Comeback single Frankie Sinatra makes you wonder just what The Avalanches have been smoking while they have been away. Answer - probably a lot! There is all kinds of stuff going on from oompah to hip hop with just about everything in between.
Subways is total genius and if I used the word sublime again here, I'll probably use it another half dozen times, but look up The Avalanches in the dictionary and that is the word that will be there! A child choir is cut in with uplifting strings, disco and a euphoric vocal.
Album artwork - as colourful as the music on it
The album is full of guests; Danny Brown, Biz Markie, Camp Lo, Jonathan Donahue, Toro Y Moi, David Berman and Jennifer Herrera.
Chaz Bundrick of Toro Y Moi fits in effortlessly on the beautiful happy vibe that is If I Was A Folkstar. His vocals are dreamy and woven into yet another happy sunshine song that The Avalanches have that special knack of creating.
I had the pleasure of catching Mercury Rev live recently and singer Jonathan Donahue was a delight to watch and listen to. His taste for psychedelia is actively encouraged by The Avalanches, Colours sounds like it has been dipped in the summer of love in1967 and brought back to 2016 via a 1970's New York disco club.
The 21 track album has main songs and lots of playful songs/instrumentals linking them, making it all seem like one effortless piece of work. Zap! is a particular favourite of mine; a dreamy kid talking over strings with The Avalanches tuning in via different radio dials in the background
The only bad part of flying is having to come back down
The Noisy Eater features Biz Markie and is a playful Gorillaz style, stoned take that samples kids singing The Beatles Come Together.
When you get the album and look at the tracklisting and see a song called Harmony then it is hard not to skip to it to see what The Avalanches have produced. It is beautiful - of course. The Avalanches cut in and out of various samples and styles but keep bringing it back to the harmony.
Live A Lifetime Love cuts something that sounds like The Beach Boys with hip hop and is proof that The Avalanches can pack more creativity into 2 minutes and 31 seconds than some bands do across a whole album.
The album as a lovely warm feeling throughout, dreamy, euphoric, just a good feeling. Park Music, Living' Underwater (Is Something' Wild), The Wozard of Iz and Over The Turnstiles all combine to glorious effect. Sublime!
Sunshine kicks in like a burst of.....sunshine. All warm rays and Avalanches style effects and sounds.
Kaleidoscopic Lovers sounds like you are looking into a Kaleidoscope and as you turn it round you hear all kinds of sounds to match the colours. There is a lot going on and then Jonathan Donahue comes in to treat us to yet more lysergic majestic wonder.
The rock n roll and life-liven voice of Jennifer Herrema from Royal Trux sounds brilliant, almost playground rhyme like on Stepkids.
The album ends with Saturday Night Inside Out containing beats, handclaps, brilliant samples and that warm feeling that lasts from start to finish.
Wildflower is an incredible album, my favourite of the year so far.
