Butler, Blake and Grant - FRETS 25 and the album

Douglas McIntyre brought Bernard Butler, Norman Blake and James Grant together to play one of his FRETS nights at Saint Luke's back in January 2022 (blog here). The trio took turns to tell the story behind one of their songs and then play it. There was humour and warmth throughout the show and enough chemistry for them to regroup to play FRETS in its hometown of Strathaven and subsequently take the show on the road.

This eventually led to Butler, Blake and Grant convening at Norman's house with their acoustic guitars, a roaring fire and some wine to write and record some songs together. Sounds blissful!

So, given the history, it was only right for the trio to return to FRETS for a weekend of shows ahead of the launch of their debut album. 

My friend Lorna picked me up and we then made the mistake of following her sat nav, which took us the craziest route possible to Strathaven! Despite arriving 10-15 minutes late for support act Jo Mango, we somehow managed to nab front row seats as a couple of people hadn't turned up. BONUS!

Watching BBG at close quarters led me to;

• Appreciate what a fantastic guitar player James Grant is. Inventive and effortless! 
• Marvel at how Bernard Butler srocks double denim and a sensational fringe. 
• Crave for a guitar as beautiful as Bernard's! 
• Smile at Norman's DIY buzzcut from the previous evening. Missed a bit at the back Norman! 
• Continue to be amazed by Norman's exceptional voice and ability to harmonise.
• Think that James and Bernard's pre-album singles had a little more zip to them live.
• Come up with the idea that BBG should record a covers album. Maybe tackle 2 of their own back catalogue each plus 4 covers - including The Monkees Me and Magdelena and Neil Young's Cinnamon Girl. This should DEFINITELY include Bernard's Yes.
• Laugh at the dry, witty humour of Grant and the off the wall (slightly surreal humour) of Norman. And wondering how Butler gets a word in!

On to the album. Given the tales behind the songs, it would appear to be a mix of songs that the trip have had kicking around for a while, new songs and Rosus Posus an improvised instrumental that BBG walked onstage to. James and Norman joked that it was PROG!

There is a lovely warmth to Down By The Sea, a song Norman said he had written a while ago. Blake sounds like he is with you, the home recording works really well on this song

I hope you'll always think of me

If I take a walk down by

The warmth also comes out on The Old Mortality, sung by Bernard, his rich soulful voice is enhanced by strings. There is a great breakdown instrumental where the strings soar and Blake ooh's beautifully.

Across the album. there are beautifully crafted tunes, natural camaraderie, exquisite harmonies, brilliant guitar playing and the trio work well together. Surely there will be more.

Bring An End (Blake) / One And One Is Two (Grant) / The 90's (Butler) / Down By The Sea (Blake) / The Old Mortality (Butler) / Girl With The Little Black Number (Grant) / Writing's On the Wall (Blake) / Rosus Posus (instrumental) / Seemed She Always Knew (Grant) / There's Always Something You Can Change (Butler)

Grant, Blake & Butler at Strathaven Hotel

When FRETS announced that there would be a follow up to the Grant, Blake & Butler Celtic Connections shows in their hometown of Strathaven I immediately snapped up a couple of tickets. Their Saint Lukes show at the end of January left me with a warm afterglow for a couple of weeks.

Three brilliant songwriters clearly enjoying getting together, learning (and appreciating) each others songs and having fun playing them.

My friend Christina bagged the one and only handwritten setlist

James Grant kindly arranged to get it signed for her

The setlist was largely the same as January, a cover of The Monkees Me and Magdalena, written by Norman's friend Ben Gibbard, was a welcome addition. A really beautiful song from the last Monkees album.

Bernard talked of only discovering the song at 10pm the night before after Norman suggested playing it. He played it a few times in a row and sent it to his wife and friends, highlighting that if this show wasn't taking place then he wouldn't have discovered it.

In a similar way I wouldn't have discovered the songs by James Grant. His humour, songs and voice across the two shows I attended was incredible. Really strong and soulful.

Check State of Art from James first band Friends Again. CLICK HERE 

I need to check if Grant has recorded it in a similar way to the stripped back soulful version he played last night. Grant's voice was effortlessly rich and deep all night long. Winter was probably my favourite song that he performed.

If you're the only star, in countless constellations

Won't you shine on the debris of my situation

Winter

Shine on, shine on

In the beauty of a storm, I wither

I wither

And as for humour - his chat surrounding alpacas and misty maidens was hilarious.

Norman, joined in the fun, telling a tale about the height of each member of The Beatles and the height of his band mates in Teenage Fanclub. They were officially bigger than The Beatles!

The tale of writing I Don't Want Control Of You following the birth of his daughter is one that led to me finding deeper meaning in the song. Particularly when I became a Dad. It's such a beautiful song. And Norman's voice is ageing like a fine wine.

Every day I look in a different face

The feelings getting stronger with every embrace

I don't want a world of pain

Staring at every tear

Don't want this world to stay the same

Grow with every year

Everything Flows with Bernard going for it on his beautiful semi acoustic was a delight. Afterwards Butler said he could almost see Raymond looking over him as he played. Norman expressed his admiration at his friends playing. Bernard then let it slip that Norman had played him a new Teenage Fanclub song in the car last night after Blake had picked him up - promising news!

Ah yes, Bernard Butler. It's been a genuine pleasure to witness him playing guitar up close in such an intimate setting on a couple of occasions. He feels everything, rarely looking at the neck of his guitar. And the way he improvised on some of Grant and Blake's songs was joyful to watch.

Butler's opening choice of Souvenir was backed by a sublime performance, his reading of The Wild Ones by Suede was gorgeous - slowed down and soulful. His voice is ageing well. I can understand why he has recently released his debut album with newly recorded vocals.

And of course Yes got a suitably rapturous response on stage and off. Blake introduced it as a f**king incredible song. And it is. Again, I loved Bernard's stripped back reading of the song. Slow, sublime, soulful and spine tingling. I'd love to hear the trio record an EP or mini-album, each choosing a couple of their songs. 

Ending with a really urgent take on Neil Young's Cinnamon Girl, Grant, Blake & Butler left to a deserved standing ovation. An excellent night.

James Grant, Norman Blake & Bernard Butler at Celtic Connections

 

I'm still basking in the warm glow generated by Sunday night's Celtic Connections show in the wonderful setting of Saint Luke's in Glasgow. Everyone attending was especially glad of the warm glow when they left the venue into howling wind and pouring rain!

Three incredible songwriters and musicians are behind my good feelings. James Grant, Norman Blake and Bernard Butler were brought together by the FRETS team in a kind of songwriting circle environment.

The trio lined up across the stage, each taking it in turn to tell the story behind the song they were about to play, before all 3 would then play the song. Their banter was genuinely hilarious. James Grant - total deadpan, Norman Blake - surreal comedy stories and Bernard Butler - just about keeping up with it all.

Picture by Neil MacAllister

Brilliant banter and stunning songwriting. Grant kicked it all off, discussing how they wanted to be billed, rhyming off their names in various orders before declaring his personal favourite - Grant, Blake & Butler.

Looking resplendent in cowboy shirt and with super sleek hair, Grant started with State Of Art, laying down a marker to his friends. Norman followed with I Don't Want Control Of You, although he couldn't remember what album it was on. I particularly love this song when it is stripped back, the heartfelt meaning of the lyrics shines that little brighter. Butler then played Although, demonstrating a strong and soulful voice along with his impeccable guitar playing.

Butler's hair was impeccable too. Thick and long, he continually flicked it from his eyes, only for it to fall immediately back again. My wife and friend Lorna swooned. 

Yes, the euphoric single that Bernard wrote and released with David McAlmont in 1995 was my highlight of the night. Butler highlighted his friends incredible vocal, going on to say there was no chance he was even going to try and replicate it. The trio went on to deliver a rich and soulful version, with Blake and Grant providing excellent backing vocals at the end.

Thanks to Derek Kirwan for capturing it HERE but please check this rip roaring version from Later with Jools recorded back in the day - simply sensational. Whoever was on after them must have been thinking .... what the ....

Norman introduced Teenage Fanclub's seminal debut single by saying he had recently found the test pressing up in his parents loft,  the trio played a beautiful kind of Teenage Fanclub Have Lost It version. Afterwards, Bernard spoke with genuine affection for a moment when he was invited on stage to play Everything Flows with Teenage Fanclub in London, just before he left Suede. It was his favourite song then and his favourite song now. He made a little joke about knowing the direction he wanted to go in, before playing a beautiful version of The Wild Ones. Bernard also highlighted he was still using the same guitar from that very night.

Grant oozed confidence throughout. I'm not very familiar with his work at all, but I'll be digging into it over the months ahead. His songs were first class, Last Ship On The River (with Love and Money) was really beautiful.

I didn't expect to hear Norman stripping back The Concept, but, with the help of James and Bernard, he delivered a beautiful version, complete with long outro. Butler's guitar playing was exquisite.

After a rapturous reception and clamour for an encore (three more tunes, three more tunes) Grant, Blake & Butler closed with their three voices and guitars gelling on Neil Young's Cinnamon Girl, with Grant highlighting Young's stance against Spotify through the week.

I do hope FRETS brings this trio together again. I do hope the sound engineer recorded the gig! Check the full setlist below. This was a real treat of a show.

Yes

Last week I was driving to work and McAlmont and Butler's Yes suddenly came blaring out of my stereo. What a slice of pure euphoric pop! Released in May 1995, this was Bernard Butler's first musical offering to the world since his departure from Suede in 1994 during the tense recordings of their second album, the dark Dog Man Star.

It is safe to say that Suede made a huge impression on the UK indie scene, so much so that they blew over into the mainstream. Their first 4 singles (previously blogged about here) were exceptional slices of guitar pop, full of hooks and riffs, but also full of intrigue and intelligence. Singer Brett Anderson and guitarist and co-singwriter Bernard Butler looked and sounded incredible and were quickly christened as the 90's Morrissey and Marr, making front covers, Top of the Pops, the Brits and gaining the stamp of approval from David Bowie.

Butler was a whirlwind on guitar, pacing around stages and studios looking like he was having the time of his life by wringing, shaking and hammering on his guitar for all he was worth. Anderson shaked, shimmied and looked like a classic front man from the off. What a duo, brilliantly backed by a super tight rhythm section of Matt Osman and Simon Gilbert. Girls ... and boys swooned.

They had a frantic 3-years of activity following the release of debut single The Drowners, it is little wonder there was tension in the band from all the writing, recording, touring and promo.

Butler left and went quiet. I think there were rumours of him joining various bands at times, but he surfaced with Yes and a partnership with singer David McAlmont. The two met in the Jazz Cafe in Camden and Butler was soon playing his new friend his first positive piece of music since leaving Suede.

And oh how positive it is, McAlmont wrote a verse but couldn't come up with a second, so Butler just told him to repeat the first with the duo hoping to commit something that could be held up as a classic single like those they loved from the 60's.

The official video, the full version has another minute on the end

McAlmont's lyrics match the positive surge of Butler's music. The strings soar and instantly sound euphoric, Butler's guitar crashes and provides a constant rhythm throughout, while seemingly simultaneously chiming and riffing.

The lyrics could easily be McAlmont's interpretation of whatever Butler told him about leaving Suede. The title, the simple Yes, is pure positivity, Butler has recovered from the dark post Suede months, he does look better and he does feel alright.

David McAlmont's vocal is exceptional and after a quick 1st verse that sounds like McAlmont relaying a conversation they are into the sky scraping chorus. The about me, about me, about me line that McAlmont yelps out is the perfect bridge into the chorus. Then they do it again for good measure, only they take it even higher and it sounds even better.

They hit the second chorus at 2-minutes and then repeat it again before leading to a stunning build up to a full on 2-minute climax. They take it higher, Butler's guitar is relentless, the strings are thrilling and McAlmont takes his vocals up a gear or three, the drums crash and pound and it all combines to sound fresh and vital, even 23-years down the line. It is timeless pop - epic, euphoric, sublime and soulful.

The song ends with it gradually breaking and slowing down into applause. I like to think that they simply couldn't keep the pace up or put anymore into it. They have played and sung their hearts out.

Enjoy the live version from Later with Jools below - look at Butler on guitar! And here is a link to the full, near 5-minute single version.

So you wanna know me now

How I've been

You Can't help someone recover

After what you did

So tell me am I looking better?

Have you forgot

Whatever it was that you couldn't stand 

About me, about me, about me?

Because yes I do feel better

Yes I do I feel alright

I feel well enough to tell you what you can do with what you got

To offer

Suede - the first 4 singles

I'm heading to the Barrowlands in October to see Suede, a band reborn through the release of the album 'Bloodsports' earlier this year.

I've recently taken some time to listen back through their catalogue that contains some incredible highlights, however I'm still fondest of their early singles that I bought on 7-inch over 20-years ago. A truly remarkable collection of songs that easily stand the test of time.

Suede burst on to the music scene in 1992 with confidence and style; their outspoken and good looking front man Brett Anderson helped to earn them a Melody Maker cover in April 1992, a full month ahead of their debut single 'The Drowners'.

'The Drowners' stood out a mile when it was released, it still stands out now. The drums and guitars that open the song are almost glam like, Anderson's vocal delivery grabs your attention and gets to the chorus within a minute.

We'll kiss in his room to a popular tune

The above lyric grabbed attention, as did Anderson's quote that he was 'a bisexual man who had never had a homosexual experience'. Morrissey and Bowie both became early fans and champions of the band, with Morrissey even covering the b-side of 'The Drowners', a song called 'My Insatiable One'.

Suede seemed to be throwing down a marker, a gauntlet if you will. Classic English guitar pop taking in influences from the 60's onwards but creating a sound and look that was original and certainly miles away from either grunge or house music that was dominating the charts at the time, even Madchester/Baggie.

With a b-side good enough to be an a-side and distinctive artwork for the single, this was a band gunning for glory.

Anderson's right hand man was Bernard Butler, a young livewire of a guitarist who was generating just as much of a buzz as the frontman due to his ability and looks. The Morrissey/Marr comparisons were inescapable.

'The Drowners' did everything a debut single should do for a band aiming for the stars - it laid down a marker; the look, the sound, it was a statement of intent. It didn't matter that the single never broke the top 40, all the right people were hearing it and falling in love with it.

The follow up single was released in September 1992. 'Metal Mickey' just followed on from 'The Drowners', proving the band had more than one song up their sleeves. In many ways it follows the 'formula' of their debut; guitars and drums dominate the intro before Anderson comes in with his distinctive vocals - again getting to the chorus in well under a minute. Butler's guitar is very Marr-like with it's circling riff and he gets to let rip on a solo that recalls The Kinks due to ferocity with which he delivers it.

Ed Buller was at the helm of the production duties for all 4 of the singles lifted from Suede's debut album and he just got things bang on, totally understanding the band, the songs, their ability and the sound they were capable of. The song reached number 17 on the charts, the only way was up.

'Animal Nitrate' was Suede's third release, a month ahead of the album. By this stage Suede were riding high, darlings of the musical press and bridging the gap between indie and mainstream with ease. 

If anyone had any doubts about how sexually charged Suede were (probably not many), then they were completely banished with this song. 

Oh in your council home, he jumped on your bones

Now you're taking it time after time

Oh it turns you on, on, on, now he has gone

oh what turns you on, on, on, now your animal's gone

Well he said he'd show you his bed

And the delights of his chemical smile

So in your broken home, he jumped on your bones

Now you're taking it time after time

This time the intro started with guitar before the drums came in, with Anderson not far behind.  The difference in performance from the band from the first video to this one is marked - the confidence is there for all to see (enhanced by cocaine according to Anderson). Anderson is pouting, displaying his midriff, slapping his bum (a favourite live trick of his at the time). 

Yet again Anderson hits the chorus before the 1-minute mark, this time at a mere 45-seconds before ripping straight into the second verse, hitting the second chorus at just after 1 minute 20 seconds. This is pure guitar pop and Butler lets rip with a searing solo that builds and builds before the chorus comes in again.  The song got to number 7, getting the band into the top ten for the first time.

After 3 sensational guitar pop singles and the release of their debut album 'Suede', perhaps it was time for the band to display their talents in a different way.

'So Young', released in May 1993 was the fourth and final single released from the album (that got to number one).  It is another corker of a single and gained controversy at the time for the lyric 'let's chase the dragon'.

The song is still pop but in a different way from the first 3 singles that were rammed down your throat with hooks. This is a beautiful song, the highlight for me being the verse;

...from our home high in the city where the skyline

Stained the snow I feel for a servant who kept me on the boil

Butler's guitar cuts out and some beautiful piano comes in before building to the chorus.

We're so young and so gone, let's chase the dragon oh

This is an impeccable collection of singles. The fact that they were the first four of the bands career makes them even more remarkable.

After burning so brightly, it was almost inevitable that the light would falter. Anderson seemed to want to take the band off in a new direction - determined not to be lumped in with the Britpop momentum that ironically Suede had helped to create.

A standalone single 'Stay Together' charted at number 3, but all was not well within the Suede camp with tensions running high between Anderson and Butler to the extent that they travelled separately to shows and Butler recorded his guitar parts in isolation.

Something had to give and Bernard Butler left to go on and produce some incredible songs with David McAlmont, notably the stupendous single 'Yes'.

Anderson locked himself away in a mansion with a load of drugs; coming back with 'Dog Man Star' an album completely out of sync with the media and Britain in 1994 that was being seduced by Blur and Oasis.

The album is now largely viewed as Anderson's masterpiece. I'll leave that for another blog.