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.
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Lucky is an incredibly important song in Radiohead's extensive back catalogue. Originally released in 1995 on the Help album for War Child, Lucky clearly stood out. It was, and is, utterly majestic.
Radiohead left their mark on 1995, releasing The Bends in March, while a string of singles from the album stretched from My Iron Lung in September 1994 through to Street Spirit (Fade Out) in January 1996.
The band were in exceptional form, their development from debut Pablo Honey in 1993 was staggering and there was a lot more to come. 1995 was peak Britpop with landmark albums by Blur, Oasis, Pulp, Elastica, Black Grape and Supergrass. Radiohead were in a class of their own and they quickly cemented that with 1997's OK Computer album.
The concept for the Help album was simple and based around John Lennon's idea for his Instant Karma single; record one day, mix the following, release the next. Many bands opted for re-recordings or cover versions, which (sheer quality aside) is another reason why Lucky stood out a mile.
Help artwork by John Squire
Lucky is like a bridge between The Bends and OK Computer, the sound of a band believing that anything was possible. And even if it felt impossible, they'd give it a go anyway.
Thom Yorke begins quietly, but his voice threatens to explode any time ... and when it does ... it soars heavenly, but with gut wrenching emotion. Watching the video of children affected by war with Yorke singing it's gonna be a glorious day, I feel my luck could change is incredibly moving.
Just listen to the final minute of the song as the band really do soar heavenwards, Greenwood's guitar is beautifully piercing, it sounds like there is an orchestra somewhere in the background ending with Yorke singing when you're standing on the edge.
Radiohead recorded the song in just five hours with Nigel Godrich on production duties. Godrich had previously assisted John Leckie with his production of The Bends, the results on Lucky promoted him to the role of producer for OK Computer.
When asked about the Help Album session, Godrich said; "Those things are the most inspiring, when you do stuff really fast and there's nothing to lose. We left feeling fairly euphoric."
Yorke, speaking about the song and session, said; "Lucky shaped the nascent sound and mood of OK Computer. Lucky was indicative of what we wanted to do. It was like the first mark on the wall."
2020, at least for me, was 25-years since peak Britpop. A quarter of a century!!!
1995 was a remarkable year for British pop music, you had the bands that, looking back, were the real Britpop heavyweights; Supergrass were Alright, Pulp were Sorted for E's & Whizz, Oasis scored their first number one and then went stratospheric with the release of Wonderwall which propelled their dizzying rise to uncharted heights worldwide, there was the Blur v Oasis battle, the return of Shaun Ryder with Black Grape, Elastica released their debut album and The Charlatans eponymous album was a belter.
Outwith that you had Radiohead surging ahead with the incredible The Bends, Teenage Fanclub displaying exceptional songwriting on Grand Prix, Tricky and Massive Attack creating what seemed like a new kind of music, The Verve shooting for the stars with A Northern Soul, the Chemical Brothers and Leftfield releasing huge electronic albums with massive beats, Paul Weller released Stanley Road.... good music was everywhere.
If Britpop peaked in 1995 - and I mean in terms of quality of music - when did it start? When did it end? What were the highlights?
The Drowners, the debut single by Suede
Looking back, I'm amazed it didn't make the top 40.
But it made a mark, a big one.
For me, Britpop started with Suede in 1992, leading to a peak in terms of musical quality from 'Britpop' bands in 1995, before dying in 1997 as a number of Britpop bands moved forwards and notably Oasis went backwards.
During that time I went from being at school to working and gigging regularly in Glasgow, taking in Oasis shows from the Tramway and the Cathouse through to Knebworth. It was a remarkable ride.
As a 19 year old in 1995, Britpop was exciting, there was new music to buy every week. So much good British music was released in 1995 (not all Britpop by any means) that I'm in no doubt that it was peak Britpop; classic albums and singles that have stood the test of a quarter century; Yesby McAlmont & Butler still bursts with energy, Pulp's singles were incredible and Wonderwall must have been played in every pub across the country, uniting people from all walks of life in song.
In a year where I couldn't get out to gigs, I spent some time looking back at the Britpop phenomenon. It sure was a good time to be alive. This is by no means exhaustive, John Harris' The Last Party is a good place to start if you want to do a deep dive into this period of time.
With Part 1, we'll start at (what I think is) the beginning and travel through to March & April 1994, two of the biggest months in Britpop when so much seemed to happen, leading to an explosion of British guitar pop music.
Britpop memories part 1 1992 - April 1994
The start - Suede's early singles
Suede kickstarted Britpop with their image, ambition and pop sensibilities demonstrated on their first 4 singles; the remarkable run of The Drowners, Metal Mickey, Animal Nitrate & So Young.
By April 1993 Suede had released the first 3 of the quartet and Brett Anderson appeared on what has become an iconic cover of Select Magazine with the title Yanks Go Home.
Suede were kind of on their own in 1992 going into 93, talking about bi-sexuality, Bowie & The Smiths in a post Madchester/Rave world with the music press being largely fixated on Nirvana and the grunge scene.
Suede were distinctly British and they kicked down a door. The floodgates opened. You can check this previous BLOG on the first 4 Suede singles.
Looking back, Suede kept up a remarkable pace throughout the 1990's; releasing singles every year except 1998 and 4 albums. The line-up that burst on to the scene with Brett Anderson on vocals, Bernard Butler on guitar, Matt Osman on bass and Simon Gilbert on drums just looked and sounded incredible.
1992 through 1993 was their time; the singles, the imagery, the endorsement from Morrissey (which meant something back then), the album ....
Modern Life Is Rubbish
Blur had a link to Suede. Justine Frischmann had been in Suede, also dating Anderson, before leaving to form Elastica and date Blur's Damon Albarn. Brett Anderson cites her as a huge influence on the first Suede album.
This bizarre love triangle is pretty central to Britpop. Look at the change in Blur's look and sound from their 1991 debut Leisure to 1993's Modern Life Is Rubbish! All of a sudden it is Fred Perry polo shirts, blazers and doc martin boots. It wasn't quite as simple as that, there was 1992's Popscene single and an extensive tour of America that left Albarn yearning for England. Perhaps there was also the realisation that Leisure wasn't very good and that with There's No Other Way they had jumped on the Madchester bandwagon.
You could easily argue that Blur jumped to another bandwagon, only this time they were in from the start through Frishmann and Suede.
Lead single For Tomorrow shows that Albarn was significantly developing as a songwriter. There is no doubt that Blur changed and developed massively with the Modern Life Is Rubbish album and Albarn gained huge confidence.
Creep
Radiohead are definitely not Britpop, but their name continues to be linked with it, largely because of Creep and the way they developed and left the genre as far behind as they possibly could, progressing from debut Pablo Honey in 1993, through The Bends in 95 to OK Computer in 97. It is a mind blowing development!
Creep was and is an incredible song, looking back, has Thom Yorke ever sung so directly since? When he takes off with the raaaaaaaaaiiiiiinnnnnnn section I still get a tingle down my spine.
Creep was a super cool song in 1992, the use of swearing is just perfect, and listening back now, of the first time in well over a decade, it is still super cool.
Radiohead have to be mentioned when reflecting on Britpop as they were so different and the way they worked on their songwriting, musicianship and creative energy is in direct contrast to Oasis over the same period. They stood out a mile.
I wish I was special, so f**king special
But I'm a creep, I'm a weirdo
Do You Remember The First Time?
Jarvis Cocker's Pulp were building a head of steam. The 1992 release of Babies didn't chart but it seemed to mark a change in the band that led to a string of singles leading to the His n Hers album in 1994.
Do You Remember The First Time did chart though, it was Pulp's first top 40 single. It perfectly showcased Jarvis Cocker's humour, style, edge and fascination with sex. All of a sudden Pulp had found an audience and oh how Jarvis Cocker loved to play to an audience!
Pulp released their first single away back in 1983, now in March 1994, they finally made the top 40 and a few months later they even made it to Top of the Pops to perform a re-released Babies.
There will be more about Pulp later.
Elastica enter the stage
Elastica formed in 1992, releasing a limited edition single, Stutter, in 1993, but then picked up a head of steam in 1994 with the release of the Line Up and Connection singles.
The importance of Justine Frischmann to Britpop can't be understated. Although it became very lad orientated, Frischmann brought a love story (and triangle) to the table. Justine quickly became a pin up. I certainly wasn't the only teenager in Britain to have her picture blu-tacked to my bedroom wall.
Elastica burned brightly, too brightly. They burned out from 2-years of constant activity and attention and a lot of books on the era, particularly John Harris' The Last Party, document guitarist Donna Matthews descent from a quiet Welsh indie girl to someone reliant on drugs to get through or waste the day.
Girls & Boys
Britpop went technicolour with the release of Blur's Girls & Boys in March 1994. It was pure pop; simple and ridiculously catchy. With lyrics like love in the 90's, it's paradise, on sunny beaches, take your chances it felt very much of the times and a spring release meant that it became a summer anthem for people going on holiday to ... Greece.
Blur were exceptionally prolific through the 90's, releasing a staggering 22 singles and 6 albums. The run of Modern Life Is Rubbish (93), Parklife (94) and The Great Escape (95) along with the singles released leaves me exhausted just reading it.
But back to Girls & Boys, this was real Britpop kicking in. The single reached number 5 in the charts. Britpop was set to go mainstream, Blur were set to go massive.
Stay Together
This somewhat inappropriately named standalone single by Suede was released in March 1994, the last single with Bernard Butler in the band. Suede would veer slightly off their initial course with the release of the Dog Man Star album in late 1994. Widely regarded by fans and critics as a real highlight, in late 1994 it was a marked contrast from the Britpop sound and look that was exploding around them.
I'm a big fan of Butler's guitar sound and playing on the early Suede recordings and Stay Together is one of the bands most commercial songs. It got to number 3 in the charts and it is noticeable that the singles subsequently released from Dog Man Star stayed around number 20 in the charts.
April 1994;
- Kurt Cobain's suicide
- the debut single by Oasis and the Wibbling Rivalry interview
- Blur release Parklife
Looking back, March/April 1994 is a kind of pivotal time in the world of Britpop. So much happened to propel Blur & Oasis to the fore of a new 'movement'. Although Noel and Oasis would always distance themselves from indie & Britpop.
Why was it pivotal?
Blur took things up a notch with the aforementioned Girls & Boys, Oasis made their TV debut on The Word with Supersonic, Kurt Cobain overdosed in March and then tragically committed suicide in April, Supersonic came out, Oasis gave an interview a million miles away from anything Kurt Cobain ever did. They had a song called Live Forever that was the complete opposite of Kurt singing look on the bright side, suicide or naming a song (even ironically) I Hate Myself And I Want To Die and Blur released Girls & Boys and then their 3rd LP Parklife.
The death of Kurt Cobain on 5th April rocked my world. I've mentioned a number of times in previous blogs that I was at King Tuts to see The Pastels playing, rumours were abound that something had happened but in a pre-internet (indeed pre mobile) world you couldn't just check the news instantly. The Pastels came on stage and dedicated the show to Kurt, on the way home the Peel Show was just back to back Nirvana.
2-days later I saw Oasis for the first time.
I'd been into Nirvana in a big way, I had a ticket (that I still have) for their show in Glasgow at the SECC, but all of a sudden Oasis were calling me and they spoke to me in a way that Nirvana couldn't. Noel's early songs of dreams and escapism just lifted me.
Oasis were the band I was waiting for. In April 1994 they arrived with the release of their debut single, appearing on The Word and on Radio 1 for Glasgow's Sound City where I caught them supporting The Boo Radleys at the Tramway. You can read about that HERE
Later that night, Liam and Noel held court in their hotel room with John Harris from the NME, resulting in a hilarious insight into their relationship and personalities. This was not long after Oasis had been thrown off a ferry to Amsterdam for fighting. Noel was mortified and wanted Oasis to be about the songs, Liam was into the whole rock n roll package and totally up for it ....or as we quickly found out ... mad for it.
The interview was later released as a 7-inch single and it is absolutely hilarious. You can sense the edge between the 2 brothers, the edge that made them stand out from others.
I would look forward to Oasis interviews as much as their musical releases. So did the music weeklies and monthlies as they generated huge sales. Oasis and the Gallagher brothers brought a working class mentality and reality to the weekly music press and to music fans. There was absolutely no bullshit about them. They wanted it, they were going to have it.
On 25th April Blur released Parklife, a swift follow up to Modern Life Is Rubbish and on the back of Girls & Boys. Playing with more classic British imagery, the band took the NME to the dog track to discuss their sound and ambitions.
All of a sudden 'indie music' was going mainstream. More on Parklife in part 2.
Staying Out For The Summer
T in the Park 1994
Britpop anthems kept coming and in July 1994 Dodgy released the impeccable Staying Out For The Summer single. Looking back, I'm amazed it only reached 38 in the charts! This was sunshine pop, feel good music to sing-a-long to immediately. Relatable to many with its lyrics of working in factories, being low on luck & confidence, of love lost and mourned, Staying Out For The Summer was perfect for the sunshine summer of 1994
You see I work in a factory (I need the money)
I don't want to be late (though I hate this place)
I got my debts to pay for (free me from this race)
They're gonna have to wait
Speaking of which;
The sun shone on the first ever T in the Park with Blur, Oasis, Elastica and Pulp all playing. Outside you had the Main Stage, in tents you had what felt like the here, the now, the future.
I was 18 and everyone I know that went to the festival wondered if it would even go on. It happened. Although I think I saw all the bands mentioned above, I only remember Oasis. They played to a packed tent and played football on stage. They were outstanding, I'd love to see footage of the gig if it exists.
What will 2017 bring to the Scottish Music Scene? This blog focuses on a number of things I'll be looking out for through the year. There will no doubt be a number of surprises as well but read on for links to festivals, labels, bands, videos, songs and albums......
Festivals
T in the Park - what is the future/is there a future?
We should know the answer to the question hanging over the Scottish music scene by September/October; will T in the Park return in some shape or form in 2018? By that stage DF Concerts will have assessed their Glasgow Green shows (see below), along with the usual Bellahouston shows. They'll also have assessed site options and potential hoops they have to jump through, and considered if they have the desire to jump through them. The DF team will definitely miss T, however, if their Glasgow Green, Bellahouston and stadium shows all sell well then they might not miss the cash.
Will Scotland miss T? Well I never thought I would say this, but I don't think too many will. Times change and 2017 is set to be a year that emphasises that more than most.
Glasgow Green 8-10 July
Radiohead are already confirmed for one of the nights at Glasgow Green, Coldplay are rumoured to be another. Who else could come and sell out that kind of venue? I'd love to see a double bill of Arcade Fire and LCD Soundsystem but that is likely to prove wishful thinking - I'll settle for seeing them grace the Barrowland Ballroom again - if I can get tickets!
Electric Fields 1st-2nd September 2017
Electric Fields jumped up to 2-days with relative ease and now that T and Wickerman have been removed from the calendar this presents a real opportunity for the boutique festival to firmly establish itself. 2016 was delightful - the location and setting is beautiful, the atmosphere was exceptional and the line-up eclectic in all the right ways. Do they stick with the 5,000 capacity or look to increase?
Kelburn Garden Party 30th June - 3rd July 2017
Kelburn is another festival that could make a real statement in 2017. It has been becoming increasingly popular through word of mouth. For fellow Glaswegians it is exceptionally easy to get to, it has a real eclectic line-up and seems equally family and raver friendly.
Belladrum Tartan Heart Festival 3rd-5th August 2017
Franz Ferdinand, Sister Sledge and KT Tunstall have already been announced for the Tartan Heart Festival; 3 fantastic festival acts. The festival usually sells out and these acts are bound to ensure that happens again. Get your tickets fast if you are interested.
The Scottish Album of the Year (SAY) Award
The SAY Award is going from strength to strength, highlighting the rich artistic talent that our small country has to offer the world. Anna Meredith won the 2016 award with her Varmints album, beating off competition from the likes of FFS, Emma Pollock, Young Fathers and Chvrches.
The likes of Meredith, Kathryn Joseph (2015 winner) and previous shortlisted contenders like Happy Meals have really benefited from the exposure generated from this award. I always look forward to the longlist being announced so I can check out loads of interesting music.
Labels
Last Night From Glasgow - Founded in 2016, LNfG had an incredible first year (even if I do say so myself). 7-inch singles by Mark W Georgsson, Emme Woods and Be Charlotte, a USB credit card album by Stephen Solo, gatefold vinyl album by TeenCanteen, USB slap wrist band by BooHooHoo and some digital releases as well! All on top of having 150 members! Our members got all of that music plus invites to launch shows all for £50 per annum.
As a co-founder and board member of LNfG I know that we have some incredible stuff planned for 2017 beginning with the release of Mark W Georgsson's stunning Faces and Places album in January. We celebrate our 1st anniversary with a show at Stereo on 30th March with BooHooHoo headlining and further guests set to be announced in the near future.
Fuzzkill Records - As the label who first released Catholic Action and Spinning Coin, fans of indie/punk/pop/grunge will be looking to see who Fuzzkill unearth next. They clearly have a great ear and good taste and I look forward to hearing what 2017 brings.
Olive Grove Records - I always keep an eye on Lloyd's label. 2016 was productive with the release of Homemade Lemonade by Ette receiving huge plaudits, including being named in the top 5 albums on Bandcamp for 2016. There were also setbacks with Woodenbox calling it a day but Lloyd's taste and nature will ensure he unearths something new - I look forward to finding out what that might be.
Geographic - read on for mentions of Spinning Coin's album and The Pastels archive project. 2017 could be a busy one for Stephen and Katrina's label.
Song by Toad - are buoyed by the return of Meursault and the success of the Modern Studies Swell to Great LP so enter 2017 in a rich vein of form.
Nightschool Records received a fair bit of money from me last year as I bought releases by Happy Meals, Molly Nilsson and Rose McDowall. They clearly like their pop music, although you can dig deeper for more alternative releases. Definitely a label to watch and Happy Meals will be releasing a summer album - perfect!
Scottish Fiction released the magnificent Mt.Doubt In Awe Of Nothing album in 2016 and have already announced plans for a split 7-inch with Mt.Doubt and ForeignFOXX
Indie / DIY action
TeenCanteen ended 2016 by heading into La Chunky studio to record some new songs. They will hopefully be making an announcement on a release in the near future. The band had an excellent 2016 with heaps of praise on their debut album Say It All With A Kiss and if they can follow that swiftly then the momentum will continue to build.
Spinning Coin brought out their debut single in 2016 on The Pastels Geographic label and followed that by heading North to Helmsdale to record an album with Edwyn Collins. With the approval of two legends from the Scottish indie scene it is safe to say that a few people are looking forward to this release. Stephen Pastel wrote on the Teenage Fanclub forum that their debut single Albany reminded him of the feeling he got from The Boy Hairdressers as they turned into Teenage Fanclub. Their recent tour with the Fanclub definitely won them a number of fans.
Catholic Action had an excellent 2016 with the re-release of L.U.V and the follow up Rita Ora. Teenage Fanclub also took this band out for a few dates and an album must surely be in the pipeline.
Gerry Cinnamon certainly hasn't rushed his debut album, but does he need to? Demo's and videos of songs from live shows are ensuring the word of mouth buzz surrounding him continues to build. Gerry sold out the ABC at the end of 2016 and I wouldn't bet against him headlining the Barrowland in 2017. We will hopefully get the album though - the demand is there!
Colonel Mustard and the Dijon 5 have already played the Barrowland and ended the year by also selling out the ABC. They are my favourite live band in Scotland due to the sheer positivity and good feeling they generate. The band and crowd become one and you are guaranteed to leave a live show with a smile on your face. I hope to be recording a guest podcast with the Colonel and his loyal lieutenant in the near future.
Major Breakthrough?
A number of Scottish acts have signed for major labels over the last few years; White, Kloe, Model Aeroplanes, Fatherson, Neon Waltz..... none have broken through. Two (White and Neon Waltz) have been dropped. Fatherson are in for the long haul and Kloe and Model Aeroplanes are young enough to still do something if they are given time write (or be given) a song(s) to break them. Think of the way Chvrches exploded on to the scene with a string of singles.
Will any Scottish acts snapped up by a major in 2017? It is becoming increasingly difficult, not only to get signed, but to break through. Who are the contenders?
Saint PHNX - seem poised for a deal after Radio 1 airplay, the use of their songs in major sporting events including the CL final, a publishing deal for singer Stevie Jukes, crazy Spotify action and by making all the right moves including securing a fantastic managerial team. I've been singing the praises of Stevie Jukes as a major label writer and star for some time. Will 2017 be his breakthrough year with Saint Phnx? If so he is ready.
Be Charlotte - there has been a load of hype about Be Charlotte - an incredibly talented young 19 year old from Dundee. I spoke with Charlotte at the launch of her Machines That Breathe single and was impressed with her down to earth attitude, work ethic and her talent. At one point she stepped to the front of the stage and sang acapella - it was stunning. Charlotte is sassy, stylish and she has time on her side and also an ever increasing stockpile of songs. I expect 2017 to be another busy year and more forwards progression for the youngster.
K V A S I R - the debut EP by K V A S I R was the most sublime release by a Scottish artist in 2016. I know that he has much more recorded. I wouldn't be at all surprised if a major label or highly established indie came in to give him the platform his music richly deserves. He plays King Tut's on Thursday 5th January.
More from
2016 was a productive year for a lot of bands I have been following for a long time, that looks set to continue in 2017, with 5 long term favourite Scottish bands of mine set for releases and touring throughout the year
Teenage Fanclub
TFC follow up the success of the Here album by continuing to tour in promotion. After hammering September-December, the Fannies return after a festive break with a European tour followed by a jaunt to Japan and Australia. Norman Blake has also promised West Coast of America dates and a number of festivals have been confirmed. Will they play a Scottish festival? Or make a welcome return to Kelvingrove Bandstand? Watch this space...
Jesus and Mary Chain
JAMC follow their reunion and Psychocandy shows with a new album Damage and Joy, due for release at the end of March. This will be the Reid brothers first album since 1998. Expect shows, festivals and lots of media if Alan McGee has anything to do with it.
Belle and Sebastian
The Belles have been recording and from Stuart Murdoch's tweets and online diary it sounds like it will be released via a string of EP's rather than an album. This points towards a prolonged burst of activity but at a pace controlled by the band. I expect some secret shows, special shows and lots of great stuff. The band have already announced a show at Chelsea Royal Hospital in June, so expect a release before or around then with other dates to come.
The Pastels
I've been so busy lately that I haven't been into Monorail for ages! Last year Stephen Pastel informed me that he was working on an archive project for the band. This involved sourcing a lot of old recordings and confirming who owns what. The Pastels have a rich catalogue of material crying out for a reissue and reappraisal. Fingers crossed they can get the paperwork/legal stuff sorted and we get some releases, press (Stephen's musical taste and knowledge really comes across) and shows.
I only discovered this early Creation release by The Pastels last year
Million Tears is guitar pop perfection
BMX Bandits
I was fortunate to spend a lovely sunny afternoon with Duglas last summer and also met him at several shows and events after that, so I know that he has been recording with Stuart Kidd amongst others. I look forward to hearing what they have come up with and to seeing them with TeenCanteen as part of Independent Venue week in January when they play the Bungalow in Paisley on January 23rd. EVENT INFO HERE
I bought some cracking new albums in January - but one in particular really stood out. Matador by Gaz Coombes. I never expected to be buying an album from Gaz Coombes in 2015 but I was blown away when I heard lead single 20/20 on 6 Music. The album features inventive Radiohead/Massive Attack style riffs, songs that swoop and soar, huge choruses, stunning production, arrangements and vocals. The cover and the song The Girl Who Fell To Earth tip more than a nod to Bowie.
I wasn't the only one to fall for Matador. My good friend Craig from the band Flash Talk was also on to it and he asked if he could write a guest blog on it. So here it is...
Guest blog by Craig Douglas
The fucking 90's!!
A time of endless possibility.
A time before smart phones.
A time when you had to wear shirts ten times too big for you because they didn't make cool clothes for teenagers.
A time when the NME seemed to bring news of a new music revolution weekly.
A time for hero's: Blur, Oasis, Nirvana, Radiohead
A time for pure shite: Northen Uproar, Kula Shaker and fucking Menswear!
And a time for Supergrass. Supergrass where right up my street. They where young, free they kept their teeth nice and clean and they produced some truly great pop singles over a period of 17 years:
Alright , Moving, Pumping on your Stereo, Richard III.. all classics and there is a lot more where that came from...Just like Queen or the Who though, their greatest hits collection is far superior to any of the albums they have produced.
When they split in 2010 I thought we'd sadly seen the last of one of Britain's most naturally talented frontmen and after hearing his first solo album Here comes the Bombs in 2012 which was decent at best (White Noise was a highlight), I was of the opinion that we wouldn't ever hear a great album from Gaz Coombes.
With Matador, his second solo album, Gaz Coombes has (I'm a big enough boy to admit this) proved me wrong. Opening track Buffalo switches from sparse piano led verse to a menacing chorus filled with yearning lyrics, ethereal backing vocals and thunderous drums. A compelling start which leads into one of the albums (and the artist's) highlights, 20/20 is an epic piece of songwriting with a truly soulful vocal and a melody that Brian Wilson's dad would give him a slap for.. a total journey of a record with the perfect mix of light and shade.
The English Ruse repetitive riff and rhythm is irresistible with sci-fi lyrics, a middle section out of nowhere filled with angelic voices and a guitar solo that sounds as if it's being played by a Martian in a K-HOLE! It's the audio equivalent of inter dimensional travel.
Next up is The Girl Who Fell To Earth... What a title! How has no one come up with that before?! My first reaction was "You bastard" but it's hard to stay mad at him once you hear this song.
First you cry and then you laugh, you're like a circle cut in half
A truly beautiful three and a half minute pop song that Ray Davies or McCartney would have been proud of.
Track 5 in my opinion should always be a belter, it's a hallowed position on any album and Mr Coombes clearly agrees. Detroit has a scuzzy swagger to it, a sort of lackadaisical menace that is intoxicating. There is a moment at the end of this track after a brief respite of the beat where Gary says "OK" and the beat kicks back in....For some reason this really floats my fucking boat and I find myself pressing repeat to listen to this wee magic moment over and over again.
As you may have gleaned.. I love this album with a passion which has been reserved for 'Arcade Fire' of late. You could put the first 5 songs on this album up against the first 5 songs of all the LP's in Q fucking magazines(monthly) 100 GREATEST ALBUMS OF ALL TIME, they would stand proudly next to the best of them and tower above the majority.
The rest of the album is just as strong but I'm not going to sit here and describe the whole fucking thing to you.. I will say that the penultimate track To the Wire is seismic and the closing lyric of the title track shows a man who has faced adversity and has maintained a pleasant fuck you attitude.
I'll take all the pain and the scars of war,
cause I've faced the beast and fight like a matador
With Matador it becomes apparent that Gaz Coombes is not only a great songwriter that should be cherished far beyond that Troll like,garbage pail kid Ed Sheeran but also a tremendous singer whose voice is the main instrument throughout this wonderful Album.
In my books Gaz can take his seat along side Damon Albarn and Thom Yorke as the only artistically relevant survivors of the last great musically creative period in rock and roll history. A time when men wore Wallabees. A time before internet porn. A time....
There is a show coming on BBC2 later on tonight that will celebrate 20-years of Scotland's largest music festival - T in the Park.
The journey of the festival and the people behind it has been truly remarkable in that time. While I've not been every year, I have certainly been to my fair share. Looking back at the line-ups, I think I went the first 7-years to start with.
It is almost a right of passage for teenagers to head to Balado for a weekend of music.
I thought I would write a blog with 20 memories of my own journey's to T in the Park;
Oasis at T in the Park, 1994
Still one of my all-time fave gigs, only it wasn't a gig, it was a cup final with Liam and Noel even playing football on stage. They were on the crest of an unstoppable wave, a tsunami, they were incredible. I would LOVE to see a video of this.
Rage Against The Machine and Cypress Hill turn up, 1994
Back in 1994 we didn't have mobiles or the internet, so festival rumours swept like wildfire. Back in 1994 we also couldn't believe that someone had booked some of the biggest and coolest bands in the world to come and play in a field in Hamilton!
With announcements that the bands were held up, things were not looking good. However they both played and even jammed a couple of songs together. Both had massive hits back in 1994 and remain cult bands to this day.
A human pyramid to Crowded House, 1994
I popped my festival cherry in 1994 and have a lot of fond memories. People building a human pyramid to a huge cheer during Crowded House in glorious sunshine was just a real festival moment that brought everyone together. Neil Finn egged them on and it was pretty impressive!
Pulling a Levellers fan!, 1994
Yeah I pulled a crusty. She was from Manchester and she was gorgeous!
Kylie Minogue, 1995
Kylie played in glorious sunshine and i was determined to get near the stage. I ended up leading a conga and snaking my way through the crowd to see her in the flesh. Poptastic!
Black Grape, 1995
Quite a few memories from this year as it was just so glorious. Black Grape kicked up a dust storm with their party set. A crowd of us were right down the front and it was brilliant.
Someone over turning a portaloo at the campsite, 1995
Funny but quite sickening at the same time. Especially when the person came out - eeuuggghh!
Going to see the Bluetones instead of Radiohead, 1996
Not my best memory of T - totally the wrong choice, as much as I love The Bluetones.
Camping - 97
Another sunny year - the first one at Balado. Their was a huge crowd of us that went up from Carluke and we got there really early to set up camp and drink some beers. Then some lads challenged us to a game of football. It was brilliant, that year was just really special. Lots of friends, sunshine and good music.
The campsite cheer, 1997
A cheer started going around the campsite, everyone started joining in. It was incredible, building and building, getting louder and louder, it was tribal. Then everyone started heading in one direction to congregate near a tent with a huge soundsystem and started dancing. If only we had had phones to record the footage. The guys tent got trashed!
Natalie Imburglia, 1998
I was in love with Natalie and in love with 'Torn' - still a stunning piece of pop music that sounds fresh to this day. Natalie wowed the crowd and me. I was maybe a little easier than others!
Echo & the Bunnymen, 2003
Skipping a few years as we head to 2003. The Bunnymen were first or second on the Main Stage, where my sister Carla had just texted to say she was rather ill after drinking a bit too much the night before. The sun was out and The Bunnymen blasted through their back catalogue.
Polyphonic Spree, 2003
Talking of my sister, she introduced me to a rather special band that year; the technicolour explosion that is the Polyphonic Spree. They were absolutely superb, that debut album was brilliant. Wearing tartan robes had the crowd in the palm of their hands from the off.
Underworld, 2003
One of the best live acts I have ever had the pleasure of watching; ranging from the Barrowlands to Benicassim with T in the Park in between. On this occasion they closed the NME stage and they closed it in epic fashion with Karl Hyde really getting the crowd going.
Orbital, 2004
What a show this was. One of the brothers last before they called it a day, only to come back again. We were down the front, 'Belfast' and 'Chime' were just perfect. And did they drop Bon Jovi or Belinda Carlisle - or both? Good times.
Chemical Brothers, 2004
We hot footed it over to the Slam Tent after Orbital where the Chemical Brothers blew the place away with hit after hit. Tim Burgess joined them on stage looking rather worse for wear but the romp through 'Life Is Sweet' was a hit with me.
The Magic Numbers, 2006
How could the sun not shine for a band like The Magic Numbers. Their debut album was the sound of summer for me that year and they attracted a huge crowd to the main stage.
The Charlatans, 2006
The Charlatans again. I've seen them more than any other band. This show was one of the best I have ever seen them at.
Vigo Thieves, 2012
And so to last year when Vigo Thieves played the BBC Introducing Stage - I say played, they tore it apart with a euphoric set that showcased exactly how big their songs are. Check this incredible fan footage for 'Heartbeats'.
Sonny Marvello are busy working on their debut album, recording at Rocket Science studios in Glasgow with Ross Hamilton and Michael Bannister (Texas, Mogwai, Avril Lavigne..)
It is coming together nicely and the band nailed a relatively new song 'Tiny Little Sparks' at the beginning of May. Within a couple of weeks it was being played on Radio 1 in Scotland, selected by Craig McGee (Glasgow Music/Warner Chappell) on the A&R zone on Ally McCrae's show.
I can see that (Tiny Little Sparks) in a festival field with people bouncing and bouncing.
It is HUUUUUGE. Elements of Coldplay, Radiohead and The Who are all merged together to create a song that is crying out to be blasted from stereos across the country.
More studio time is being scheduled for September, in the meantime plans are in place for a ltd single release of 'Tiny Little Sparks' in September/early October and gigs are in the process of being booked.
There will be a rather special announcement to be made by the band in the next week or so regarding the launch party in October.
In the meantime, enjoy the sounds of a band that are really pushing towards creating a rather special album. Check them out at www.sonnymarvello.net and listen to 'Tiny Little Sparks' at www.soundcloud.com/sonnymarvello
