Fatale at King Tuts

Driving home from King Tut’s Wah Wah Hut last night, I felt genuinely elated. I had a proper buzz. There were a few reasons for the good feeling, but most of all, I’d just discovered my new favourite young band - Fatale. I was kind of getting used to thinking those days might be over.

I had already fallen for them after hearing their demo of original song Moves You and a cover of The Velvets Femme Fatale that inspired their choice of name. The demo prompted me to reach out to the band for a short interview that you can check HERE,

Other reasons behind my elation were;

• Seeing Tuts rammed with young people in search of, and supporting, new music. The downstairs bar was mobbed and it was clear that most of them were there to see Fatale. The upstairs venue had to open the section by the sounddesk for Fatale coming on.
• Loads of cool kids in cool clothes with cool haircuts. A nice mix of 60's and 90's fashion. Part of me felt old, part of me felt excited to be around it. The energy and enthusiasm of youth is infectious.
• Meeting a cool young journalism student who said they read my blog!
• Teenagers being inspired by and getting into Scottish indie guitar bands (and the likes of T-Rex and The Velvets) that I discovered when I was a teenager.
• Reminiscing about good times in King Tuts over the years. Here is a blog I wrote about 25 of them on Tuts 25th anniversary.

Fatale were onstage at 9.15pm and they played a 30-minute set of energetic guitar pop. Less than a handful of gigs old as a band, they displayed all the kind of raw energy and potential that excites me as a music fan.

Arriving to cheers, the band plugged in and were off, playing a 7-song set to cheers and pogo-ing. A scuzzy cover of T-Rex's Life's A Gas was an early highlight with some of the crowd singing the refrain, while their own song Another Sunrise told of the desire to go out and have fun.

Fatale look the part too. There are some fantastic haircuts (or lack of) across the band, while I found myself debating whether guitarist Chris in his vintage Captain America (the band) long sleeve t-shirt, or drummer James - sporting a retro AC Milan top with Kaka's name and number on the back - had the coolest top! Shout out to singer Ben for also wearing a BMX Bandits T.

Captain America/Eugenius are a clear and evident influence on the band, scuzzy and fuzzy guitar sounds mixed with chimes, and catchy melodic vocal hooks. 

Fatale's song Jesus Christ is the catchiest guitar pop song I've heard in a long time and I hope they get to record it before too long. Their cover of The Velvets Femme Fatale was glorious, with singer Ben's voice sounding superb. The band stretched it out a little with the call and response at the end.

Closing with the aforementioned Moves You, echo-ing the delights of early Teenage Fanclub, Fatale generated a huge reaction from the crowd. 

It's going to be really interesting to see how Fatale develop over the next year or so. It's still very early days. Keep an eye on their Instagram for demos/show announcements.

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80 minute Marvin Gaye mix

Marvin Gaye's I Don't Have To Get High To Do It is a relatively recent discovery of mine. If you dig into his back catalogue on Spotify (or a streaming/download platform of your choice) you'll find all kinds of deluxe edition albums that have demos, instrumentals and alternative takes.

It really is an absolute treasure trove of riches and I have found myself regularly coming back to Marvin's discography which has resulted in me compiling this 80-minute mix of blissed out instrumentals, alternative mixes, deep cuts, demos and ending with a pure classic and the sublime rhythm 'n' strings mix of What's Going On.

Check out some sensational soul jams with the Funk Brothers and the many incredible musicians Gaye was fortunate to work with. I previously blogged on Song #3  HERE back in 2019. The instrumental songs on the deluxe edition of Lets Get It On are absolutely out of this world, Perfection is aptly named!  

Search for 80-minute Marvin Gaye mix on Spotify or CLICK HERE

Tracklist

I Don't Have To Get High To Do It (instrumental)

I Want You - Jam - Alternate Mix

Song #1 - Instrumental

Song #3 - Instrumental

Song #4- Instrumental /partial vocal) 

Perfection (instrumental)

"T" Plays It Cool (soundtrack version)

Mercy Mercy Me (The Ecology) - Detroit Mix

Right On - Detroit Mix

Inner City Blues (Make Me Wanna Holler) Detroit Mix

Falling In Love Again

Checking Out (Double Clutch)

What's Going On (instrumental)

Ego Tripping Out (instrumental)

I Love The Ground You Walk On - Instrumental

Symphony - Demo

I Want You - Intro Jam 2

Ain't No Mountain High Enough

What's Going On - Rhythm 'N' Strings Mix

Normandy (On A Beach) by The Waterfront

The Waterfront, the band John Squire and Gary 'Mani' Mountfield were in before the Stone Roses, are receiving a vinyl release for Record Store Day.

The band never played any shows, but did come together in 1983 to cut two indie guitar gems that are closer in sound to post Sally Cinnamon Roses, rather than the early tracks accumulated on the early Roses Garage Flower compilation album (not released until 1996) including debut single So Young b/w Tell Me.

Normandy (On A Beach) b/w Where The Wind Blows will receive a limited edition 12-inch Record Store Day release with all proceeds going to The Christie in Manchester, the largest cancer centre in Europe.

The demos, long talked about among Roses fans, have been remastered and I for one will be trying to track down the 12-inch on 21st April.

The Waterfront consisted of John Squire (guitar), Mani (bass), Chris Goodwin (drums and later of Doves), Andy Couzens (guitar and laterly of early Stone Roses and The High) and David 'Kaiser' Karty on vocals.

Ian Brown was asked to join the band as a second vocalist; "John and I had an idea of having Ian and Kaiser at the front trying to do a counterpoint with one another. That's what we were trying to push, this question-and-answer thing with these two lads at the front singing sweet pop music." Andy Couzens told the bands biographer, Simon Pence.

Normandy (On A Beach) is definitely sweet guitar pop music with echoes of Orange Juice. Mani's bass grooves from the off and there are chiming guitars over a shuffling beat with vocals that could easily be mistaken for Ian Brown - that Manchester choir boy from a council estate kind that captivated so many hearts.

Where The Wind Blows is a little rougher round the edges, moving to the more brazen punkier side of The Roses that features on Garage Flower, the album they recorded with legendary Martin Hannett on production duties. The lovely guitar riff and bass breakdown after the early bizarre (whistling solo) are pure Roses.

The group seemed to just naturally fold almost as quickly as it came together. Mani tried to form a group with Brown and Clint Boon from the Inspiral Carpets but it never materialised.

Quite how Mani fell out of the picture as Squire and Brown formed the Roses without him isn't clear from any articles or books I have read on The Roses, but they got there in the end.

For me it sounds like the Roses almost took a step back from The Waterfront tracks to move forwards. There is no doubting the power and urgency of So Young and Tell Me, but much of the other Garage Flower era tracks leave no impression on me at all. The early version of This Is The One is raw yet still shines, Adored just doesn't contain the subtlety of the final version. There is no doubt that when the Roses classic line-up finally formed and they were matched with producer John Leckie, that is when things finally clicked into place. It was only in 1987, after the Garage Flower recordings and  fresh batch of Brown/Squire originals had been written that Mani joined the band and in Brown's own words "When Mani joined it almost changed overnight. It became a totally different groove...straightaway, everything just fell into place."

This Record Store Day release is sure to be much sought after by fellow fans of the Stone Roses.