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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Trust me #115 What Difference Does It Make by The Smiths
Nick Grimshaw played What Difference Does It Make? by The Smiths on his 6Music show last month. Hearing the song blasting out of my car speakers while driving through the rain caused me to appreciate it even more. I often get that feeling whenever I hear something on the radio, especially in the car. I immediately made a mental note to write a blog on the song.
I love the story around the formation of The Smiths - Johnny Marr showed up at Morrissey's door in May 1982 to invite him to start a band. Marr was only 18 and aware of Morrissey (5-years older) through his book on the New York Dolls. The two got on and quickly set about recording some rough demos. They quickly created a spark and were on fire by January 1984 when What Difference Does It Make? was released as their 3rd single.
Morrissey and Marr
What Difference Does It Make? was first demo'd in December 1982. Marr and bass player Andy Rourke visited Rough Trade in London to physically hand The Smiths demo tape over to Geoff Travis. The tape had previously been rejected by EMI and Factory. I'm currently reading Document & Eyewitness: An Intimate History of Rough Trade, by Neil Taylor (order here). It's fascinating how quickly the label could turn things around if they believed in a band.
By May 1983, Rough Trade had released Hand In Glove as the debut single by The Smiths. I find this quite remarkable, it was only one year since Marr had knocked on Morrissey's door!
The follow up, This Charming Man, didn't come out until October 83, but after that The Smiths got into the habit of releasing a single every few months until they split. They were prolific, Marr writing the music to accompany Morrissey's lyrics. Or vice versa.
Back to What Difference Does It Make? Marr's guitar playing is instantly more powerful than the previous two singles, with an extra edge and bite to the jangle. His riff is repeated almost from start to finish. Drums crash in behind, the bass holds things down and Morrissey comes in.
All men have secrets and here is mine, so let it be known
What an opening line! Morrissey goes on to sing still I'd leap in front of a flying bullet for you, just before he sings the song title hook in the chorus for the first time. It's not just Marr's guitar that sounds more powerful, Morrissey sounds completely in the zone.
The Smiths sound utterly glorious, riding through another verse and chorus. The burst and shimmer in Marr's guitar to go into another chorus after Morrissey sings well I'm still fond of you, oh-ho-oh is sublime. It becomes another hook, with Morrissey returning to it a couple of times before the instrumental section.
Marr's distinctive guitar sound came from his black Rickenbacker 330. In a 2022 interview with Reverb on the most important guitars of his career, he said;
"Like most musicians of a certain age in Manchester, I got it from a shop called A1 Repairs and I bought it with my first Smiths publishing advance ... And I guess sonically, the best example of that Ricky is What Difference Does It Make? When you hear the intro to that, that's my 330, tracked up."
Stephen Street is the producer I tend to associate with The Smiths, however John Porter should get more credit, working with them from early on and latterly producing the mesmerising How Soon Is Now? He certainly seemed to get and enhance The Smiths sound.
Porter seems to have been pretty selective (and open - if that makes sense!) with who he has worked with over the years. Usually just 2-3 projects per year, but there are plenty of Grammy nominee/winning albums in his portfolio. Artists range from Ozzy and Ryan Adams, to B.B. King and Carlos Santana.
The Smiths played (and debuted?) the song on a May 83 Peel Session and the version was released on their 84 compilation album Hatful of Hollow.
Looking back at The Smith discography, they released a remarkable 17 singles from debut Hand in Glove (May 1983) through to Last Night I Dreamt That Somebody Loved Me (December 1987). It is little wonder that they inspired so many fans; their look, quality, quantity and consistency was incredible.
What Difference Does It Make? is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.
105-107. Wigan Casino - Three Before Eight - Time Will Pass You By by Tobi Legend, Long After Tonight Is All Over by Jimmy Radcliffe, I'm On My Way by Dean Parrish
Trust me #102 Just When You're Thinkin' Things Over by The Charlatans
Released on August 7th 1995, just as the country was getting fixated with the Blur v Oasis Battle of Britpop, The Charlatans released the infinitely cooler and superior Just When You're Thinkin' Things Over , showcasing a loose, groove-infused sound reminiscent of Exile On Main Street-era Rolling Stones.
For me, this was the sound of summer sun. At T in the Park the previous month, the band had kicked up a dust storm as they played in baking hot sunshine, with this song sounding particularly sweet and soulful.
Check the TV footage that someone has thankfully uploaded to YouTube. Burgess and co are playing a blinder, finding a real dirty groove to ride at the end. My brother and I were right down the front and it was immense.
The Charlatans were in a deeply rich period of creativity during the mid-90's that saw them release 3 incredible albums and 10 singles within 4-years.
1994 – Up To Our Hips
Can’t Get Out of Bed – January 1994 / I Never Want an Easy Life If Me and He Were Ever to Get There – April 1994 / Jesus Hairdo – August 1994
1995 – The Charlatans
Crashin’ In – Boxing Day 1994 / Just Lookin’ / Bullet Comes” (double A-side) – May 1995 / Just When You’re Thinkin’ Things Over – August 1995
1997 – Tellin’ Stories
One to Another – August 1996 / North Country Boy – March 1997 / How High – May 1997 / Tellin’ Stories – September 1997
Just When You're Thinkin' Things Over begins in the groove. Acoustic guitar and piano sounding like they were made for each other. Burgess comes in with an infectious top line melody, instantly recognisable, immediately memorable. By 40-seconds he's into the chorus that includes the beautiful line you look good when your heart is on fire.
I'm coming home
You look good when your heart is on fire
It's a matter of taste yeah!
Mark Collins introduces a piercing guitar solo after the second chorus and at 2-minutes 30 the song bursts further into life with Burgess singing to an old friend/flame?
Right now, where do you come from
Kick up, yeah go find your love
I ain't knocking on your door
Things slow down to the acoustic groove, before piano and beats come back in and it all sounds beautifully simple, easy and natural.
and all your friends seem disappointed
'cause they're not your friends now
Tim and the band are in full flight as they fly to the end, finding the kind of groove they could ride for hours. I wonder if there is an old demo of them just playing on and on.
What a song, what a band ... I can't wait to see them again in The Barrowland Ballroom this December.
Just When You're Thinkin' Things Over is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.
I first stumbled across Hot Chip at the Benicassim Festival in 2005. My girlfriend (now wife) and I camped out for a week in the sun, spending days on the beach in the cool breeze by the sea, then partying long into the night. Taking in the likes of Oasis, Mylo, Underworld, The Lemonheads, Nick Cave, Basement Jaxx, The Cure and LCD Soundsystem. I think LCD Soundsystem came on stage at 2am! Hot Chip might have been in a tent after that!
Despite the excess of Benicassim I managed to remember their name and track them down. They had released their debut album Coming On Strong on the excellent Moshi Moshi label in 2004 and I didn't have to wait long for their follow up, the exceptional The Warning.
Singles Over and Over, A Boy From School and Colours were incredible. I bought the singles on vinyl and played A Boy From School at a night my sister put on at Edinburgh School of Art and a number of people came up to ask who it was - always a good sign!
I went to see them at King Tuts around this time and they blew me away. Visually captivating, Hot Chip are co-fronted by the diminutive Alexis Taylor in huge glasses and Joe Goddard. Both are incredibly playful with lyrics and melodies, Taylor with a high voice, Goddard with the low, both beautifully melancholic. Joined by Al Doyle, Felix Martin and Owen Clarke, the 5 bopped, danced and smiled behind synths, guitars and bass and looked like they were having the time of their lives on the King Tuts stage and this easily transferred to the audience.
Hot Chip continued to release an album every 2-years, all with excellent singles (and videos) to promote them; Made In The Dark (2008), One Life Stand (2010), In Our Heads (2012) and then a little longer in between to Why Make Sense (2015) and A Bath Full Of Ecstasy (2019), with solo albums and side projects in between, also notably Al and Felix playing and recording with great friends LCD Soundsystem.
I love how the band all have different personalities and styles that somehow just gel when they come together. And their genuine love of music pours out of everything they do. They have an incredible ability to mix melancholy with euphoria.
Hot Chip are kind of the perfect size and set up for a band. Big enough to tour all over, cool enough & respected enough to be in with the likes of DFA and Optimo, solid enough to allow side projects and playing with other bands and known enough to pull good crowds at festivals.
Here are 10 of my favourite songs by Hot Chip.
Working my way back through Hot Chip's considerable back catalogue over the last month or so has been a real pleasure. They are fun, playful and unique. You can tell they love music and are great friends.
I'm conscious that there are 4 songs from The Warning, but the 3 singles + No Fit State are without question among my top 10 favourites. That was the album where I really discovered and fell for the band. I also have 3 songs from the One Life Stand album! Unintentional, but on reflection they are my favourite albums.
Bubbling under are Baby Said, How Do You Do and the outstanding Hungry Child - which is really unfortunate not to make my 10. Special mention for their cover version of Springsteen's Dancing In The Dark which morphs slightly into All My Friends by LCD Soundsystem. I try to avoid including covers in my 10 from ... series. I've blogged on this before and you can check that HERE.
1. A Boy From School
Exceptionally cool synths, beats, melodies and lyrics. I played the 7-inch of this at Edinburgh Art School when I DJ'd a night my sister put on while studying and people were blown away. Fresh and vital sounding. Effortlessly cool. The bit where Joe comes in gets me every time.
Tucked away in the middle of 2010's One Life Stand album is this warm melodic gem of a song. Flowing effortlessly, sung with care, I fell for it on first listen and it's charms continue to warm my heart every single time I listen. Alexis and Joe's voices dovetail and sound particularly dreamy on this song.
From the bands 2004 debut album Coming On Strong, You Ride, We Ride, In My Ride is a stunning early example of hot Chip weaving vocal melodies with electronic layers and beats. After discovering the band and downloading this album I just thought there is nothing else like this out there. Certainly nothing I had heard. One of Hot Chip's many strengths - beautifully different, soulful, playful and with nods to influences but 100% their own band. Just after 2-minutes this song goes off on a tangent, beats, synths, melodies ... brilliant.
Simply sublime and the only song I have heard to mention stickle bricks! Synths bubble and Alexis croons softly and beautifully. At 50-seconds the disjointed beats are cut and it's just Taylor and synths before the real beats kick in and the song takes off. As we approach 2.5 minutes Alexis sings beautifully as his band mates continue to sing Colours and colours and colours of colours. There are some cool mixes to check out with the Fred Falke one being my favourite.
Hot Chip at their best laid back, laid back, laid back we'll give you play back sings Alexis Taylor over beats and playful synths. The chorus kicks in at 1-minute 20, mixing dirty synth sounds with Taylor's pure vocals. The video highlights the bands playful and energetic nature as they play in a green room, complete with helpers in green suits ensuring the band do all the right things. Taylor in over-sized red shades and hoodie is hyperactive in all the right ways. The instrumental section is glorious and then Goddard's vocals come in at just the right time.
The penultimate track of The Warning, No Fit State teases and eases in with Joe Goddard on super cool laid back vocals. Alexis Taylor takes the bridge, repeated a few times to lead to the chorus/mantra which is joined by euphoric synths
I'm in no fit state, I'm in no fit shape
Then Alexis comes in over the top and it is utterly divine.
From 2010's brilliantly titled One Life Stand album, Brothers is as soulful an electronic song as you might ever hear. Goddard takes lead for the first verse and chorus, joined by Taylor for the second verse, their voices beautifully entwined. I just find this song utterly beautiful, it cuts me deep. Taylor takes lead on the third verse as the beats kick in further, the synths are more playful. Joyful and soulful.
Brothers, I would give my life for my brothers
When we're driving and it's late with my brother, sat next to me
It's a wild love I have, it's a wild love that I have
It's a wild love I have, it's a wild love that I have
Humour and romance, total Hot Chip! The play on words for the title and chorus is genius, the Chic style guitar, bass-y synths leading to the chorus with Joe Goddard singing the beautiful keep on feeling backing vocals as Alexis pleads I only wanna be your one life stand, tell me stand by your man?
Utter brilliance from Hot Chip. A single and the opening song on their 2019 album A Bath Full Of Ecstasy, Melody Of Love finds the band mixing melancholy reflection with just the right dash of euphoria, complete with a sample of a gospel sermon. It's like Hot Chip have grown up, like we all have!
When I was standing next to you, I overheard the saddest news
What was just there was out of view, running out of love
I always seem to hesitate, too little always comes to late
Nominated for a Grammy, Ready For The Floor is insanely catchy from the off, the repetitive do it ... now, say it ... now opening is classic playful Hot Chip. The verses lead to a chorus where Goddard plays off Taylor who ends up singing the refrain you're my number one guy. The song was allegedly written for Kylie, a rumour sadly scotched by Taylor who confirmed they would love to wrote for her, but this song wasn't created with her in mind.
I love the performance from Glastonbury in 2008 (below) which highlights Hot Chip's infectious charm and their offbeat nerdy cool that wins hearts all over.
The Charlatans are one of my all-time favourite bands. I've been following them since the age of 15 back in 1991 when songs like White Shirt, Then and The Only One I Know would regularly get included on school common room mixtapes.
The band were prolific; releasing debut LP Some Friendly in 1990 and Between 10th and 11th in 1992. During this period there were also non-album singles like debut Indian Rope while in 1991 they released both Over Rising and Me. In Time.
Since then the band have matched quality with quantity, releasing 13 albums and 22 top 40 singles, many with fantastic b-sides like Title Fight, Your Skies Are Mine and Happen To Die.
Lets not forget some of the brilliant remixes from the likes of The Chemical Brothers/Dust Brothers, Brian Jonestown Massacre and the superbly named Luvdup and Van Basten take on Feel Flows.
The BJM remix of So Oh is like a lysergic lullaby, absolutely gorgeous. Check it out below.
I have easily seen the band more than 30-times. The Barrowland is like a home from home for them. Their shows through the 1990's in the legendary ballroom were like Cup Finals, Tim Burgess was the midfield playmaker, patrolling the stage in complete command, looking super cool and conducting his band and the crowd. I still remember people crowd surfing to tunes the warm up DJ played before one particular show, such was the atmosphere and sense of occasion.
At a scorching hot T in the Park in 1995 they whipped up a dust storm from the dry ground as they blasted the Main Stage. I caught them a number of times at the festival through to 2004/5 and the Up At The Lake album when Tim then joined The Chemical Brothers at the Slam Tent the next day, still wearing the same clothes after partying hard.
I was down at Knebworth to see Oasis in 1996 and The Charlatans played an absolute stormer of a support slot, emotions and adrenaline were running high as the band played only weeks after losing Rob Collins in a tragic car crash. I was so proud of the band that day.
Tim arriving at Knebworth
The raw emotionally charged performance was exceptional
Their appearance on The White Room from this time is my favourite Charlatans TV performance. Look at Jon Brookes on the drums during Crashin' In and Tim looking on in complete admiration at Jon and the rest of his band as they really go for it. Outstanding!
I fell big time for the band, queueing to get records signed at Tower Records in 1994, tracking down vinyl, buying all their released and going to see them whenever they played in Glasgow. 4 albums from 1990-1995! So many great singles and b-sides.
Burgess was (and is) my favourite front man. His infectious cheeky smile, glint in his eye, up for a good time vibe, his t-shirts, his jackets, super cool hair and on stage groove made me and others gaze up at stages across the world wanting to be him for a night. His belief and energy lift his band and audience.
Backed by Mark Collin on guitar (who I think is personally very under-rated as a guitarist), Martin Blunt on funky bass, the sensational Jon Brookes on drums and the wizards Rob Collins and then Tony Rogers on hammond and keys, The Charlatans could lock into grooves and take their fans on a trip.
They have rarely paused for breath. And if the band have, Burgess has busied himself with solo albums, books, running a record label and his #TimsTwitterListeningParty that is bringing music fans together during these unprecedented times when we can't go to gigs.
Looking back over their discography, the run of albums and singles from 1994-97 in particular was sensational, they all kind of blurred and merged together. 3 albums and 10 singles! Up To Our Hips, The Charlatans and Tellin' Stories; rammed with singles and other gems.
I was 18-21 during this period and it was never long between a Charlatans release or a gig. I always had something to look forward to with the band, they were with me, I was with them.
And that is true to this day with the band and through Tim ... there is always something going on with them ... a book, a street takeover, listening parties, solo albums, shows ....
In the summer of 1997 I played Tellin' Stories constantly. I'd have it on my personal CD player for the train to work and then walk through Glasgow city centre fantasising that I was Tim walking about like he did in the video for North Country Boy, a song I played non-stop. I'd arrive in work and urge people to buy the album. How good is the new Charlatans album? became a catchphrase.
Us And Us Only (1999) is one of my favourite Charlatans albums, I really love the playing, the feel and the space on this particular album. Sunshine vibes and Tim's falsetto on Wonderland (2001) mixed things up again, Right On from that album is a real favourite of mine.
Up At The Lake (2004) was pretty loose, Try Again Today is a beauty of a song while my wife quoted Loving You Is Easy in our wedding vows. I have fond memories of watching the band at T in the Park around this time and my brother turning to me and my sister as the band launched into As I Watch You In Disbelief and shouting I f**king love this song! So I always think of him when I hear it.
The Simpatico album in 2006 is my least visited album from the band, although it does contain the outstanding Blackened Blue Eyes.
You Cross My Path in 2008 was (for me) a resounding return to form. A sober and straight Burgess seemed re-energised as the band initially released the album as a free download via XFM before bringing it out in physical format a few months afterwards. The stomping Oh! Vanity through to the glorious BIRD fading into This Is The End is the sound of The Charlatans on fire.
The swift follow up of Who We Touch (2010) highlighted that the band were in a rich vein of form, armed with lots of ideas and materials. Revisiting the album for this blog caused me to remember what an excellent song Trust In Desire is.
Modern Nature (2015) was released following the death of Jon Brookes after he bravely fought a brain tumour. It was a triumph of an album with strong singles and excellent album tracks like Emilie which is a real gem. Again the band were rich with material and the bonus tracks on the deluxe edition are excellent, for me We Sleep On Borrowed Time and Walk With Me should have been on the album
Different Days (2017) came out with the band bursting with ideas. They had a very different day to promote it, taking over Manchester's Oldham Street for a day and continuing to do things differently by holding their own small festival in Northwich. Plastic Machinery is classic Charlatans, the title track is beautiful, as is Hey Sunrise and the closing Spinning Out. There is a calmness to them, mellow reflection.
What a journey! What a band! What an exceptional back catalogue! How on earth do I only choose 10 favourites when I have so many?
Well I've mentioned quite a few in this blog already and I'd also like to add in Happen To Die (long version), Get On It, Tellin' Stories, Weirdo, Can't Even Be Bothered, Feel Flows ... in fact there is too many ...
Here are 10 of my favourite Charlatans songs.
Come Home Baby
I was so happy when The Charlatans backed up the excellent So Oh single with this. What a tune! The way the song lifts to lead into the chorus always brings a smile to my face. This became a bit of a tune for me and my eldest daughter Zoe who was 3 when it was released and her sister was just a baby. I have so many happy memories of playing this song in our house and car and me and Zoe singing along.
I can't wait, don't hesitate
Let's be together
Crashin' In
I've already mentioned this song and please watch the White Room performance video from earlier in the blog. The energy leaps out immediately from Mark Collins guitar, there is an urgency to Tim's voice and the rest of the band drive things along. The band are on fire. I love the change in pace after 90-seconds with Tim just shouting oh yeah, and the band just get lost in a jam. They do it again later in the song and I love the looseness and the energetic vibe to the song.
See me, I can feel it coming around
Complete Control
I remember Tim posting a demo of this song on the old Charlatans forum. I fell for it instantly and a full version appeared as a b-side to Oh! Vanity. Complete Control is kind of like Tim fronting his beloved New Order. There is a very strong melody as Tim talks of being tired of used, tired of being told what to do, by idiots like you
Could perfectly tie in with The Charlatans taking complete control through the self release of their You Cross My Path album. I love this song, sounds like it came together really easily.
The Blind Stagger
The Charlatans played the Barrowland Ballroom in Glasgow on 22nd October 1999, the night before my brothers 21st birthday. We spent the night in McChuills bar and then at the show before getting back to our local pub just in time for midnight to celebrate.
Coming on stage the band played the long intro of Forever, with Tim coming on after a few minutes to rapturous applause and they delivered one of my all-time favourite Charlatans shows. I really love the Us and Us Only album. Tim's love of Dylan comes through and we see a different side to the band.
The Blind Stagger is such a beautiful song. Guitars are to the fore, Burgess is in full flow. There is a brilliant instrumental, things break down before lifting euphorically
Oh let the light shine
Could you for once be strong
I bleed a little too
Sproston Green
The closing song from debut album Some Friendly and the traditional set closer, Sproston Green is a monster of a song. The band often stretch it out to 10-minutes when they play live, jamming a slow groove into the song, teasing the crowd, building up, creating tension before finally exploding into life.
This one knows, she comes and goes
And when she goes, she goes
This live version from 1995 at the London Astoria perfectly captures the heady atmosphere of Charlatans shows from this time (I describe them as cup finals earlier in the blog). Audiences were up for it, this was a night out to dance and sing.
Burgess is on one here, looking and sounding super cool and his band whip up a storm.
The Only One I Know
A monster of a tune that I have seen many a gig and dancefloor explode to. The bass, drums, wah wah guitar and stabbing hammond chords immediately create a funky and welcoming vibe and then Burgess comes in talking about the only one I see, has found an aching in me
The chorus is pretty remarkable for such a young band to write;
Everyone has been burned before
Everybody knows the pain
The breakdown instrumental at 2-minutes 46 seconds is glorious. This is 4-minutes of The Charlatans at their best, locked in a groove, reaching euphoric heights and taking the listener with them.
North Country Boy
This song totally reminds me of walking to work in the 90's in glorious sunshine. This is perfect pop,
What are you sad about?
Every day you make the sun come out
North Country Boy lifts me and puts a smile on my face every single time I hear it. There is a groove, a swagger, sunshine and warmth seem to burst out of it.
I can't remember
I don't know how to tell you
But I love you just the same
Just When You're Thinkin' Things Over
I love the looseness to this song, it's got a Stones Exile On Main Street kind of vibe to it, a groove. Burgess is in full flow and the you look good when your heart is on fire lyric is one of my favourites.
Check the band ripping through it at an early sun soaked T in the Park that I fondly remember. The ground was so dry and people were dancing so much during the bands set that a dust storm was whipped up.
Oh Vanity!
A stomping Motown/Northern Soul beat drives this song from start to finish. The chorus is a keyboard solo that you can't help sing-a-long with and it is an absolute belter of a song.
It came out while I was traveling around the world and I played it relentlessly whenever I was in internet cafes checking out the band on MySpace!
So I have many happy memories of traveling around South America and checking into The Charlatans forum that I visited regularly for news and chat with other Charlatans devotees.
I love this Later With Jools performance. Martin Blunt is grooving on the bass and Jon Brookes is flying at his drum kit. Also check this T in the Park performance to a packed tent.
Oh promise me, oh promise me
You'll save me one last dance for me
One To Another
My favourite Charlatans song. No question. The power of this song still astonishes me all these years down the line. The first single following the death of Rob Collins, this was a big statement.
In fact The Charlatans put out a short statement. It ended with something along the lines of We Are Rock. It meant something, The Charlatans mean something, this song means something.
The intro, with a loop from Tom Rowlands from Chemical Brothers, exploded into life with a heavy riff from piano, guitar, drums and bass leading to Tim coming in;
One to another
A sister and a brother
Changing the way that you feel
And one of my all-time favourite lyrics is be my spider woman, I'll be your spider man so much that a poster with those words is at the top of our stairs.
Justice for believers and love can keep the faith
There is a brief pause for breath before the band go at it harder than ever, the riff is ferocious and Burgess is in full flight - love is hard to leave and it's hard to never have and on and on they go.
Welcome to a feature blog on Teenage Fanclub's God Knows It's True single/EP. Originally released on Paperhouse in the UK, it was then released by Matador in the US.
For me, the 7-inch of God Knows It's True b/w So Far Gone perfectly captures the energy, sound and development of my favourite band at a crucial and extremely exciting point in their career. This release is a perfect bridge between A Catholic Education and Bandwagonesque . We have Gerry joining Norman on songwriting duties and in addition to the 2 main songs, the EP (12-inch and CD) contain the crazy Weedbreak and Ghetto Blaster - perhaps more fitting with The King LP.
So, with the Creation shows coming up, I thought it was an ideal time to revisit and review the release.
As well as my own thoughts, there is an interview with David Barker from Paperhouse Records who was present at the recordings and I am very honoured that David has shared some fantastic pictures to accompany his memories.
And I am delighted that Gerry Love has shared his thoughts on recording his first song with Teenage Fanclub and a few other memories.
Before you go any further, dig out your vinyl or CD, get ready to stream, or click to watch the promo video for God Knows It's True below ...
A warm guitar riff introduces Norman Blake's God Knows It's True before the band fall in behind in that glorious Fanclub way - sounding like it might fall apart at any time, but hanging together. Beautifully raw and soulful. And extra little riff lifts us towards the first verse.
Norman, picture courtesy of David Barker
Blake finds a melody and his voice soulfully strains as he works his way through the first couple of verses that lead to the chorus. The band are off again, vibing on the cracking riff that the song is built on.
Maybe I just got it wrong
Express the feelings in a song
I didn't mean that much to you
I'm given such a tainted view
After the second verse and chorus the song is lifted with the singing with a different band middle eight before another chorus. The last 1-minute and 20 seconds is all instrumental and for me this is the incredible sound of Teenage Fanclub around this time captured on record. It was just before I got into them as a 15-year old through the release of Bandwagonesque - oh how I wish I had seen them live around this time. It must have been a joy.
Picture courtesy of David Barker
Gerry Love's So Far Gone starts at breakneck speed and barely lets up. The guitars are on fire, the drums have Keith Moon-esque rolls and the bass just about keeps it all together. Love asks questions and then sounds like he is head over heels in love/infatuation in the chorus.
Could you be the one who wants to turn me into something new?
Could you be the one to underestimate my point of view?
So far gone, so far gone
I'd love to turn you on
Love and Blake's voices combine brilliantly on the understand my way section before the band tear straight into another verse and chorus. At 2-minutes 10 seconds, after the third verse and chorus, the song breaks down before slamming into the final 43 seconds, climaxing in one final chorus.
Picture courtesy of David Barker
Teenage Fanclub sound like they are having the time of their lives on the two leads tracks. Ripping through 2 slices of guitar punk pop perfection. The energy leaps out of these songs and the recordings
Weedbreak sounds like it was conceived, performed and recorded on a uuummmmmm weedbreak. The band sound like they are jamming with no real purpose other than fun (the best purpose!) with an element of Sonic Youth to the sound.
Ghetto Blaster has ferocious drumming from Brendan O'Hare and the band tear into their guitars. Brendan's drumming is a real feature across the 4-tracks, driving the band on.
Raymond courtesy of David Barker
A query on the artwork on the Teenage Fanclub forum (a few years ago) led to Gerry Love confirming - It's a photograph taken at Dublin Airport on the way back from our first trip to New York in July 1990. We flew Aer Lingus and we were waiting for our connection to Edinburgh. The photo was taken by Raymond, possibly around 7 or 8 in the morning. I don't know if he meant the triple exposure but there are two snaps of me and one of Brendan.
Interview with David Barker who put out the bands early releases on Paperhouse Records.
EF - Can you remember how you first heard about Teenage Fanclub? What was the first song you heard?
DB - Stephen Pastel told me about them. They might have still been called Superdrug at the time (the original name). I worked with Stephen on my Glass Records label in 1986/87 and was just setting up the Paperhouse label at the time. Norman sent me a tape of A Catholic Education (a scan of the letter that came with it is inside the Deep Fried Fanclub CD booklet) so I guess the first track I heard was the first track on it. I liked the tape obviously and phoned him up.
EF - How did you come to work with the band?
DB - They had a gig at the Glasgow Art School, so I booked a flight up there. This must have been Feb or March 1990. Then Norman called to say they had a gig at the Bull and Gate in Kentish Town, London the day before, so I saw them there then again the next day in Glasgow. I told them I wanted to release their record and things moved fast from there. They already had interest from Matador in the US.
EF - What are your memories of that time? What did they bring to the table? What was your influence?
DB - So many memories. Supporting the Soup Dragons at the Forum, London when the stage was invaded. The security didn't bother going out for the support act. People really liked the group. Leeds, Liverpool, Doncaster (where we had a 'London Pizza' - which was pizza with chips on top), the front cover of SOUNDS. The New Music Seminar in New York, July 1990 I guess.
The recording of God Knows It's True with Don Fleming, who I introduced them to. CBGS where we met Urge Overkill and Superchunk. Ireland with Sonic Youth in the Autumn. The first European dates. All in 5 or 6 months. I had no influence on the sound but I may have introduced them to some music on the tour bus. They f**ked off to Creation and a year or so later so did I!
Don Fleming and David Barker, picture courtesy of David
EF - What do you think of God Knows It's True and So Far Gone all these years later?
DB - Still love them. My opinion of course carries a lot of memories with it. They were playing So Far Gone as an instrumental cos Gerry was a bit shy about singing live. When they recorded it of course he sang and it sounded fantastic. They next night they played CBGB'S and as Gerry went up to the mic to sing it ... he bottled it and they played it as an instrumental again.
EF - They have gone on to release some incredible music - in quality and quantity - do you have a favourite album? Could you pick a few favourite songs?
DB - Don't really have a favourite, but I spent time with them during the recording of Thirteen so feel close to it. Actually the handclap on Sparky's Dream is me. I think Paul Quinn and Chas Banks clapped too but I got credited on the sleeve ha ha. I like a few of the b-sides too like Long Hair and Maharishi Dug The Scene. I tend to go for the less commercial stuff. That's my taste in music.
EF - If you could spend a week in the studio with Teenage Fanclub what would you hope to achieve?
DB - I would like to record them like Steve Albini or like Dylan records. Two takes of each song and move on to the next one. Someone else can mix it.
EF - What are you up to these days?
DB - I revived my old label Glass Records as Glass Modern and am actively releasing and re-releasing music again.
Thank you so much to David for sharing those special memories and pictures. And thanks to Gerry Love for sharing a few words on So Far Gone.
Brendan and Gerry courtesy of David Barker
EF - Was So Far Gone the first song you wrote for the band? Were you encouraged to join in songwriting duties? Had you written much before?
GL - Yeah So Far Gone was the first song I presented to the group as an idea. It started off as an instrumental, the first few times we played it live it was just a piece of music, although secretly I did have a melody and some lyrics. It turned into a song during the God Knows It's True recording session with Don Fleming in New York. After we had recorded A Catholic Education, played a few shows and become a real group, there was an openness for all of us to at least present ideas as possible future songs. Before that I had recorded lots of half ideas and little musical doodles at home on a 4 track but I had never let anyone hear anything so it was great to have an opportunity to be involved creatively.
EF - What confidence did this give you as it would seem like you entered a prolific period of songwriting afterwards into Bandwagonesque and Thirteen?
GL - Although it sounds a bit rough to me these days, the difference between the bedroom demo and the NYC recording of So Far Gone was massive. Hearing how a rough idea changed into a real song via quality musicians, talented engineers and great studios gave me a lot of confidence. Hearing that some people quite liked So Far Gone gave me a lot of confidence to try another one. Being involved with Norman and Raymond, who in my opinion were operating on a different level than most local musicians at that time, was completely inspiring. Learning chord progressions from watching them play, hearing Norman's harmonies and then gradually hearing them in my own ideas was inspiring. Being in what I thought was a really good group was inspiring. Hearing new music and hearing old music was inspiring. Being young and daft and curious and full of all possibilities was probably the most inspiring thing.
EF - There is a great energy that leaps from the two main tracks. It sounds like you are enjoying yourselves and that excitement is spilling on to the records. Do you have any memories from the recordings?
GL - There was a lot of energy in the group in those days and you can hear it, especially in that session. Here we were in New York, personally I had never left the British Isles before that, and we were certainly buzzing. New York was a pretty lively place in those days. We were definitely having a few drinks during the session and probably a few smokes. We recorded a whole load of cover versions. I was probably half-cut when I sang the lead vocal on So Far Gone. I was still a little nervous about singing but the drink, and the encouragement of others, probably pushed me over the line into action. I don't have detailed memories, more abstract due to the passing of time and the quality of the drinks/smokes, so there's a nice impressionistic haze over my recollections of that session. That first trip to the USA was pretty crazy. I have lots of mad memories.
