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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Why do people go to gigs and chat? Ok, you need to talk at times during a gig; 'He nailed that', 'beautiful version', 'on form tonight', 'oh they fucked that up'......but the volume of chat during last nights Tim Burgess show at Oran Mor was ridiculous, half the venue must have been chatting during the quieter moments, either that or texting. The mind boggles. Thankfully it didn't ruin what was a brilliant gig and I pushed further forwards to be treated to a sublime version of 'A Case Of Vinyl' with Martin Duffy on piano/keys playing a blinder. Support came from The Velveteen Saints who I have blogged about before - check them out here. They played a short, sharp and energetic set and I'll be writing about them in more depth following their next Glasgow show at Sleazys in November. Further support came from the Hatcham Social and 3 of the band went on to back Tim during his performance. They had their moments, most noticeably with 'Crocodile'.
Tim bounded on to the stage to greet his adoring masses and I have to admit to being surprised by his choice of set opener, it was a bold choice to play 'Tobacco Fields', a stand out track from his album (reviewed here). Electric guitar combined well with Mark Collins on acoustic and the band showed great confidence in taking their time to let the song build. The pace picked up with one of the highlights of the night, 'The Economy' with Burgess getting the falsetto spot on. His voice is getting stronger and better with age. Tim was on great form, there was banter and handshakes with the crowd and disbelief that someone had a tattoo of his signature on their arm. The airing of 'We All Need Love' and 'Oh My Corozon' (from Tim's first solo album) with their big choruses and upbeat sunshine pop vibes lifted the crowd and were real highlights.
There was a real sense of freedom from the performance, there is no denying Burgess is a great front man but his performance last night showed him to be a leader and motivator as well, linking closely with Collins in particular, he was down on his knees in front of Collins for a sublime version of 'A Case Of Vinyl' with Martin Duffy from Primal Scream playing some spellbinding and spine tingling notes on piano. 'The Great Outdoors Bitches' was another highlight, as was 'The Graduate', Tim bounding and dancing to the country vibes. There was a short break before and encore of 'A Gain' with the backing band on superb form for the harmonies and gospel section, Tim was right on the lip of the stage, arms aloft for the refrain;
I'll not brave the dancefloor for you (Again)
'White' ended proceedings, northern soul mixed up in a Melting Pot with Americana vibes. I look forward to finding out what Tim comes up with next.
Tim Burgess is currently a prime example of a 21st century artist, recognising the need to move with and embrace the times, to look to the future but also celebrate the past and to have more than one string to your bow.
In 2012 Burgess has celebrated the past in his autobiography 'Tellin' Stories', also touring the album of the same name with his band The Charlatans. He has embraced technology and is prolific on twitter, his make believe coffee shop Tim Peaks has now launched its own coffee and there is talk of a real coffee shop opening too.
Tim has produced artists(R.Stevie Moore), roadied for artists (Factory Floor) and discovered artists (Keel Her). He has curated his own tent at a festival (Tim Peaks featuring Roddy Frame and Edwyn Collins amongst others) and also set up his own label, O'Genesis Recordings.
It is through O'Genesis that Burgess releases his second solo album 'Oh No I Love You', 9-years after his debut 'I Believe'.
If 'I Believe' celebrated Tim moving to LA and being head over heels in love, 'Oh No I Love You' is the come down album, reflecting on true love, but a love lost.
What is remarkable about this album is that Tim didn't write the lyrics, they are provided by Kurt Wagner from Lambchop. The two met years ago when Tim roadied for the band and casually suggested writing together, it took a while, lets check out the results.
The opening song 'White' was an obvious choice as a single and album opener, in many ways marrying The Charlatans and Lambchop in a glorious ceremony of grooves and melody.
'The Doors of Then' shuffles and swings straight into your heart, all warm and reflective. It is one of my personal favourites from the album.
Oh no, I love you
Hello, I love you
'A Case for Vinyl' was our first taster for the album, released as a free download and via an Uncut Magazine CD. It is one of Burgess' best vocal performances in his career, his voice breaking like a heart that has been broken in two.
Just because I didn't win, my playlist hasn't changed all that much
those guitars all turn to violins, just because I didn't win
'The Graduate' features exquisite slide guitar, before the introduction of some stunning strings rranged by Sean O'Hagan) on 'Hours'.
In my life, I'm seduced by a power
That has grown, ever darker in those hours
And I swear, hours now become the measure
See us there, counting backwards from a million
'Oh No I Love You' is the sound of Tim Burgess as you have never heard him before and it is rather delightful. The variety in Tim's voice, from youthful enthusiasm, to reflective lived, loved and lost experience is something that Charlatans fans like myself know that he is capable of, but this album gives him space and license to sing in a way that I haven't heard before.
'Tobacco Fields' is a prime example. Get your headphones on for this one folks, poetic lyrics over a gentle melody. It is like a lullaby, Burgess' delivery is (along with the aforementioned 'A Case for Vinyl') quite incredible - a career highlight in many ways, the depth and feeling, the ability to rise and fall...
Somehow I missed it, just
Used to be birds, now they're not
Flying over, flying over, blowing me away
Blowing me away, blowing me away
'Anytime Minutes' lifts the mood, jaunty country pop, the melody and delivery are more in keeping with the Tim that most people know.
I could only give you history
Self-explanatory gifts for free
I am never going to know you now
I am always going to love you though
See my memory is not complete
I didn't seem to free or sweep you off your feet
All I wanted was some careless love
Why'd you have to be so damn obvious?
Don't wanna fly a kite
Don't wanna plan no fairytale
'The Great Outdoors Bitches' is another personal favourite of mine on the album, although it is all good and there is a lot to dig into. Burgess takes the lyrics he was given on a sunny stroll through country soul, the melody and use of brass let it flow superbly.
I have the right to hold on to
When the past befalls the present old and new
Everywhere I look reminds me of you
'The Economy' features a tremendous falsetto by Tim, some lovely steel guitar, handclaps and (like all of the album) excellent production and feeling. Another highlight, can't wait to hear and see this live.
You can tune me, a piano
Just like everything we thought that sex would be
'A Gain' sees Tim ponder over love lost again and I would say that along with 'A Case for Vinyl' and 'Tobacco Fields' this is a song that really shows off Tim's voice, ability to adapt and his range at its best. The refrain (below) is just gorgeous.
I will not brave the dancefloor for you (Again)
And that is that, a brilliant album that I will return to many times, there is a remix album and bonus tracks but for now, this is the album 'Oh No I Love You' reviewed.
Last night Lynn and I
enjoyed a rare midweek 'date' to the pictures, the lovely Glasgow Film
Theatre, to see 'Shut Up And Play The Hits', a documentary about the end
of LCD Soundsystem, centred around their final epic show at Madison
Square Gardens.
We arrived at the GFT a full hour before the 8.40pm showing. With the knowledge that it was a sell-out we wanted to get a couple of drinks in the bar and good seats.
In the lead up to the main fetaure we were 'treated' to some 'live from the red carpet' footage from the premier in the Hackney Empire in London. A rather enthusiastic and annoying presented caught up with Al Doyle (Hot Chip and LCD), James from the Klaxons, the producers and some fans, some of whom must have been set up.
Anyway, eventually (and this may have been meant) we did get to the stage where the audience were thinking 'Shut Up And Play The Hits'.
This flashes up at the start of the film and kind of sets the tone for the concert side of things; an epic celebration of the music and idealism of LCD Soundsystem during a 4-hour show to a sell-out crowd of 18,000 people at Madison Square Garden.
It is the party to end all parties, champage, special guests like Arcade Fire on backing vocals for 'North American Scum', balloons from the roof, music, dancing and romancing (some great footage of a couple lost in music and each other with a big kiss at one point).
The celebration side of things is balanced by the complete come-down captured in the immediate aftermath of the show. I loved the way that this was portrayed. We had Murphy waking up in his cool NYC loft apartment still wearing his shirt from the night before, cuddling his dog, taking his dog out for a piss, feeding his dog, shaving, listening to answer phone messages, riding the subway, going to his office and basically wondering what the hell he was going to do with his life.
This in itself was counter-balanced by footage of Murphy being interviewed by an extremely inquisitive American journalist. It worked exceptionally well with Murphy being equally humourous and extremely open about his thoughts and feelings.
The concert footage is fantastic. The producers capture how cavernous the venue is, the roof looks like it is a giant space station, the crowd is vast, yet on stage LCD Soundsystem make it seem intimate by all grouping together surrounded by various banks of equipment.
'All My Friends' is dropped early doors to a round of applause by the audience. The footage from Madison Square Gardens slowly but surely becomes more euphoric as the party goes on; 'Movement' and 'Us and Them' capture the band merging punk, funk, techno, electro, garage and psych all at once - the beauty of LCD.
Footage cuts starkly and dramatically to post-concert dressing room scenes, to Murphy riding the subway or getting a car back to his flat gazing out at the New York skyline, the comedown setting in already.
In the interview we learn that Murphy is in his early 40's and wants to settle down and have kids. He is worried about the effect that touring has on him, stating that in the 2-years he didn't tour between 'Sound Of Silver' and 'This Is Happening' that he didn't get a single grey hair but as soon as he went on the road for the last time he started getting greyer and he wondered what this was doing to him on the inside.
We also learn of Murphy's satisfaction in practically everything LCD and DFA Records have recorded and released and that after 3 albums he wants to end on a high. He likes the fact that he is 'moderately successful', not overly successful/famous, he likes that he can walk his dog and ride the subway.
Some of the camera shots and positioning for the concert footage are incredible, different enough to make it original. So we have the brilliant footage of the mosh pit from directly above, cameras between amps and keyboards, in the crowd, in the photo pit....all capturing the experience.
'Losing My Edge' is predictably brilliant with Murphy also talking about how much it means to him and although people see humour in it, he was talking from the heart. He'd been playing The Stooges while high on E, mixing everything up from his considerable collection (some great shots of that in the flat scenes), now kids were coming up from behind and he was feeling threatened.
Murphy wanders from his office to the LCD storage space to check everything is in. This is probably my favourite scene in the movie, it tugs on the heartstrings. Murphy looks on at the equipment the band have built up, the thoughts running through his mind must have been similar to what were going through my mind. He was thinking of the memories, the music that has been made and played, the good times... and he cries.
This was the funeral scene, the realisation that the band had died. The concert had been the celebration. Murphy was now in mourning.
The film ends with LCD Soundsystem playing 'New York I Love You But You're Bringing Me Down' cutting to footage of the band having a dinner in a hip New York restaurant, drinking, sharing memories.
Thanks for the memories James. I hope there is more to come.
It is no secret that I am a huge fan of Tim Burgess and The Charlatans, they have been helping to provide the soundtrack to my life for over 20-years. Tim Burgess seems to be going through a bit of a creative peak in 2012;
Tim's autiobiography 'Tellin' Stories' is top notch, flowing in the way that many of his songs do. The way he talks about music is so refreshing and the lists of singles, songs and albums that he compiles throughout the book have led me to discover some great music.
Tim's taste in music is being recognised by promoters and he has turned his hand to curating tents/stages at festivals, getting to play with some of his fave artists at Kendal Calling.
Tim is also a bit of a social media guru, he even has an online coffee shop - Tim Peaks Diner!
Tim may or may not be bringing out his own cereal 'Totes Amaze Balls' due to one of his tweets!
The Charlatans 'Tellin' Stories' tour was a complete celebration of a classic album and the band were in exceptional form
Tim has his second solo LP 'Oh No I Love You' coming out at the start of October
I've probably missed about 20 things. In short Tim Burgess is a busy and creative young man, he is enjoying it and providing a lot of enjoyment to others.
Anyway, lets get on to the single 'White' which comes complete with a brilliantly trippy video (above)/
'White' starts with a groove; keys, beats, brass, acoustic strums and then Tim comes in telling stories (honestly no pun intended) about an old love.
The chorus flows beautifully;
Miss it all, miss the ending
Miss the texts, we were sending
Miss the score, I miss you more
Sugar soul (I think that is what it is)
Heartbreaks on hold
Heartbreaks on hold
Bring on the album and some Scottish dates including two at Oran Mor on October 19th.
Some time during August, a Sunday to be precise, I was flicking through the Culture magazine that comes with the Sunday Times and my eyes were immediately drawn to the 'ones to watch' section starring a band called Saint Lou Lou. The picture below speaks for itself...
The Sunday Times piece was swiftly followed by a feature on The Guardian's New Band of the Day highlighting a single out on the hip Kitsune label at the end of August. Well it is now September and the single 'Maybe You' is out and I have it. If the pictures are sultry, sexy and seductive, then the music is even more so. The slow paced groove draws you in quickly, the synths just ooze sex, the vocals are dripping with honey.
Maybe you and your sad blue eyes
Pull me through if you come tonight
The production is sublime, the song just seems remarkably fluid. I am already looking forward to hearing more from Saint Lou Lou and I really hope they come to Glasgow. The song has loads of remixes to check out but here is the original. Apparently an album is due to drop in 2013.
1994 was a glorious summer, Oasis came along at exactly the right moment for me. I was 18-years old and looking for a band to fall in love with. Oasis stole my heart.
The live reviews in the NME, the songs given away on cassettes on NME and Select Magazine, the interviews, taping sessions off the radio....it was a blast. The 94-96 era of Oasis just completely smashed everything else into oblivion. Noel Gallagher had a plan, tons of great songs, a great front man and the right record label to just go for it.
I caught Oasis in April 1994 just before the release of their debut single 'Supersonic'. They supported The Boo Radleys at the Tramway for Glasgow Sound City. The gig was recorded for Radio 1 and you can hear me and my mates shouting the very uncool chant 'Oasis...barmy army'. Hey, we were 18!
Then it was a stunning gig at the old Cathouse. Oasis came on late after the full Best of Sly & the Family Stone album was played. That was followed by one of my all-time fave gigs in a tent at T in the Park with Liam and Noel playing football on stage. I didn't want it to end. Then in December Liam stormed out the Barrowlands after his voice went a few songs in and Noel finished the gig, telling us to keep our ticket stubs and they would be back. They did come back and they were incredible. Oasis in 1994 were my dream band.
So the album, 18-years on, how does it stand up?
To start with, the cover is a classic. Designed by Brian Cannon from Microdot (Definitely Maybe is in his handwriting) it just looks great.
'Rock'n'Roll Star' is a total statement of intent. It explodes into life, searing and soaring guitars and a young Liam Gallagher (he was 21 for most of 94) singing his heart and lungs out.
I need some time in the sunsheeeee-iinnnne
That Lydon-esque delivery had kids all over the UK hooked from first listen. Noel's lyrics of dreaming of a better life are throughout the album and the b-sides from the time.
I live my life for the stars that shine, people say it's just a waste of time
Anyone who says that Oasis lyrics don't mean anything hasn't bellowed this out as a youngster.
The Gallagher's had the cheek and confidence to even deliver
Look at you all you're all in my hands tonight
I'm a Rock'n'Roll star
Believe me, in 1994 I was in the palm of the Gallaghers hand. The power they displayed live was incredible.
'Shaker Maker' was a real live favourite, from memory they opened with it quite a bit in 1994. The 'shake along with me' section was brilliant live, Liam sneering the vocal down the mic.
'Live Forever' is just majestic. Listening to it just now on headphones, it still sends a shiver down my spine. Noel Gallagher laid a marker down with this song and you could question if anyone ever came close to it.
The song flows beautifully, the chords, the simple drums, Liam's voice is perfect and then Noel's guitar solo just lifts things even more.
The double chorus is just sensational, incredibly uplifting.
Maybe I just wanna fly
Wanna live I don't wanna die
Maybe I just wanna breathe
Maybe I just don't believe
Maybe you're the same as me
We see things they'll never see
You and I are gonna live forever
I believed every word as an 18-year old in 1994. Listening back to it now, I still do.
'Up In The Sky' was another live favourite. I remember bouncing like a loony to this at the Cathouse. The bit where it all breaks down other than Noel's guitar and Liam singing 'I can feel you, can you feel me' was a total hands in the air moment before it all kicked in again. That sense of euphoria was all through the album, a pure rush.
'Columbia' always reminds me of Knebworth when it opened the show. I still kick myself for not buying a white label 12-inch of it in Missing Records for £20. That was a lot of money for me back then, it fetches £200 now.
When the groove kicks in it just doesn't stop. The beat is the 'danciest' on the album. Liam is at his sneering best, his voice is truly remarkable on this album, one of the great rock vocal performances.
I can't tell you the way I feel, cause the way I feel is oh so new to me
I mentioned a sense of euphoria for 'Up In The Sky' but 'Columbia' multiplies that by 100.
'Supersonic', the debut single. The power is there, almost punk like, the production from Owen Morris is exceptional. Noel said he wanted it to be louder than anything else being released so it stood out if it was played by a DJ or on a jukebox. Morris delivered...and then some.
OK some of the lyrics are complete nonsense, but there are also gems of Gallagher philosophy in there that really spoke to me as an 18-year old.
You need to be yourself, you can't be no-one else
and
You need to find a way for what you wanna say, but before tomorrow
Tony McCarroll was booted out Oasis for his limited ability on the drums but I think that was to Oasis advantage back then. Simple beats, toes tapping, people bouncing. Let Liam and Noel take over.
'Bring It On Down' was Alan McGee's choice for the debut single and you can understand why. It is punk rock, 100mph. Liam in full on Lydon mode.
You're the outcast, you're the underclass
This song is over 4-minutes long. Played live, Oasis probably took a good 30-seconds off it!
'Cigarettes & Alcohol'. A total anthem! Noel used to hammer out the starting riff to this at gigs in 1994 to get people excited and then go and play something else, a total tease.
The riff is T-Rex x 100. Hammered out. But for me, this song is all about Liam Gallagher. His vocals are exceptional for a 21-year old.
Is it worth the aggrevation to find yourself a job
when there's nothing worth working for?
You could wait for a lifetime
To spend your days in the sunshine
You might as well do the white line
Cause when it comes on top
You gotta make it happen
Liam's delivery of sunshine was just top; ssssuunnnnsheeeeeyyyiiiinneeee. Brilliant, the energy in this song just leaps off the vinyl.
'Digsy's Dinner' is a laugh. I would much rather 'Fade Away' was on the album. Again it does contain a great line for an 18-year old;
These could be the best days of our lives
But I don't think we've been living very wise
'Slide Away' might just be my favourite Oasis song. It is sheer beauty, it tugs on heartstrings, it makes you punch the air, sing from the top of your lungs, hug your mate, hug strangers....it is stunning
The middle eight lifts things and then the chorus just takes off for the sun.
Slide in baby and together we'll fly
I try praying but I don't know what you're saying to me
Now that you're mine
We'll find a way of chasing the sun
Let me be the one who shines with you
And we can slide away
Noel's guitar is melodic and soaring, Liam's vocal delivery is the most soulful on the album. This is Oasis at their very best.
At the time Noel described 'Definitely Maybe' as 10 singles and a nice corny track at the end. That sums it up very nicely. A mate of mine has just posted on Facebook that in 1994 we all wanted to live forever and now we are all 'Married With Children'!
So there you have it, except that on the vinyl edition you had the bonus of 'Sad Song', surely one of Noel's best ever songs, certainly one of my faves.
Sung by Noel, this is incredible, highlighting how good a songwriter he was and capable of becoming with future anthems like 'Wonderwall'.
18-years on, it is like it was yesterday. This album is one of the real soundtracks to my life, it came along at the perfect time and will always remind me of those times.
Vigo Thieves have just released their new song and video, 'Forever'. This is a real statement of intent and a positive display of creativity and ambition from a DIY band with no financial backing. I like to think of it as modern day punk, being the romantic that I am.
Vigo Thieves 'Heartbeats' and 'She's On Fire' videos released earlier this year have amassed a total of over 100,000 views on YouTube and a fan-made video from their T in the Park performance at the BBC Introducing Tent has reached over 11,000 views at the time of writing. This is a band that recognise the importance of Social Media and quality content.
'Forever' stars Jody Latham from Shameless and gorgeous Mary Jane O'Harra in an epic 3 minute 27 second film of young love, dreams and tragedy shot by Shootback Productions. The song starts with stabbing synths before a soulful vocal kicks in and leads the listener on a journey that matches the film perfectly.
Let's live forever, together we can stay young
Let yourself surrender, together we can stay young
Just let yourself surrender
The first chorus is a total hands in the air moment before the beat and chiming guitar kick in.
We are blinded by lights
Forever falling through neon skies
I see a child as I look in your eyes
It keeps me believing in a place that we can go where we'll grow old
The chorus then lifts off, supersonic jet stream, leaving others trailing in the slipstream. Check it out. The band have live dates coming up in London, Edinburgh and Glasgow with more to be announced. Vigo Thieves are a band for the people. #believe
