Revolution

Trust Me #45

Revolution by The Beatles

When you talk about destruction

Don't you know that you can count me out ... in

I've welcome the recent protests by Just Stop Oil. While I initially questioned them throwing tomato soup over Van Gogh's priceless Sunflowers artwork (minor damage to the frame, painting unharmed), I quickly found myself on their side. 

Activist Phoebe Plummer posed the question "What is worth more, art or life?"  Her friend and fellow activist Anna Holland backed her up. "Is it worth more than food? More than justice? Are you more concerned about the protection of a painting or the protection of our planet and people?"

They are getting out there, making themselves heard, causing disruption ... of course they are pissing some people off. But hopefully some of these people are thinking more about the state of the world as a result.

Recently, the Antonio Gutteres, the UN Chief, warned that earth will be doomed unless there is a historic climate pact. Are politicians listening? Do they care? 

Having marched with my (then) 10-year old daughter at COP26 in Glasgow last year. I don't think they do. I don't feel a sense of urgency. I certainly do not believe politicians are acting like we are on the verge of disaster.

No-one seems to be doing anything.

To start, we should be ring fencing and protecting the Amazon rainforest. I was learning about its destruction back in Modern Studies in 1992. It's now 2022 and nothing has changed. If anything, it sounds like it is worse. Sit down with Brazil, give them some money, put an army round the rainforest and protect it.

In March 2020 the world stopped to come together to fight a life threatening crisis. We need to do this again. To come together as one.

Is that going to happen? I don't see it. If it does, it will be too late. 

Just Stop Oil are acting now. They are creating their own little revolution. They have my support and respect. I'm only surprised that more people are not marching on the streets to demand action to sort out the increasing number of crisis' we face. 

I love this video of Austen Espeut after his own protest, with orange paint on his nose. Go on Austen!

While I'm not quite ready to douse the headquarters and offices of suspect companies in orange paint, I'd happily buy a few cans of paint for someone up for it. It feels like me and my generation didn't heed the warnings from our Modern Studies classes. We were too busy partying through the 90's and into the 00's. 

But we must support our children to campaign. We must sit them down and let them know things HAVE to change. Because the world is changing. It's warmer, a lot warmer. There are going to be devastating consequences for everyone. 

Thankfully, although it is still relatively quiet at present, revolution does feel like it is in the air. The generation above my daughters are ready for the fight. I hope my daughters generation will be right behind them to go over the wall.

I might not be on the frontline throwing paint about. I certainly won't be violent. But today I joined the Scottish Green Party for only £3 a month. Less than a cup of coffee these days. And I'm all in for independence for Scotland. I'm a Green Yes. It's good to see the SNP and The Greens working together. I'm in for the green revolution. The world needs it, Scotland needs it. Although I'm in, Lennon's line about out/in comes to mind again. I've never been a member of a political party before ... so I'll see how it goes!

Maybe don't count me out of the paint throwing just yet! 

Which brings me back to this months Trust Me song; Revolution by The Beatles. That line by Lennon, don't you know that you can count me out/in. He was famously unsure about whether he was in or our when it came to violent/destructive revolution.

Lennon also sings the hook don't you know it's gonna be, alright?

At present, in November 2022, it really doesn't feel like it is gonna be alright. For multiple reasons! And that is why we need a revolution.

Lennon wrote the song in India on acoustic guitar and the version recorded for The White Album has an acoustic laid back bluesy groove. The burst of electric guitar at the start might have inspired the rerecorded version for the single.

Revolution 1, on the album, has shoo-be-doo-wop backing vocals, that sugar coat Lennon's trademark bite and cut to the bone/point lyrics.

You say you got a real solution

Well, you know

We'd all love to see the plan

The urgency of the song really comes out on the single though, the real Revolution for me. Lennon's primal scream, distorted and then fuzzed up guitar, Starr's crack beat, McCartney's bass groove ... 

With added pace and menace, the song is cut from 4-minutes 14 seconds to 3-minutes 24 seconds. It sounds like The Beatles do want a revolution. Although Lennon is definitely out when it comes to violence/destruction. 

Have Lennon & Harrison's guitars ever collided so deliciously? They are turned up and the sound is incredible. Nicky Hopkins plays electric piano. Everything builds towards a frantic conclusion with Lennon yelling alright, alright, alright, alright into his mic, vocals distorted like the guitars. It all sounds gloriously vital. Rock n roll. 

The Beatles recorded an incredible video for the song with live vocals. Lennon goes back to count me out ... in. McCartney, as ever, revels in playing live, injecting real urgency into his own backing vocals and then sharing a mnic with George for shoo-bee-doo-wop sections lifted from the album verison. McCartney looks incredible as he sings the don't you know it's gonna be sections. He is loving it. Lennon improvises with primal grunts during the instrumental section, just adding to the urgency and pace.

Of course, I imagine that most of you reading this will know that The Beatles, or at least Lennon & Ono, recorded a sound collage entitled Revolution 9. Lennon said that he wanted to create the sound of revolution. I think I have listened to this once and although I attempted to listen again for the purposes of this blog ... I didn't make it very far before turning it off.

Revoltion 1 (White Album version)

Revolution + promotional video

Revolution 9 

A list of all previous songs I've blogged about in my Trust Me feature are listed below, along with links to each blog. Sister Rena joins them.

I've also collated them all into a playlist on Spotify that you can find by searching for Everything Flows - Trust Me , or you can CLICK HERE

Previous Trust Me blogs

1. Something On Your Mind by Karen Dalton

1A. Crimson and Clover by Tommy James and the Shondells

2. I Am, I Said  by Neil Diamond

3. Where's The Playground Susie?   by Glen Campbell

4. If You Could Read My Mind by Gordon Lighfoot

5. Gimme Some Truth by John Lennon

6. Gone With The Wind Is My Love by Rita and the Tiaras

7. In The Year 2525 by Zager and Evans

8. The Music Box by Ruth Copeland

9. The Ship Song by Nick Cave

10. Sometimes by James

11. I Walk The Earth by King Biscuit Time

12. Didn't Know What I Was In For by Better Oblivion Community Centre

13. When My Boy Walks Down The Street by The Magnetic Fields

14. The Man Don't Give A F**k by Super Furry Animals

15. All Flowers In Time Bend Towards The Sun by Jeff Buckley and Liz Fraser

16. Are You Lookin' by The Tymes

17. A Real Hero by College & Electric Youth

18. Feelings Gone by Callum Easter

19. Sunday Morning by The Velvet Underground

20. Did I Say by Teenage Fanclub

21. Don't Look Back by Teenage Fanclub

22. Your Love Is The Place Where I Come From by Teenage Fanclub

23. Belfast by Orbital

24. Clouds by The Jayhawks

25. Dreaming Of You by The Coral

26. Everlasting Love by Love Affair

27. Walk Away Renee by The Left Banke

28. Teenage Kicks by The Undertones

29. Shaky Ground by Sneeze

29. Rill Rill by Sleigh Bells

30. I Can Feel Your Love by Felice Taylor

31. The State We're In by The Chemical Brothers w/ Beth Orton

32. Sunshine After The Rain by Ellie Greenwich

33. Losing My Edge by LCD Soundsystem

34. Mondo 77 by Looper

35. Les Fleurs by Minnie Riperton

36. Rat Trap by The Boomtown Rats

37. How High by The Charlatans

38. I Can't Let Go by Evie Sands

39. Pop Song 89 by R.E.M.

40. Summertime Clothes by Animal Collective

41. There She Goes by The Las

42. We're Going To Be Friends by White Stripes

43. Autumn Sweater by Yo La Tengo

44. Sister Rena by Lomond Campbell

Teenage Fanclub at PJ Molloys Dunfermline

 

With a couple of festival shows in Germany and the Shine On Weekender coming up to round off 2022, Teenage Fanclub booked a warm up show at PJ Molloys in Dunfermline. 

After buying tickets, my sister announced her band Poster Paints were playing a stripped back support slot! Happy days. A chance to see two great bands in an intimate 350 capacity venue in Scotland's most recently crowned city.

PJ Molloys has a delightfully dark, grubby and homely vibe to it. Vintage Guinness posters adorn the walls and the bar leads to steps down to a lower level where bands play.

Poster Paints were supporting, just over a year on from their debut shows with Teenage Fanclub. Riding high on the heaps of positive reviews their recently released album has been gathering, the band stripped back from a 5-piece to a 3-piece for the night. 

This only highlighted the tender beauty of Still Got You and the fragile wonder of Hard To Sweeten, while Simon Lidell turned his guitar up an extra notch to stomp through the brilliant flowing pop of Falling Hard and Number 1. 

Then it was time for Teenage Fanclub.

The band absolutely ripped through their set. 90-minutes passed by in no time with the band clearly enjoying themselves on stage and playing in such an intimate venue.

Home was the best I have heard it. Guitars, bass and keys gelling superbly throughout, but particularly during the long outro. It really set the tone and pace. The band were straight into a romp through Warm Embrace and then Endless Arcade before unleashing old favourites About You and Alcoholiday.

The band were on fire, full of smiles and nods to each other and to the crowd. I Left A Light On was really beautiful while McGinley's Your Love Is The Place Where I Come From was greeted by hearty roars f=of appreciation.

Teenage Fanclub absolutely ripped through their set ... like teenagers! 90-minutes passed by in no time with the band clearly enjoying themselves on stage and playing in such an intimate venue.

We were standing in front of Stephen Black (Sweet Baboo) on bass and I really enjoyed watching him play. His Rickenbacker sound was an absolute delight, he seemed to be improvising at times and it added something for me. McCartney-esque at times. 

What You Do To Me was a burst of joy, I'm In Love a dazzling light of perfect guitar pop and The Concept was .... well it was The Concept. If heaven exists, and if I get there, I want the closing instrumental to be playing as I enter the gates.

Everything Is Falling Apart was utterly brilliant, the band threatened to jam on a little, Raymond's My Uptight Life was as poignant as ever.

Coming on to an encore, Norman handed out Tunnocks Caramel Wafers from the rider! Good fun!

Back In The Day is a real favourite, so it was fantastic to hear its flowing chorus in all its glory. Norman highlighted that the band wanted Songs From Northern Britain to be a double album and that Middle Of The Road should have been on the album anyway. It breaks down into a super catchy post chorus section.

Another guitar pop romp? Oh go on then. Norman introduced The Who's The Kids Are Alright and the band played with a zip and zest, Francis was really going for it Moon style. I thought he might have been given a rest afterwards, but after declaring 'what a fucking song' Norman then introduced Everything Flows with all 5 band members singing. A glorious end to a brilliant evening.

Teenage Fanclub played with a real 

This was Teenage Fanclub's first time playing in Dunfermline and the f

Never Ending Mixtape part 77

Welcome to part 77 of my Never Ending Mixtape. 

On 6th September the Mixtape was up to 2,845 songs. I missed an update in October, so it's now up to over 3,000! I'm not going to list all of the songs that have been added. I'll try and revert back to doing that next month.

What I can tell you is that there are additions by; Sebadoh (pictured above), Shack, The Beta Band, Buffalo Springfield (pictured below), The Jam, Sweet Baboo, The Isley Brothers, The Ohio Players, Erma Franklin, Marva Whitney, The Beths, The Pains Of Being Pure At Heart, Tim Burgess, Yo La Lengo, Teenage Fanclub, Angel Olsen (pictured above), Taylor Swift, Mark Lanegan (check his autobiography!), Charlotte Cornfield, The Reds Pinks & Purples, Poster Paints, Hanging Stars and Bob Dylan!

Then we come bang up to date with songs from the new Taylor Swift album with Question? and my personal favourite Karma sandwiched between Mogwai and The Only Ones. Where else would you get that?

There are a few songs from the recent Revolver boxset including The Beatles playing Rain at actual speed! It's incredible.

Stereolab (pictured below), Elastica, Aphex Twin, The Magnetic Fields, Peter Gordon & the Love of Life Orchestra and Diana Ross bring the Never Ending Mixtape up to 3,013 songs!

Search for Everything Flows Never Ending Mixtape on Spotify or CLICK HERE

Play from the start, the middle, click shuffle, or scroll down towards the end to find some of the songs I've been enjoying over the last couple of months.

As always, I hope you rediscover something you love, or that you discover something you've never heard before that you fall for instantly.

ENJOY.

Ain't No Mountain High Enough

Cover version of the month #81

Diana Ross covers Marvin Gaye & Tammi Terrell

What can you say about Marvin Gaye and Tammi Terrell's impeccable Ain't No Mountain High Enough?

Well, it's one of those songs where I tend to say that music really doesn't get much better. It's absolutely perfect in every single way. The emotion, the imagery, the soul and love that pours out of the song.

Written by Nickolas Ashford and Valerie Simpson, Gaye and Terrell released the song in April 1967, perfect timing for it to be played through the Summer of Love.

Apparently Dusty Springfield wanted to record the song, but Ashford & Simpson were dead set on it being a Motown record. They were right to hold it back.

I find out a lot of surprising things when researching for blog articles. My biggest surprise here is that Terrell recorded her vocals first and Marvin added his at a later date! They sound so perfectly entwined that I have always imagined them singing together in a booth. I'll hold on to that image though.

Ashford & Simpson wrote more gems for the duo, including You're All I Need To Get By and Ain't Nothing Like The Real Thing. Wow! What a trio of songs.

When I really fell in love with music at the age of 15 and got my first Hi-Fi with a turntable, I remember raiding my parents rather small record collection. I still have a Marvin & Tammi's compilation, complete with my Mum's name written in pencil. I devoured it. 

God those innocent days seem so long ago. You treasured exploring records, stuck with them, poured over sleeve notes, showed off when friends came round; 'hey listen to this'. Friends would have to come round to listen, unless you made them a mixtape.

Nowadays I'm guilty as charged. Friends and I will exchange songs on WhatsApp by posting Spotify or YouTube links. Sometimes I'll take days to check a link, sometimes the chat will go on and I'll forget. 

The teenage me would be appalled. But sometimes (all of the time) it's just too easy to access music. You can check out songs, albums or entire back catalogues on a whim. And I do ... if in the mood. But I also miss the days of saving for albums, or going to HMV every Monday, or Missing Records before catching the train back to Carluke, or having friends round and playing CD's or records. I miss taking a chance on an album because of a cover.

Anyway, back to Ain't No Mountain High Enough.

It's precisely 2.5-minutes of Motown pop perfection. Gaye & Terrell backed by The Funk Brothers and the Detroit Symphony Orchestra. 

Beginning with a rumbling bass and Marvin Gaye's passionate vocal, Tammi Terrell and strings come in, before everything takes off at 30-seconds as they hit the chorus together. Terrell's voice soaring, Gaye's just sitting under it beautifully.

And what a chorus! 

Gaye & Terrell are so in love that nothing will keep them from each other; mountain, valley or river.

Then we have Terrell singing over pounding drums; No wind, no rain, or winters cold, can't stop me baby

Things are really flying now as Gaye ad libs a no, no, baby before coming in at 100 mph if you're ever in trouble, I'll be there on the double, just send for me.

Marvin Gaye sounds like he is really in the zone, enjoying himself, letting out a little haah and wooo as the duo keep flying through the song. Terrell singing possibly my favourite line - my love is alive, way down in my heart, even though we're miles apart.

The Motown beat is pounding furiously, beautifully, like the sound of Gaye & Terrell's hearts as they sing for all their worth. The bass keeps grooving and the strings sound majestic.

What a song! Utterly brilliant.

Diana Ross originally recorded a version with The Supremes & The Temptations in 1968, remaining true to the original. Ross, at the bequest of Ashford & Simpson, revisited the song in 1970 as a solo artist, working with the songwriters and others to completely rework the song.

The single version is 3 minutes 32 seconds long, but it is the album version, stretched to a glorious 6 minutes and 18 seconds, that really floors me.

A slow, teasing classical intro leads to Ross singing the melody over Motown beats, strings and piano. At 1 minute 20 seconds Diana speaks directly to her love, seductively, openly and true for 40-seconds until the melody from the chorus and stronger beats kick in again.

Ross' version cleverly adds new lyrics to the original and interestingly takes an age to actually get to the words Ain't No Mountain High Enough. It's at 4-minutes 18 seconds that it kicks in, Ross is squealing with delight as her backing singers (very much at the fore for a while) sing in unison. 

Then at 4-minutes 36 seconds the song builds to another level. At 4 mins 55 it reaches for the stars, strings, horns, beats and stunning piano, then the vocals again. This is simply divine. Heavenly. 

The 6-minute version is incredible, but it still leaves you wanting more, we get that in Martin Martorell 8.5 minute version. There are more delightful squeals, Ross' voice is incredible as she urges one more time and pushes herself even further. 

This is incredible. Music really doesn't get much better.

Marvin & Tammi official video

Diana Ross - single edit

Diana Ross - 6-minute version

Diana Ross - extended 8.5 minute version

All previous cover version of the month blogs are listed below. To listen, search for Everything Flows Cool Cover Versions playlist, featuring all of the songs below, on Spotify or CLICK HERE

Previous covers of the month

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt

14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine

16. California Soul

18. Wonder wall 

19. Dancing In The Dark

20. Always On My Mind

21. Ceremony

22. Heroes

23. Different Drum

24. Wild Horses

25. Respect

26. Mr Tambourine Man

27. I Heard It Through The Grapevine

28. Superstar

29. Twist and Shout

30. Purple Rain

31. Baker Street

32. Not Fade Away

33. Stop Your Sobbing

34. I Don't Want To Grow Up

35. Serious Drugs

36. Dancing With Myself

37. How Does It Feel To Feel?

38. Love Buzz

39. ABBA-esque
40. Jumpin' Jack Flash

41. Discoland

42. Varshons 2 by The Lemonheads

43. The Langley Schools Music Project
44. Witchi Tai To
45. Our Lips Are Sealed
46. Sunshine Of Your Love
47. Here Comes The Sun
48. I Think We're Alone Now
49. Don't Let Me Down 
50. It's Oh So Quiet
51. Alcoholiday 
52. Summer Holiday
53. Who Do You Think You Are?
54. Head On
55. Nothing Compares 2 U

56. Hey Jude

57. Seven Days Too Long

58. L.O.V.E Love

59. Into Your Arms

60. Heart Of Glass

61. Take Me To The River

62. We Can Work It Out 

63. Talking In My Sleep

64. Lola

65. Lost In Music

66. My Little Red Book

67. Isn't It A Pity

68. Walk On By

69. Walk Away Renee

70. Tainted Love

71. Girls Just Wanna Have Fun

72. Listen The Snow Is Falling

73. Mrs Robinson

74. He's Gonna Step On You Again

75. In My Life

76. Caravan Of Love

77. The Only Way Is Up

78. Dancin' Round & Round

79. With A Little Help From My Friends

80. Killing Me Softly

Poster Paints by Poster Paints

Poster Paints released their self titled debut album earlier this month, following it up with a joyful launch party at The Glad Cafe in the Southside of Glasgow. 

Support was from Flinch, a 4 piece outfit who have self released their album Enough Is Enough on vinyl. They display a punk indie pop energy on stage and off. Fanzines, pin badges (support your local girl band) and stickers, harmonies, fuzzy & reverb laden guitars, hooks and harmonies.  Expect a separate blog on Flinch in the near future.

Poster Paints played all 12 songs released to date. Their 10-song album, plus Blood Orange and their loving cover of The Lemonheads Into Your Arms. It was the best I've seen them play. Simon Liddell creates wonderful sounds from his guitar, little riffs and chord progressions that just sound sublime, whether gentle and fragile, or dreamy, shimmering and bursting with sunshine energy.

My sister Carla sang beautifully. I honestly think it was the best I have seen and heard her sing. Her voice could be sweet and tender, or it could rise and soar, sometimes to dramatic effect.

Backed by Calum Muir on drums, Suse Bear on bass and Kim Grant on ryhthm guitar, with Lomond Campbell duetting on Ribbons, Poster Paints created beautiful music that left everyone in the audience beaming. 

On to the album.

As summer becomes a distant memory and autumn unfurls in its uncertain, bittersweet glory Poster Paints are here to provide the perfect soundtrack - all hail the unique undimmed beauty of Scottish pop.

Line of Best Fit

I still remember the first time I heard Poster Paints. I was out at our Mums house in Carluke and Carla messaged me asking if I'd like to hear some demos. The answer, of course, was yes.

It was October 2020 (I just checked my old emails). With the kids happily playing with their Gran, I decamped to our Mums wee summer house in her garden, sat in a chair with my headphones on and pressed play on a song called Circus Moving On. Within a few minutes I pressed play again. Then I moved on to the other song titled Not Sorry. Also playing it again immediately afterwards.

Both songs moved me. The slowness of Circus Moving On, the gentle keys, the ache in Carla's voice, then the strings and Simon's guitar coming in ... the flow of Not Sorry .... they didn't sound like demos.... I messaged Carla to say they were the best songs she had done. They felt more wordly, more mature, but still with the vivid imagery through the lyrics and tumbling and catchy melodies that are Carla's key strengths.

Simon's arrangements were sublime. There seemed to be so much space in the music, yet there was also still so much to appreciate with each listen.

Later in lockdown Carla had tweeted out a message asking for band names as she and Simon now had enough songs for an album. She phoned me up and I was in our back room (formerly my music room, meant to be a playroom, but essentially a dumping room for toys/washing etc) having just finished a #timslisteningparty with a few beers. I looked at the mess around me and suggested names like Blue Crayons, a few others that Carla meh'd at and then Poster Paints, which she seemed to like. 

And that was that. I named a band!

Two years down the line and the album is out on Olive Grove Records & Ernest Jenning Record Co.

Proceeded by a string of singles that built momentum, the eponynmous album is gathering a lot of love from those who discover it.

And it's easy to hear why.

The album floats gently and dreamily into life with Still Got You. At 1-minute 19 seconds the song drifts beautifully, everything cutting out as Carla sings

I've still got that taste

In the back of my throat

The swallowed secret

That makes me choke

Liddell's subtle, shining and shimmering guitar sounds hazily gorgeous over lazily funky beats in the closing minute. It's an absolutely stunning opening.

The pace changes and quickens with debut single Number 1. It's chiming guitar pop with Spector-esque beats. Kids are so naive, I wear my heart on my sleeve, cause baby you're my number 1, baby you're my number 1 is a brilliant chorus. There is a sublime instrumental that takes us to a final refrain.

Not Sorry slows things down again, the verses have so much space for the reflective lyrics, building to the chorus where Liddell's guitar bursts to life to back Carla singing.

My favourite memory of you will be of you in the morning

Never Saw It Coming was the second single that Poster Paints released back in August 2021. The flowing melody and guitar riff are beautifully entwined through the verse, leading to the chorus and the realisation of love lost.

I can't believe you're gone

I never saw it coming

Reflection and realisation come across in the lyrics throughout the album. I think they are the best that my sister has written. Equalled by the flowing melodies that deliver them. Her voice has matured beautifully and just seems to fit perfectly with Liddell's arrangements.

A splash of psychedelia/dream pop in the middle section is just lovely.

Circus Moving On is one of the best songs I've heard this year. Floating and gliding beautifully through the verses, it's mellow, tender and dreamy. Then ... at 48 seconds ... the slow burning star becomes a shooting star lighting up the night sky at pace. A double chorus is delivered with strings, beginning with the lines;

You say I need to walk before I float

But I'm already flying every day

Falling Hard is a pure pop sugary jangly rush, with Easton singing defiantly giving up is not on the cards, when I fall, I'm falling hard. Liddell's guitar jangles, chimes and fuzzes through an instrumental that takes us back to the chorus, one that you may well  find yourself singing after one or two listens.

Lomond Campbell is someone my sister has known for a while and I know that she was absolutely delighted to get the opportunity to work with him on a song. Ribbons aches beautifully, vocals and music are just sublime. Liddell's guitar in harmony with his friend Jonny Scott on drums.

There is plenty of space in the arrangement, playing and production. Everything seems to beautifully unrushed and dreamy.

Campbell & Scott are just a couple of the guests that the duo roped in. Both have declared that it was easier than normal to ask friends (from across the world - see below) to contribute to songs during lockdown restrictions. Ambitions helped by Creative Scotland which ensured that all musicians were paid. 

Poster Paints started when Simon sent Carla a piece of music and asked her to contribute some ideas. Easton wrote lyrics and a melody and returned a completed song. That song was Rupture, so it's only apt that it is included on the album. Liddell's guitar has a dirty jangle to it, taking an abrupt turn at 1 minute 25 seconds to chime. Easton's voice rises in the second half of the song as again she reminisces about a lost love, reminded of this every time she smokes cigarettes, I guess that's why I smoke them as much as I do.

Hard to Sweeten is a real favourite. It's like a lullaby, a truly special song. Guitar and keys/synth, draped with the most gorgeous vocal my sister might have sung to date. The closing instrumental section is just sublime. 

I was warned of love like yours, that's hard to sweeten

I adore a fire that burns, that scars me deeper

Another favourite is album closer My Song. This song builds slowly, surely and sublimely with Carla singing to a lost love I have you the chance to, have and to hold me. At 2 minutes 27-seconds the song begins to soar and glide on a gorgeous guitar riff, New Order-esque bass and synth. You get 2-minutes of this, but I would love an extended 12-inch remix stretched to at least 8. 

Poster Paints album is out now. Order online (can be delivered from the UK or the USA) or check your local record shop. Check a track by track run through by Carla HERE

What next for the band? 

Well they have been offered the chance to go to SXSW in spring 2023. Exciting ... but ridiculously expensive. Personally, I just hope they keep writing and recording. Simon and Carla have conjoured a collection of magical songs and have an amazing pool of friends they can call upon to create the sounds in their heads. With this album, they've brought out the best in each other.

The Hanging Stars & Gerry Love at Stereo

 

Friday night was one of those great nights when everything seemed to come together perfectly. Venue, sound, DJ, friendly local promoter, crowd, local support and a band from out of town coming in and playing their hearts out in appreciation.

I can't remember the last time I was in Stereo for a gig. The upstairs cafe bar is great for vegan food and a pint, but it must be 2019 anyway since I was last downstairs.

Gerry Love (yeah him again!) was the reason I got a ticket for the night. It was the 4th time I'd seen Gerry in a couple of months. But as I explained to my wife, I hadn't seen him live since 2019! This was making up for lost time.

Each show has been different. This time Gerry was joined by Paul Quinn on percussion, further fleshing out the Lightships sound. Noel O'Donnell on guitar and backing vocals/harmonies has been sublime. Will he go back to drums in the future? I kind of like the way Noel and Gerry are gelling. And then Tom Crossley on various keys/synths, flute and xylophone is a bit of a musical all rounder who brings so much to everything he is involved in. If there was a Glasgow Fantasy Bands League, you'd want Tom in your band.

Silver and Gold was my highlight from Friday night. Gerry's voice sounded as good as I have ever heard it. He hit a real sweet spot. Take The Long Way Round was beautifully gentle and euphoric, Ain't That Enough always sends warm tingles down my spine and Gerry's romantic heartfelt optimism was sprinkled throughout his set.

Glasgow has many basement music venues, the sound in Stereo might be the best. It was really spot on. I also mentioned the local promoter earlier. Holly Calder is a super stylish girl with impeccable taste and knowledge of music. As well as probably having one of the best record collections in Glasgow, Holly's taste in fashion is incredible and she regularly DJ's and puts on nights across the city.

So Holly was putting on The Hanging Stars, also putting them up in her flat for the night. The world (especially the music world) is a warmer place for people like Holly. 

Photo by Holly Calder

And Stereo was pretty warm by the time The Hanging Stars took the stage. A 5-piece, they created a brilliant sound. I would maybe say a little alt. country with a psychedelic tinge.

The band themselves would say Cosmic Americana from London town mixing desert haze with grey rain. They are definitely more poetic than me! A great description!

I have to admit that I hadn't heard of them before this show. A few of my friends at the show were surprised by this. I checked them out in advance of the gig and really enjoyed what I heard, but live, they really blew me away.

Singer Richard Olson had a stunning selection of guitars to choose from; 12-string acoustic, 12-string electric or at times a mere 6-string. Sam Ferman on bass and Paulie Cobra on drums kept things super tight, allowing Patrick Ralla on lead guitar and Joe Harvey White on pedal steel to whip up a storm.

White had a lovely selection of effect pedals and knobs to push and twiddle, creating a lush, warm sound that engulfed the Stereo basement and put big smiles on peoples faces. 

As I said, I'm not overly familiar with The Hanging Stars songs at present, but I'll change that over the coming months. Just the band I need to get me through a cold, dark winter.

Check their setlist below.

Special shout out to Patrick Cichy who DJ'd before, between and after the bands. Patrick's song selection is also listed below and he has uploaded it to mixcloud.

Stereo is a 2-minute hop and skip from Central Station, and my house is a mere 6-minute walk from Uddingston train station. So, as I said, a pretty perfect night! Great to catch up with so many friends.

Cosmic Americana from London town mixing desert haze with grey rain.

Killing Me Softly

Cover version of the month #80
Fugees cover Roberta Flack

The opening 35 seconds of Fugees Killing Me Softly is 35 seconds of Laryn Hill singing. Her pure, sweet and beautiful voice is utterly captivating. Her band then drop a hip hop beat and there is the sound of conversation as they encourage Lauryn to continue singing hey yo L, you know you got the lyrics.

Hill certainly has the lyrics, she certainly has the voice. The beat is joined by a bass and her bandmate Wyclef ad libbing one time. Something that everyone would do when singing along back when the song was released in 1996. It was massive, it was absolutely everywhere, topping the charts in over 20 countries. Killing Me Softly was the biggest selling single in the UK that year.

Fugees didn't just cover Killing Me Softly. In classic old skool hip hop block party style, they were sampling as well. Bonita Applebum by A Tribe Called Quest, which actually samples Memory Band by Rotary Collection is where Fugees got the distinctive riff that introduces the beats at the start and subsequent verses.

The song is stretched to almosty 5-minutes, Fugees are in no rush. Their cover version is warm, full of love and appreciation for the original, they just add a beautiful little bit of hip hop soul to put their own stamp on it. And they do it in style.

Now ... here we have another example of me finding out that what i thought was the original version ... wasn't the original version! Get ready for the story behind this involving Don McLean & Marvin Gaye!

I always thought that Killing Me Softly was a Roberta Flack song and I'm positive that all the press around Fugees version indicated that too.

However, the original was released in 1972 by Lori Lieberman who co-wrote (uncredited) the song with Charles Fox (music) and Norman Gimbel (lyrics). 

Lieberman was inspired to write the song while watching Don McLean in concert, in particular when he sang his song Empty Chairs. She scribbled notes and Fox & Gimbel worked them into a song (although there is a degree of dispute around who did what).

Lieberman released the song as a single, but it didn't chart. However the song did find its way on to the in flight entertainment system on a plane that Roberta Flack was on! She then played the song live in an encore while supporting Marvin Gaye who put his arm around her and said; Baby, don't ever do that song live again until you record it!

Flack did record the song, it went to number 1 and in 1973 she won a couple of Grammy awards.

The original version has a quaint folk-like quality to it. Lieberman sings beautifully, but there just isn't enough to it. Flack changes the intro, straight into the chorus. The layered harmonies create a new depth, the kick drum coming in all slow is beautiful. Flack's voice is stronger and more soulful.

Flack just lifts the song in all the right ways. The change to the intro, the pace, the use of keyboards/piano rather than the folky guitar in Lieberman's version. And ... the voice! What a voice! It's interesting that Flack's version is also a full 60-seconds longer than the original. She makes the most of that time, with the chorus intro from the very first second through to the end where she just keeps it going, keeps it flowing.

So there you have it. Roberta Flack's Killing Me Softly is a cover. The Fugees version is a cover of a cover! I love Roberta Flack's version, but the Fugees version just takes me back to 1996 when it really was everywhere. I love the video, Lauryn Hill is super cool and check the live version from Later. Fugees version has that whole block party vibe going on - it's a cracker.

All previous cover version of the month blogs are listed below. To listen, search for Everything Flows Cool Cover Versions playlist, featuring all of the songs below, on Spotify or CLICK HERE

Lori Lieberman version

Roberta Flack version

Fugees original video

Fugees live on Later

Previous covers of the month

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt

14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine

16. California Soul

18. Wonder wall 

19. Dancing In The Dark

20. Always On My Mind

21. Ceremony

22. Heroes

23. Different Drum

24. Wild Horses

25. Respect

26. Mr Tambourine Man

27. I Heard It Through The Grapevine

28. Superstar

29. Twist and Shout

30. Purple Rain

31. Baker Street

32. Not Fade Away

33. Stop Your Sobbing

34. I Don't Want To Grow Up

35. Serious Drugs

36. Dancing With Myself

37. How Does It Feel To Feel?

38. Love Buzz

39. ABBA-esque
40. Jumpin' Jack Flash

41. Discoland

42. Varshons 2 by The Lemonheads

43. The Langley Schools Music Project
44. Witchi Tai To
45. Our Lips Are Sealed
46. Sunshine Of Your Love
47. Here Comes The Sun
48. I Think We're Alone Now
49. Don't Let Me Down 
50. It's Oh So Quiet
51. Alcoholiday 
52. Summer Holiday
53. Who Do You Think You Are?
54. Head On
55. Nothing Compares 2 U

56. Hey Jude

57. Seven Days Too Long

58. L.O.V.E Love

59. Into Your Arms

60. Heart Of Glass

61. Take Me To The River

62. We Can Work It Out 

63. Talking In My Sleep

64. Lola

65. Lost In Music

66. My Little Red Book

67. Isn't It A Pity

68. Walk On By

69. Walk Away Renee

70. Tainted Love

71. Girls Just Wanna Have Fun

72. Listen The Snow Is Falling

73. Mrs Robinson

74. He's Gonna Step On You Again

75. In My Life

76. Caravan Of Love

77. The Only Way Is Up

78. Dancin' Round & Round

79. With A Little Help From My Friends