Sunday, 16 July 2017

Introducing Sun Rose


Sun Rose - great name, positive and warm - Everything Flows

Maximalist melodramatic funk-pop outfit from Glasgow - band description on Facebook

We like to take our time - Gus Wemyss, Sun Rose

For fans of Todd Terje, ESG etc - Maioux Miaoux

Sun Rose are a brand new band signed to Last Night From Glasgow (LNFG) who have just released their debut single Smirk ahead of their debut album later this year. Check the video below or head to iTunes to download or Spotify to stream.

Inspired by the likes of Talking Heads, Daft Punk, ESG and Kraftwerk, Calum Muir and Albert Kawmi began writing the songs which would form the basis of the Sun Rose debut album over the winter of 2013/14.

The friends had previously in a band together - Nevada Base - but then life got in the way. Things stalled a little until Gus Wemyss (also a previous member of Nevada Base) got involved in 2015 and by late 2016 Julian Corrie (Miaoux Miaoux and now Franz Ferdinand) was involved with production and mixing.

The completed album is an absolute gem - techno, electro, melodic, funky, disco, harmonies.... I'll be blogging about that nearer the time of release.

One of the beautiful thing about this band is that their only ambition was to release it on vinyl and play a couple of shows! It is all about the music - so much so that they have only recently set up a Facebook page. And the band name was only confirmed shortly before the release!


Smirk is fantastic - the guitar playing, vocals and changes in pace mean that there is an edge throughout. The piano break is sublime and then the synths and beat take things higher. The final 30-seconds take things even higher and leave you wishing for an extended mix. I can't wait to see and hear them play it live.

The Brian Sweeney produced promo video features members of the band and members of the LNFG label in a kaleidoscope style effect - keeping with the flow and changes of the song.

Check it out below.


Wednesday, 12 July 2017

Never Ending Mixtape part 10


Welcome to the latest additions to the Never Ending Mixtape.

We flow through hip hop, euphoric disco, a synth masterpiece from Drive, punk pop and some stunning guitar pop from Scotland.

The Never Ending Mixtape now has 157 songs - over 11 hours of music for you to explore and enjoy!

So delve in from the start, or skip to the end to play the songs listed below.



Know How - Young MC
The bassline was 'borrowed' by the Stone Roses for Fools Gold.

Le Freak - Chic
Sublime.

Testify - HiFi Sean
A current fave in our house.

Thinking Of You - Sister Sledge
Possibly my favourite Nile Rodgers song.

A Real Hero - College featuring Electric Youth
I still remember hearing this in the old Captains Rest and demanding to know what the hell it was - it still (and always will) sounds incredible!

I Want To Kiss You - The Spook School
Punk pop perfection - full of energy

Alison's Starting To Happen - The Lemonheads
Contains one of my favourite lyrics ever She's the puzzle piece behind the couch, makes the sky complete

Stutter - Elastica
A reminder of why Elastica were so well loved when they burst on to the scene

Baby Gets High - Blake Babies
A gorgeous song by Juliana Hatfield and co

Panic On - Madder Rose
I have this on 7-inch and it remains a fave

Say Something New - The Concretes
You Can't Hurry Love - The Concretes
2 moments of pop perfection from The Concretes

Let's Get Out Of This Country - Camera Obscura
Lloyd I'm Ready To Be Heartbroken - Camera Obscura
2 moments of exceptional music from Scotland's Camera Obscura

Nothing To Be Done - The Pastels
Thank You For Being You - The Pastels
And 2 moments of brilliance from the legendary Pastels

Vapour Trail - Ride
I blogged about their new album last month, but check this guitar gem

April Skies - The Jesus and Mary Chain
Another stunning piece of Scottish guitar pop

Discolite - Teenage Fanclub
Radio - Teenage Fanclub
And 2 Gerry Love beauties



Tuesday, 11 July 2017

Introducing new Scottish music

The Second Hand Marching Band
Featured in a few blogs over the years

While my blog is completely free range - allowing me write about anything I desire at any time - I do love to discover new and up and coming bands/artists on the Glasgow/Scottish music scene.

I am now in the tenth year of writing my blog. So I've enjoyed looking back over some old blogs and I have to admit to being pleasantly surprised at the number of live reviews, interviews or features of DIY/unsigned artists that I have covered and in some cases championed (or managed/advised).

Here are links to blogs written on discovering bands/artists for the first time. Sometimes literally on formation, maybe at their first gig and on occasions - a long time after I should have heard about them/seen them/listened to them. (I have blogged about many of them more than once)

As a co-founder/board member of Last Night From Glasgow, I'm taking even more of an interest in the Glasgow and Scottish unsigned and DIY scene, determined to use the label to give artists a platform or a leg up to the next level. So look out for (semi)regular 'introducing' features.

Feel free to get in touch with recommendations.

Previous introductions include (note the list isn't exhaustive)

Sonny MarvelloSecond Hand Marching BandSeventeenth CenturySkies FellAdmiral FallowMiaoux Miaoux Conquering Animal SoundRoddy Hart and the Lonesome FireDiscopolisLady NorthPawsAdam StaffordThe Moth and the MirrorNevada BaseRemember RememberRachel SermanniErrorsThe Son(s)Warren McIntyre and the Starry SkiesTeenCanteenRick Redbeard ChurchesVelveteen Saints ,Flash TalkSkinny DipperDr Cosmos Tape Lab ,Tuff LoveKloeNeon WaltzInsomniac ProjectNovember Lights , Best Girl Athlete , Wuh OhColonel Mustard and the Dijon 5Catholic ActionKiDDSpinning CoinSaint PHNXMark W GeorgssonEtteEmme WoodsStephen Solo, BooHooHoo, The Vegan Leather, Outblinker , Gerry Cinnamon , Medicine Men , The Bar Dogs , Fnuf and the Fairylights , Mark W Georgsson , KVASIR ,

Also see 16 for 2016 

The Moth and the Mirror

Monday, 3 July 2017

Introducing - Radiophonic Tuckshop



Do you fancy discovering a band full of melodies, hook, humour, invention and a touch of psychedelia who sometimes record on an old Tascam Cassette Recorder? A band that are still evolving and haven't even played a handful of shows yet but have an EP coming out?

A band who describe themselves on Facebook as wonky pop, looney tunes and merry melodies, all swimming in nutty effects with a rich Beatleish undercurrent, clattering along like Supergrass doing Badfinger by way of an XTC Bond theme, all compressed vocals, ringing and lightly toasted guitars, stop/start riffs and a brilliant rhythm section. Extradordinary - slightly psychedelic and Super Furry super-tuneful!

I hope so!



Well look no further than Radiophonic Tuckshop, the new band formed by Joe Kane, the effervescent fizzbomb who has been in (and still is in) a number of other bands including my personal favourite Dr Cosmos Tape Lab. If you haven't read any of my previous blogs on them then check them out HERE Their Beyond The Silver Sea LP was my album of 2015.

Joe has recently contributed to the latest BMX Bandits album that you can read about in last months blogs, produced the Ette Homemade Lemonade album (and played on it and co-wrote the brilliant Heaven Knows) and still travels the world playing in Beatles tribute bands, including the famous Them Beatles - not a bad way to make a living and one that indicates his talent.

That talent has transferred to his recent project - Radiophonic Tuckshop who I caught at Nice n Sleazys back in April when they supported TeenCanteen. They played brilliantly and sounded superb and from a chat with Joe it all sounded very spontaneous and exciting - so I thought I would email him some questions to find out more.

You can read the interview below and look out for their debut EP coming out via Last Night From Glasgow in July with a launch show at the Hug and Pint. Excuse the cut and paste format, something went wrong when copying Joe's answers - hope you think it looks cool!



1. How did the Radiophonic Tuck Shop form?

I'd been toying with the idea of a new project for the best part of last year but wasn't keen on making it the ONLY JOE KANE solo ego-fest type thing again. I fancied more of a fake band ethos and Radiophonic Tuckshop was one of the names I had floating around that I was quite keen on. I started working on new songs and recordings at the end of last summer but was getting a bit fed up with me playing everything. It can get a bit hard to surprise yourself musically doing all the instruments.

The guys from Freckfest contacted me around March and asked if I fancied supporting BMX Bandits which I thought sounded fun but I didn't have a band and told them to leave it with me. I contacted a bunch of my longtime friends (who mostly happen to be musical) and luckily found a bands worth that were free and up for it. Sessions were easygoing and within 2-weeks we had a set. Everyone didn't hate it and seemed quite keen to carry on past the initial gig. Quite good!

2. Does this mean the end of Dr Cosmos Tape Lab, or is that a project you might return to in the future?

We're very together and in constant contact but just a bit busy with other things. I got a bit busy with being away for a long spell (or two) so we lost momentum but we have a full LP in the can awaiting release and we will record again in the near future. Side 2 is one long song suite/ghost story entitled Dead Man's Pyjamas and it's the best thing we've ever created. We recorded 4 albums plus a bunch of b-sides in two years so everyone deserves a rest!

3. You've got an EP coming out - tell us about the sounds and the songs on it

We knew we were going to do an album but had fresh arrangements of some older songs of mine that I thought had fallen by the wayside in the past so we decided to do them as their own little thing. The new live versions were all improvements so it seemed like a good idea to get them down. We decided to record the band live to the Tascam 424 mkiii 4-track cassette recorder (last used on Beyond The Silver Sea) at the room we rehearse in (Ian our drummers magical 'Bunker'). It took us one evening to record all of the backing tracks then another few weeks of drop in overdub sessions for vocals etc. 

Running Commentary is the most obvious poppy one and in a previous life it was a less rocking more ornate arrangement that didn't work quite as well. It's more power-pop now and it suits it. We had fun on the video (coming soon) wearing silly trousers and taking over a street for an afternoon.

Buried Alive is the oldest song on the EP and has never been released in any form. It originated around 2004 and existed only a a skeletal late night demo for a long time but I always enjoyed its spookiness and thought it had a bit of potential.

Rockingham Palace Revisited started out as a drone jam which I banked thinking later on it could be reversed and used as the basis for something and that's exactly what I did. I sat up until 5am the other week recording bird song out of the window and harmonising with myself through a pedal basically trying (and failing) to do Dennis Wilson. Bring It On Girl was recorded (with Marco Rea) a few years ago for a Shindig magazine cover CD that never actually happened so I suppose it's never been released. This new version was fun to do with the whole band. It's about accidentally getting married and trying to escape an island of misery (true story). My favourite one is maybe As Hard As I Feel which is a song that doesn't make much sense really but is more of a feel and sound piece (!) than a standard song. It's like 3 and a half minutes inside my head. I can see us going down more of this route sonically than the standard guitar pop direction in the future.

4. Do you have future plans for the band? Things have happened quite quickly to date

We are now officially in album writing and recording mode. It's very exciting and I think it will be a real mix of sounds. We have the full band to play with but I also like the idea of more electronic sessions and bringing in additional instrumentation. I feel like I've made variations of the same weird pop record for the last 15-years and want to push myself production wise and experiment a bit.



5. What kind of stuff are you listening to at the moment?

I enjoy lounge and exotica stuff, late 70's and early 80's groove stuff, especially the extended 12-inch versions of things. I love a lot of the Bollywood stuff from the 70's too and I think arrangement wise there's a lot of stuff I'd like to draw on from those genres. I obviously listen to all the usual good stuff as well and will probably f**k off all these exciting ideas and just re-write another 12 Beatles and Beach Boys songs. That's OK too!

6. You are well known for your love of The Beatles - what do you make of the Sgt Pepper 'makeover'?

It's mostly a worthwhile endeavour but there's a few things I wasn't so sure about, like panning the lowery organ part of Lucy In The Sky With Diamonds. What was all that about? When it becomes someone who has nothing to do with the original music creation and production taking liberties like that then I think they need to have a word with themselves. The 2 bonus CD's of outtakes is where it's at for me.

7. Do you have a favourite Beatles album? Is it possible to choose just one?

I love different albums for different reasons! Love them all. White Album has probably been the most influential though as it was a favourite for a long time as it made it OK to put out a whole bunch of wildly varied stuff on an LP. It's like a catalogue of brilliant production sounds.

8. How do you write your own songs?

When I write songs I either start on a piano, guitar, ukulele or even a Casiotone and just feel about to see if anything's there. Usually not. Sometimes things can write themselves quite quickly or you just get a wee bit that you can bank for later. I'll hear a section in my head when I'm out occasionally and just whistle it on to my phone and pick it up when I get home. That's quite good. A lot of the time I just start working on a piece of music for fun and the song comes over it later and it ends up the finished thing. It's good to not have one way of doing things and to try out different methods from time to time.

9. Is there anyone you would like to write with?

Always Stu Kidd. We always come up with something. That will happen again. Same with Nic Denholm my old writing partner from The Owsley Sunshine. We always come up with something even though he is in LA now. Duglas and Marco I'm also a fan of and enjoy working with them too so more of that would be good. Aside from people I've worked with before though I'd love to write with the Radiophonic Tuckshop guys. There's a lot of scope there and I hope they all contribute to new material and it's not just my hackneyed old ideas! I really enjoy collaboration and I'll write with anyone if it's fun and fruitful. It usually is.

10. What can we expect from your live shows?

Silly trousers and weird loud pop songs. We want to become a bit electronic so we'll gradually ass new songs and instruments. We'd like to do more festivals and have our own dancing troupe. It might happen. We're having fun creating and we hope we can entertain people with it. If no-one likes it and we still have fun that's the main thing.

Radiophonic Tuckshop play the Hug and Pint on 30th July to celebrate the release of their Running Commentary EP via Last Night From Glasgow on 28th July. Tickets and ltd edition physical EP HERE




Monday, 26 June 2017

Weather Diaries by Ride


Weather Diaries is the sound of 4 friends reconvening after a couple of decades of life experience and rediscovering the chemistry that once propelled them to the forefront of the UK indie scene. The fire has been relit and on the stand outs Ride sound fresh, vital, forceful and like they are having fun.

Erol Alkan produces and what a splendid job he does; there are the fantastic guitar sounds you would hope for (and expect) on a new Ride album, Andy and Mark's voices combine gloriously, but there is also a little pop edge that Alkan is perhaps responsible for.


The album opens with Lannoy Point, a groovy instrumental jam for over a minute before Mark Gardner returns on vocals singing about being wiser for time and a better sense can start again. It's a promising start - dreamy vocals, good groove and chiming guitars at all the right moments.


Erol Alkan's production comes to the fore on All I Want with a distorted sampled vocal at the start, the music is suddenly more psychedelic, the drums sound fantastic.  Ride still like to sing about feelings (see Lannoy Point) and some of their lyrics are still touched with the teenage innocence that won them so many fans back in the late 1980's early 1990's.

I can feel how you want me to feel
I can know what you want me to know

The backing vocals are pure early Ride and when Mark Gardner and Andy Bell combine in harmony then magical things can happen. I think back to their Glastonbury 1994 performance for their Carnival Of Light album when they just looked and sounded like the kind of band I wanted to be in.

Ride at Glastonbury in 1994

The title track is a beauty, especially when it hits the chorus and everything is lifted in that glorious psychedelic way that Ride can hit when on form, all swirling guitars and harmonies.

I'm unsettled by the weather, it's getting stranger, 
Should it be this good right now? Are we in some kind of danger?
Is this atmosphere just me, or is the sky too blue?
It's too perfect, something's got to give
I'm going inder, where are you?

Rocket Silver Symphony has a slow pulsing synth instrumental intro suddenly bursts into life after 2-minutes as Ride find their guitars and pedals. The synth then has a groove and the vocals are more poppy than normal for Ride, but then they return to classic Ride harmonies for the chorus.


Lateral Alice zips along at under 3-minutes and sounds more American than any previous Ride recording, even mentioning surfing!

Cali takes things further and is extended to over 6-minutes. Gardener and Bell sound brilliant, a standout on first listen and also a few listens down the line.

The album closes with White Sands, a song clearly about the bands break up and make up. It's only after a few minutes that it turns into a song that sounds remotely like Ride - the Ride we know.

The breath between twenty years
That same breath tonight
We'll always betray ourselves
Always hold back time

Weather Diaries has enough to satisfy old fans and win new fans and turn them on to their back catalogue. More importantly, Weather Diaries sounds like a band not only rediscovering themselves, but strengthening friendships.



Sunday, 25 June 2017

Stone Roses split?


Don't be sad it's over, be happy that it happened - Ian Brown, Hampden Park, 24th June 2017

With that statement and a snatch of Beautiful Thing - hear me it's a beautiful thing and I say bye bye fans of the Stone Rose have been left wondering if the bands celebrated reunion is over. Since the summer of 2012 the band have played around the world and made hundreds of thousands of people happy, people who never thought they would ever see the band live, never hear them play their joyous songs. In the process the band have made their deserved millions, they had been shafted first time round - caught in legal wrangling over record and management contracts.

Roll back to late 2011 and I was beside myself, Stone Roses were reforming. I tried desperately for tickets for the first two Heaton Park shows, my mate secured me one for the Sunday.

Later on they announced a string of shows across Europe to warm up and get arena ready and I went over to Amsterdam - they were magical, the Sunday at Heaton Park was my dreams come true.

Meeting Mani in Amsterdam

Glasgow Green the following year was a disappointment - at least for me. Fights, bottles flying and a dangerous vibe in the air was a far cry from the atmosphere at Heaton Park the previous summer, they then made up for that at T in the Park last year, playing a blinder. Made of Stone, the Shane Meadows documentary captured the magic, what they meant to the fans and the incredible shows they played - but the Roses kept schtum.

T in the Park 2016 for the Roses

But All For One was awful, I turned on the radio and thought it was Kasabian or someone like that. It was more like The Seahorses than the Roses. Beautiful Thing was much better.

Although I longed to see the Roses and for new material, I also longed to hear them speak, to read their interviews, to see what they made of the world, politics, the changing times....we've had nothing since the press conference in 2011.


When they announced their latest string of UK summer shows I barely batted an eyelid, I didn't try for tickets - the fact that Hampden is a terrible venue was only a small part of the reason.

Even when the rumours broke that Hampden was to be the last Roses show, I wasn't too bothered. It showed - this year there had been no secret shows, small European shows or rumours of new material or photos of their gear being loaded into studios.

The fact is; I had done it. I had seen the magical, mystical Roses; I've sang my heart out, I have cried, I have been hoisted up on friends shoulders, I've punched the air in delight and I've done my fair share of dad dancing.


Back in 1990 Ian Brown was asked about the Roses turning down a support slot with The Stones and he replied something like 'It's 1990, The Rolling Who? They should have friends who care about them enough to tell them to pack it in.'

If you've read previous Roses blogs I have written, if you know me, you'll know how much I love them. But I kind of feel like that about the Roses now. This year it felt like they were milking it and going through the motions. I didn't want to go and see that.

So how do I feel this morning..... mixed emotions....

Kind of gutted; the Stone Roses being together made the world a better place, it put smiles on faces, it allowed people to forget their worries, cares and the state of the world for a day. They allowed people to relive their youth, to celebrate it with their kids, to come together to celebrate a remarkable band.

I hope the kids that went to see the Roses pick up guitars and form bands - that is what the Roses always wanted.

4 people who will always be defined by their music and friendship got back together and made people happy. Whether the 4 are still friends or not is another matter - reports from Hampden say that there were 2 separate embraces on stage last night, with Ian and Reni notably not together. My friend was down the front and he said Mani was crying - there isn't a bigger fan of the Roses than Mani himself.

Going back to Ian's quote from last night - I am truly happy it happened.

And on the flip side it feels like it is the right time to call it quits if there is no new music. Rumours are also abound that Ian Brown will be releasing a solo album in 2018.

We'll find out soon.






Friday, 16 June 2017

Fools Gold 9.53



Fools Gold was the sound of Stone Roses at their peak, almost 10-minutes of funk groove via bass, beats, wah-wah guitar, samples and the coolest person in the world at the time on whispered vocals about friends searching for gold and ready to steal it off each other.... oh and the Marquis de Sade.

This inspirational tune came beautifully presented in artwork by guitarist John Squire entitled Double Dorsal Doppleganger - everything about this release was perfect.

Although it nearly wasn't; What The World Is Waiting For, a supreme slice of Roses guitar pop was originally intended to be the single, it was then changed to a double-a-side before then to all intents and purposes (and on rerelease) being relegated to the b-side.

The Roses released their legendary eponymous debut album in the spring of 1989, perfect timing for the second summer of love. Prior to this, there was a string of incredible guitar pop singles; Sally Cinnamon, Elephant Stone, Made Of Stone, She Bangs The Drums and Adored with all the glorious b-sides that came with them like Mersey Paradise, Standing Here, Where Angels Play and Going Down - but nothing, not even the album closer I Am The Resurrection, hinted where the Roses were going to go next.

They went off on one, sampling the beat from Bobby Byrd's - Hot Pants (bonus beats) with the bass line from Young MC's Know How, which itself was loosely based around guitar from Isaace Hayes Theme From Shaft.

The bass line is inspired by Young M.C's Know How 
which was a tune we were really vibing off at the time 
Mani


Fools Gold was recorded over the summer of 1989 and released in November of that year. If the Roses album had been the soundtrack to pre and post club parties, Fools Gold became the sound of the party - the real indie dance crossover - if there really is such a thing, the Roses would pour scorn on such statements, they simply made the best music they could.

The beat and bass groove are in from the start, it's fresh, it's funky, it sounds like nothing 4 white boys from Manchester should be creating. But then things were changing dramatically in 1989, particularly in Manchester, a city embracing ecstasy and all kinds of music from Detroit to Ibiza - people wanted to dance and expand their horizons - international, continental.

Brown doesn't take long to come in the gold roads sure a long road, winds on through the hill for fifteen days

Things move up a notch for the I'm standing alone ... section and all the time the beat and bass keep grooving while Squire coaxes majestic sounds from his guitar.

By the time Brown whispers his last Foo-oo-oo-ools Gold we still have over 4-minutes left of this incredible tune and we are treated to the magical delight of Reni, Mani and Squire vibing and riffing off each other. They sound in their element. The sounds Squire generates from his guitar sound other worldly, the best and most original guitar sounds from someone in Manchester since Johnny Marr created How Soon Is Now?

The Roses were a band of their time, but so good that they have stood the test of time. Good songs always do, but it was their look, their hair, clothes, style, appearance and attitude that combined with the songs, artwork and dance culture to elevate them way beyond other bands.


Their Top of the Pops appearance where they mime to Fools Gold was a landmark, with fellow Mancunians Happy Mondays playing Hallelujah on the same show - the times they were a changing.

Brown looks immaculate, his hair is super cool, swagger and confidence apparent and he looks like the coolest person in the world. Mani looks like he is partying on stage, swinging his Jackson Pollock-ed bass, flares on and lost in the music, Squire looks like a guitar god with a Beatles mop top and Reni acts all cool and semi interested in miming.

I can't help but think what if? What if they could have recorded an album of groove based trippy material? Something's Burning was another beauty and although Ian Brown has admitted he was never happy with One Love, you think of the album that they could have been working towards. Instead they became embroiled in legal disputes over management and label contracts, moved to different parts of the country and all started taking different drugs.


Decades down the line, if anyone is researching music in 1989 and wants to see the coolest band in the world at that time, I hope they find this film.

Fast forward to Heaton Park in 2012, the Roses huge homecoming shows. I'm there on the Sunday evening, lost in the music and an atmosphere so off the scale that some Manc scallies attempted to bottle it and sell on eBay!

Fools Gold is stretched to nearly 13-minutes; kicking off with a funky jam that I first heard when I saw them in Amsterdam and wondered it if was a new tune, but then the bass riff and beats kick in and Squire matches Mani. The incredible musical trio of Squire, Mani and Reni completely own this extended live version - from 6-minutes on they take the crowd on a psychedelic funk trip like no other, Brown comes back in with one final vocal, before they go off on one.

There is a breakdown to bass and drums before Squire starts to shred his guitar Hendrix style, his rhythm section is so tight that he has time to fiddle with effects, then tease and show off by dropping in riffs like Daytripper by The Beatles, a dash of Zeppelin and even add in Driving South from the Second Coming. It's outrageous, it is the Stone Roses, it is the sound of a band at their peak.....even now.



Tuesday, 13 June 2017

Mr Tambourine Man

Cover version of the month #26



Hi we're called Teenage Fanclub and this is a song by The Byrds

This is how I was introduced to the legendary Bob Dylan song. I recorded Teenage Fanclub live from Reading off the radio back in 1992. I was immediately hooked on the chiming guitars and flowing lyrics and the imagery of the song, the title too!

The Fanclub version was pretty true to the 2-minutes of pure guitar pop genius that The Byrds produced in homage to Dylan back in April 1965, only a month after Dylan had released his classic Bringing It All Back Home LP. The jingle-jangle mentioned in Dylan's chorus is replicated by beautiful 12-string Rickenbacker in the Byrd's version.



The Byrd's manager had acquired an acetate of Dylan's original recording of the song, ear-marked for Another Side Of Bob Dylan, but the author decided the song was special and he hadn't captured it correctly, so he held it back for his next LP, re-recording it in January 1965. Ironically the month The Byrds recorded their version!

One of Dylan's many masterpieces, Mr Tambourine Man is a flowing psychedelic poem that lasts 5-minutes and 27 seconds, during which time Dylan barely pauses for breath (either singing or playing harmonica) and a guitarist called Bruce Langhorne plays some exquisite lead guitar.

The Byrds cut out most of the verses and in 2 and a half minutes they produce something utterly compelling and vital. The harmonies are glorious, the guitar riff is one that must surely have made kids pick up a guitar. Roger McGuinn's lead vocals are sublime, suiting the dreamy and surreal lyrics penned by Dylan.

 Dylan played around with Mr Tambourine Man a lot, producing a remarkable version on his Live At The Budokan album which was one of the first Dylan albums I bought. Listen to the flute and the incredible organ solo - what a band! You can listen to this version below along with the original, the glorious Byrds cover and also one by Stevie Wonder.





Previous covers of the month

Thursday, 8 June 2017

Never Ending Mixtape Part 9


18 songs are added to the Never Ending Mixtape this month. It all started back in October 2016 when I finally signed up to Spotify after years of saying I never would.

I still buy physical copies of records and cd's, but have to say that I am loving Spotify and the way I can discover music - new and old. And I've always loved making mixtapes, compilations CD's, playlists.....and now I have the never ending playlist with new tunes added monthly.

It's all oldies and goldies this month; indie, pop, motown, electro.....loads to check........ the link to the Spotify playlist is below and the latest tracks are listed below that.


Star - Primal Scream
Blissful from Primal Scream

How Does It Feel To Belong? - Primal Scream
Dreamy psychedelia - stunning b-side that a friend reminded me about.

Juxtaposed With You - Super Furry Animals
One of my favourites from the Welsh wizards of melody and psychedelia

Dry The Rain - The Beta Band
A gem, a true gem. I caught them at their last ever show at the Liquid Room and the crowd just kept singing the refrain after they had finished.

Silent Sigh - Badly Drawn Boy
This guy could pluck a gorgeous melody from a rubber band - beautiful

I Love You - The Bees
I love the feeling and production on this song.

Baby I Need Your Loving - The Four Tops
What a tune! Pleading, emotional and uplifting - soul.

I Second That Emotion - Smokey Robinson and the Miracles
Listen to Smokey's voice - incredible

Jimmy Mack - Martha Reeves and the Vandellas
A current fave with the kids in my house, so simple and so clever.

(I'm A) Road Runner - JR Walker and the All Stars
Got to keep on keeping' on!

Just A Little Misunderstanding - The Contours
A fave - love the feel and flow of this.

Stop Her On Sight (S.O.S) - Edwin Starr
Just full of hooks, this will have you singing on first listen

Belfast - Orbital
This once soundtracked the end of many a night out - blissful bubbling and soothing synths.

Pacific State - 808 State

You Wish - Nightmares On Wax
What a groove!

Same As It Ever Was - The Herbaliser
Another brilliant groove

Music Takes Me Up - Mr Scruff and Alice Russell
Mr Scruff is one of the best DJ's I have ever seen, I love his eclectic style and taste and monster sets.

Salvation - Rae and Christian
Was lucky enough to catch a rare show by this Manchester band at King Tuts many years ago. How beautiful this?!

Monday, 5 June 2017

Different Days by The Charlatans


The Charlatans have swiftly followed up their excellent and well received Modern Nature album, which contained some career highlights, with Different Days - the bands 13th studio album. And I am delighted to report it's a cracker! There is a great feel across the whole album, a sense of freedom, of confidence, of fun....the production is fresh and flowing. Co-produced by the band and Jim Spencer at the bands studio in Cheshire.

That sense of confidence and freedom is enhanced by the guests The Charlatans invited to participate - Johnny Marr, Paul Weller, Ian Rankin, Stephen Morris, Pete Salisbury, Anton Newcombe, Sharon Logan, Kurt Wagner and Nik Void.

The Charlatans are the band that keep giving; restless, relentless, innovative and constantly developing. In addition to the 13 studio albums, there have been live albums, remixes, EP's, compilations.... not to mention Tim Burgess' solo efforts. Are they the most prolific British band over the last (near) 30-years?

Tim is singing better than ever and as this blog has mentioned before, he has embraced social media (and the change in the record industry) with an energy and understanding that other artists should look to for inspiration.

The Charlatans launched Different Days with a ..... different day. Taking over Oldham Street in Manchester's super cool Northern Quarter. There was Tim Peaks Coffee, their own beer, items donated to Oxfam, a signing in Piccadilly Records and much, much more. Check this short documentary film.

Fear not, the band return to the traditional promo model with a UK tour at the end of the year, including a date at the O2 Academy on Monday 4th December. Shame it's not the Barrowland, next time!

On to the album;


Bathe in the sunlight
Is everything alright?

Hey Sunrise ushers us into Different Days in a beautiful warm manner; acoustic guitar, piano and a hushed Tim vocal and then it all lifts gloriously in that special Charlatans punch the air, euphoric, feel good style. Written at 5am, hence the hook;

It's beginning to look like it's light
It's beginning to look like it's quite bright

The Charlatans are a band who always look for solutions to challenges, they are glass half full, so Solutions is a great song title for them.  Described by Tim on Twitter as 'Crosby, Stills, Nash and Young meets Neu!'

Always running out of time
Building a dream out of reality

You would expect the title track to be good.....and it is. A Japanese introduction leads to a beautiful melody (vocally and piano).

Future Tense is a clever bridge from Different Days into Plastic Machinery, continuing the melody and with a spoken word by Ian Rankin that leads into a burst of pure Charlatans pop.

Plastic Machinery was the lead single for the album and it was the right choice. The band sound fresh, vital, urgent.... Johnny Marr on guitar.

I too feel part of the machinery
I know it's hard to be accepted
Our life is just like a dream to me
At times it's good to be rejected

So let's just run, even if only in our heads


Not Forgotten sounds like it could have been lifted from The Charlatans eponymous album released over 20-years ago. It has a real groove to it

I know where the past begins
And the future ends
Time is my friend

There Will Be Chances is sunshine romance, with a cracking melody and groove - pure summer. Set to be a Charlatans favourite. Described during the Twitter listening party by Tim as 'super optimistic, giddy euphoria, spacey.'

If you stare into space
You might not find answers
But if you look to find a trace
There will be chances



Over Again is brilliant, Burgess is on fire with his vocal melodies and delivery across the whole album, speeding things up, slowing things down....just sounding like he is having fun. The electronic pulse and percussion driving this tune is great. It's quite New Order - a compliment I'm sure Tim will love. Apparently written for Neneh Cherry to sing, hopefully that will happen sometime.

Write a message in the sky
Anything to get your eye


The sense of fun and freedom that Burgess has across his wide portfolio of artistic endeavours these days really comes across on The Same House - it is pure Talking Heads! Ace! Very different, very cool and just wait for the extra beat and groove to come in - superb.

We can live in the same house
We can all wear matching shoes

Let's Go Together is another beauty, it sounds and feels remarkably fresh, the playing and production across the album are sublime.

The Setting Sun is a brilliant short instrumental (possible entrance music) leading into the stunning finale of Spinning Out, a co-write with long term hero and friend Paul Weller who plays piano and sings backing vocals. This will melt your heart. Tim sounds amazing and there is such a nice feel to this - an emotional one - a good one. Described by Tim as 'Memories of childhood and the ones you make today for your children.'

Different Days is out now - get a physical copy from your local record shop or by visiting www.thecharlatans.net or head to Spotify or iTunes.



Tuesday, 30 May 2017

Teenage Fanclub at CCA Glasgow

On Monday 22nd May I was supposedly having a day of not checking Facebook. Something (possibly addiction) made me log on. The top story on my news feed had been posted a few minutes earlier by my favourite band - they were playing a Primavera warm up show the following week at the the CCA (Centre for Contemporary Art) in Glasgow, tickets were on sale immediately.

The post only had a few likes and comments at that point, I acted quickly, logging on and buying 3 tickets at £20 each. It was only then (selfish I know) that I shared the information on my own Facebook page, on Twitter and on the Teenage Fanclub Fanclub page.

Things went a little crazy, the CCA website went down, their phonelines were engaged, they were receiving tweets and posts from people desperately trying to get tickets. Thankfully a lot of local Teenage Fanclub Fanclub members I know were successful, but others were not.

On to the show itself.


After dinner and some pre show beers my friends and I wandered into the CCA shortly after 8pm to make sure we caught most of the support band Elephant Stone. I wondered if they were Stone Roses fans. That remains unclear, but they are definitely fans of chiming guitars, grooves and psychedelia - they had one song that involved the lead vocalist swapping his guitar for a sitar and sitting cross legged and getting lost in a sensational groove with his band mates. The 4-piece had enough about them to make me want to check them out further and they generated a great response from the crowd - there was no polite applause here, genuine appreciation and curiosity with many craning to find out how they were creating their sounds and grooves.

Elephant Stone were then hot footing it across town to Mono to play their own headline show. They couldn't thank Teenage Fanclub enough for allowing them to support them on home turf and the Fanclub's generosity certainly won them some new fans. Check one of their tunes below;


On to the Fanclub themselves. They hadn't played live for around a couple of months, so this hastily arranged warm-up show had been booked to scrape off any rust ahead of forthcoming festival appearances. Based on the evidence of last night, there was no real need - they were far from rusty, not that anyone was complaining.

The CCA capacity is only 250, so it was a real thrill to see the band in such an intimate venue and an added bonus that we were right down the front to experience it.

There was no need for fancy lights or any kind of intro, this was Teenage Fanclub plugging in and playing - Blake, Love, McGinley, MacDonald and McGowan; 2 guitars, bass, drums and keys. They sounded absolutely sublime.


Start Again got things off to a flyer, but it was Gerry's Sometimes I Don't Need To Believe In Anything that was an early highlight - being so close to the stage meant that you could see, hear and feel everything and it was Francis' drumming that caught the ear and the eye, he was in simply sensational form, all over his kit and knocking seven shades of sh** out of it. Gerry was laid back, creating bass grooves and painting a picture of an autumn sunset.

Norman was his usual cheerful self, talking of his need for a haircut, jet lag and how this was the bands 76th show since November last year, prompting one die hard next to me to say 'yeah but what about the 5-year gap?' It was all good natured, but hopefully it won't be so long before the band record and tour again. Norman's voice gets better every time I hear it - angelic.

The setlist was largely the one that had been used for the majority of the aformentioned tour dates; new songs from the Here album sat easily alongside bonafide Fanclub classics. Hold On, Thin Air, Darkest Part Of The Night, a rip roaring I'm In Love and I Was Beautiful were the chosen ones from the latest LP.


There was one false start, but apart from that this was a cracking Fanclub set in a relaxed and friendly environment; Norman sang like an angel as always, Gerry was laid back cool, Raymond fired off riffs and solos for fun, it was a delight to watch Francis drum up close and Dave McGowan holds and boosts it all whether on keys or guitar.

Don't Look Back received a great reception, one of Gerry's masterpieces; but then messrs Blake, Love and McGinley have so many. From the power pop of About You, to the euphoric chorus of Ain't That Enough, to the blast of pop brilliance that is Sparky's Dream, the Fanclub ticked all the boxes and more last night.

The Concept was particularly glorious, the second section took me somewhere; the guitars chimed and combined and the bands voices sound sublime, it was glorious.

Star Sign and Everything Flows continued in that vein, the guitars sounded rich and true and even in a tightly packed venue there was room for a few of us to pogo down the front.

Teenage Fanclub are a special band, it was great to see them kick up a storm by announcing a show at short notice in such an intimate venue and a genuine pleasure to see and hear them at such close quarters. Their last show is currently scheduled for 21st July - it would be amazing if they could squeeze in another few summer shows.




Saturday, 27 May 2017

Into The Light - Medicine Men


The pulsating and hypnotic synth of A La Llum opens Into The Light, the debut album by Medicine Men in captivating fashion. Backwards guitar, percussion....in just over 70-seconds we are introduced to the melting pot of sounds that Medicine Men can create.

It is a beautiful opener, maybe too short, but you won't be cursing that for too long as it leads straight into the stomper that is Show What You're Made Of. One of the oldest songs on the LP, it leaps off the vinyl with an urgency, flow and style that will hook you on first listen.

Ian Mackinnon's vocals ring true and his band mate Michael McGeoch's keys and synths sound sublime. The two permanent members of Medicine Men clearly have a chemistry - pardon the pun.


Funky bass leads us into Golden Packets and a story of a night out, it becomes increasingly psychedelic and is a live highlight.

On to the showstopper. At least for me. Eggshells is a belter, a beauty, 6 and a half minutes of heartfelt and soulful vocals and lyrics, beautiful playing, building slowly but surely, unrushed, flowing and leading to a little break before building again and allowing Ian and his band to just go for it. The last 2 minutes just turn it up another notch.....and then another before it slows and allows you to catch your breath back. A real favourite of mine.



Medicine Men mix it up on the album and Bruised Peach has an almost industrial experimental edge to it when it comes in. That edge is something that Medicine Men definitely possess live and they've done well to transfer that to vinyl. Where does that edge come from? Well Ian McKinnon definitely has something about him and his plea to fall in love again, fall in love again is unlikely to fall on deaf ears.

Realise Forget is another little beauty, it has a great feel to it, another story about a night out that went a little wrong and running down Sauchiehall Street. This song builds to another psychedelic flow.

When Medicine Men play live they hit all the right notes and Ceiling To Floor was a cracker when they played Stereo back in March. I love what they do with this song, the beat kicks in, there is some real fuzzy bass going on, that urgency to Mackinnon's voice that propels the band along and a beautiful flow that keeps going.

Why are you crying?
Cause it's you that keeps me flying
I wanna see you smiling
In the rain

Talking of the sound and direction of the album, lead singer Ian Mackinnon said; 'We're really big on good grooves with as little drum fills as possible so as not to interrupt. I guess that comes from a love of disco and dance music in general. We got more experimental as the album went on. Tame Impala were definitely an influence, as were LCD Soundsystem. LCD in particular were the first band that made me realise you could make dance music as a conventional band and perform it live too.'

The Balcony is a heartbreaker, written about Ian's Dad who sadly passed away coming on 2-years ago, from the church style organ in the intro through to the outpouring of grief. The guitar solo is beautiful.

I'll be at your side it's not permission to cry
It's just a journey that I would not have liked to make

Did I say Eggshells was a showstopper? Well Out Of The Light is a showstopper and a showtopper. I was blown away when I first heard this, coming on like the Chemicals on a night out with Primal Scream circa XTRMNTR. It has that Mani-esque baseline going on, synths lead the way, Mackinnon sounds like he is in his element. The Star Guitar style breakdown is euphoric.

Out of the light
You give me something just to keep me alive
Keep on dreaming, keep on dreaming


In many ways the opening and closing tracks of this album left me wondering where Medicine Men will go next, I was so impressed with them. Will they go on a more synth/electronic path? But then you have the likes of Show What You're Made Of, Eggshells and Ceiling To The Floor.

I don't know what path they will take but it is one that I would love to go down with them.

The album is available to stream on Spotify, to download via iTunes and available to order on vinyl via Last Night From Glasgow.



Thursday, 25 May 2017

BMX Bandits Forever


BMX Bandits - Forever. Yeah BMX Bandits Forever, too right. 16 new tracks of heart-breaking, heart-aching, warm, reflective pop with contributions from and collaborations with many friends of the Bandits.

Duglas T Stewart, leader and conducted of the Bandits, has been releasing/leaking material from this beautiful album since as far back as 2014. I blogged about opening song My Girl Midge in September of that year, marvelling at the warm home production and stunning vocal delivery from Duglas.

Stewart's vocals are stunning on this album, capturing a moment, a feeling, a thought, a dream.... From speaking to Duglas I know that he favours a maximum of a few takes per song. That comes across in the right way on the album, from vocals, to playing and production.

Forever takes us on a journey; break up, memories, That Lonely Feeling, realisation and dreams in Rust .... and Duglas' heart isn't just on his sleeve, he is pouring it out.

If you come tonight then I won't die
The rust will turn to blood and I will be alive
And if they want to know the reason why
It's my love, my love

Saveoursmiles is a song I heard live back in January and it has that immediacy and simplicity that Stewart has an exceptional talent in finding. Only it's not that simple - just listen to the depth of those lyrics. There is a story and we have reached the point in the story where there is hope that our hero will win his true love back. There is a brilliant organ underpinning the song and the message is clear - lets help each other find our smiles

Tonight I need some you
And I think you need me too

The album takes an unexpected turn with the brilliant Love Me 'Til My Heart Stops, unexpected in that we hear from the other side. The melody and vocals by Chloe Philip are exquisite, as is the guitar playing and driving beat. I played this one a few times in a row. The chorus is delightful and flows superbly.

Forget the pain
Forget the nots
Love me until my heart stops
It's easier to take the blame
Love me until my heart stops

Somewhere is dangerously dark, stark, but absolutely beautiful. Fragile, hopeful (just), the sound of someone clinging on to love, hoping it will all work out somewhere. From the musical West Side Story, this is the sound of a broken heart on record with just a tiny shred of hope that it could be mended. There will not be a dry in the house if this is performed live.

Things take an upbeat turn with three songs recorded in collaboration with Dr Cosmos Tape Lab; Way Of The Wolf is gorgeous and then It's In Her Eyes is just brilliant - guaranteed to bring a smile to your face with it's warm feel, melody and story....from both sides. The way Duglas sings sounds so happy and the melody flows superbly.

It's in her eyes and the way that she smiles
It's in her words and her funny style
When we kiss and start to play
It feels love is meant to be this way....

It's Time begins with an electronic drum machine and a gorgeous glockenspiel melody. Stewart has been through the ringer and now it's time for the two to start again, to love again, to smile again, to live again, time to make a new start. This is pure Beach Boys and pure brilliance.

Next up is another brilliant collaboration, so brilliant that I hope Duglas goes back out to Berlin to record with Anton Newcombe from Brian Jonestown Massacre again. The feel and flow of Razorblades and Honey is sublime. One of the best things Duglas has done in my humble opinion. It's raw, it's rough and it's ready. I love it. The guitar solo is ace, the rhythm section is tight and flowing throughout.

Right now you think you're something
But soon you're gonna be nothing

And then we have The Beach Boys Forever. One of the best songs you are ever likely to hear, especially when you hear it being sung by someone so head over heels in love. It is little wonder that Duglas chose not only to record this song, but also to name the album after it.

I feel so happy loving you


No Matter What You Say starts all quiet before becoming a stomping declaration of love with more stunning vocals from Chloe Philip. One of the beautiful things about this album is hearing from different perspectives - most love albums are only from one.

How Not To Care is a gentle and reflective song with Stewart pouring his heart out again and the chorus is heartfelt and cleverly written.

She doesn't want my love any more
But I don't know how not to care


Life Without You feels strange at the end of the album and weird coming after the likes of Forever. It is short and to the point - Life feels rubbish without you

Then we end with a short reprise of Mais Do Que Valsa (Just A Memory) that is all kinds of dreamy gorgeousness.

Signed copies of BMX Bandits Forever are available at Monorail in Glasgow, or you can order vinyl or CD from the good folks at Elefant Records.