The stress felt around the world is palpable. What do you get the Jasmine Minks fan who has everything? (Alright, I guess there are more important things going on right now, such as where families will watch 'It's the Great Pumpkin, Charlie Brown' this weekend now that Apple TV has pilfered all of the Peanuts holiday specials. This move has me rethinking capitalism.) Good news, indie-pop shoppers. A brand-new label called Precious Records (Their tag "let's make this precious" is a nice touch.) is releasing the band's complete session, recorded on Feb. 4, 1986 for John Peel's program and broadcast 13 days later. The tracklist is as follows. The studio versions of all four of these songs appear on their self-titled album via Creation Records from 1985.
1. The Ballad Of Johnny Eye
2. Cry For A Man
3. You Can Take My Freedom
4. I Don't Know
There is no official release date as of yet, but it should be out by the holidays and on double 7" vinyl with gatefold sleeve to boot. In the meantime, if you haven't already, do yourself a favor and pick up the "Step by Step" b/w "Gravity" single that came out last year. It made my top 10.
Let's listen to another gem from my pal in New Zealand. This one places a huge spotlight on one of my favorite indie-pop labels out there. Once again, Duncan and I are simpatico. The floor is yours, Duncan...
Other than this 'Calling At Duke Street' budget compilation, I only managed to pick up two other A Turntable Friend releases during its original incarnation in the 1990s: 7" EPs by The Claim and Hope (both total classics!). So it wasn't until I got hold of a copy of the ATF 'The Test of Time' retrospective compilation last year that I realised what other wonderful objects of indie-pop desire I'd missed out on. How I now wish I'd had the good sense to have bought copies of the Bomb Pops' "Girl Daredevil" 7" (a current favourite of mine) in its delicious light blue sleeve and clear vinyl. Or the excellent Sugar Plant "Orange Filter" 7". Or something by the Love Parade, maybe...
The main reason I bought the 'Duke Street' LP was for the Hellfire Sermons' track "Bill & Sarah", which I knew well from their live set. It appears that ATF had planned to put out a Hellfire Sermons EP at the time, which would have been amazing. But it was a track by the group Tea ("Two Weeks") that impressed me the most. I really can't recommend this track highly enough, and fortunately a remixed version is included on 'Test of Time'.
One of the things that really struck me about the ATF label was the clear love and passion for the vinyl format. Great attention was paid to the packaging, and lots of extras and freebies were included. The 'Duke Street' LP even came with a bonus 7". So it's fantastic that ATF has been resurrected and is continuing to put out some of the best vinyl around. They seem to be in friendly competition Optic Nerve to produce the most mouth-watering records imaginable. Long may it continue.
Hear! Hear! I'm pleased Duncan mentioned 'The Test of Time' because this is the best example of how to put together a label retrospective as can be imagined. The 2017 release (and my favorite reissue of that year) is still available. With recent releases and reissues by the likes of Wolfhounds, the Claim, Candy Opera, Tea, Easy and the Jasmine Minks, I don't know about you, but I have been so thankful Ulrich decided to revive A Turntable Friend a few yeara ago. Shop now.
Now on to a few songs from 1993 compilation 'Calling at Duke Street.' Tough choices, let me tell you. First up is the Orchids. "Avignon" would turn up on their 1994 album 'Striving for the Lazy Perfection' (SARAH 617) in '94, and this was a lovely preview of one of the band's best albums. Next up is Stewart from Boyracer joined by Matthew and Mary from Even As We Speak. This was recorded on a 4-track in Stewart's bedroom at 3AM on Feb. 21, 1993. They turned it down and kept it simple with acoustic guitar and banjo, but it's the vocals that make this a must listen. These last two songs are the ones Duncan gushed about... and rightly so. Duncan threw in a promo photo of Hellfire Sermons to boot. I have to say, having listened to this collecton several times in recent weeks, this song from Tea takes the prize. So pleased it was included on the bonus 7". Enjoy, pop fans!
I spent a fair chunk of a wet weekend catching up on new and impending releases from a stable of stars. Here a few that piqued my interest. I haven't followed Davey Woodward closely since his days fronting the Brilliant Corners, but it seems to have been my loss. His latest with backing band Winter Orphans is called 'Love & Optimism,' and the album is a jaw dropper. This is singer-songwriter material closer to Dylan than "Delilah Sands" but no less rewarding. Perhaps it's just me wallowing in our pandemic predicament, but the more understated and stripped bare the better. Even though this song was finished before lockdown. you can't tell me "Occupy This Space" wasn't made for these times. Tip of the cap, Mr. Woodward. Not every indie-pop prankster can grow up to become a sophisticated crooner.
Like with Woodward, I had not really kept up with Pauline Murray either. I know her more from her days being backed by Martin Hannett's Invisible Girls than I do fronting Penetration, but either one of those bands alone would make her a legend. Fortunately for us, she is not resting on her laurels. New solo album 'Elemental' might be a little too synth heavy for some regular readers of these pages, but I'm struck by how contemporary these songs sound. This is not an artist just trying to appease an old fan like me. With help from all-stars comprised mostly from her previous bands, Murray should find new converts and a younger generation of listeners with 'Elemental.'
In 2018, a year peppered with fantastic reissues, '45 Revolutions Per Minute' by Candy Opera took the crown on these pages because the 35-year-old songs felt like discovering lost classics by Prefab Sprout, Andy Pawlak and Aztec Camera. Thanks to Firestation Records, the Liverpool band finally had the moment they always deserved. Now, thanks to A Turntable Friend Records, Candy Opera get to prove they could have given us memorable songs all of these years. New album 'The Patron Saint Of Heartache' hits the shleves Nov. 13, and opener "These Days Are Ours" is quite an indication we are in for a treat.
In 1997, the Lucksmiths released fourth album 'A Good Kind of Nervous' to rave reviews and an opening slot on Belle & Sebastian's European tour. Unfortunately, it never came out on vinyl. Well, you don't have to imagine "Under the Rotunda" on wax ever again. Thanks to Matinée Recordings in America and Lost & Lonesome Recording Company in Australia, this is wrong about to be righted! Take your pick between orange or classic black. Should ship around Nov. 13. Man, I love this band.
One last update on the much anticipated singles collection from Heavenly. The tracklist is out and, yes, it covers all of the B-sides and across all of the labels. The vinyl choices are pink and blue (although I don't see pink on the preorder page as of yet), and this one will be out in early December. Preorder now. The shipping to America is a killer, but I couldn't resist this one.
Tracklist
1. I Fell in Love Last Night
2. Over and Over
3. Our Love is Heavenly
4. Wrap My Arms Around Him
5. She Says
6. Escort Crash on Marston Street
7. So Little Deserve
8. I'm Not Scared of You
9. Atta Girl
10. P.U.N.K Girl
11. Hearts and Crosses
12. Dig Your Own Grave
13. So?
14. Trophy Girlfriend
15. Space Manatee
16. You Tore Me Down
17. Art School
I don't normally tout digital albums. In my book, if I can't hold it, forget it. Exceptions, however, sometimes have to be made. The Haywains released a download-only live album earlier this month on Bandcamp, and I can't get enough. 'The Haywains Have Left The Building!' captures the Woosh vets in a complete 14-track live show from Nottingham in '93, as well as an additional 16 songs from shows in the late '80s through 2015. My official sound-quality scale for officially released live albums ranges from 'Alive in the Living Room' (poor) to 'The Name of This Band is Talking Heads' (excellent). With an album featuring songs from 10 different shows, as you would expect, the quality varies, but all of these are much closer to Talking Heads. Some songs, such as "Fisherman's Friend" from NYC Popfest 2014, make you feel like you are there. No matter the format, 'The Haywains Have Left The Building!' is a must have for every jangle-pop fan. Now go get it. This is a name your price download.
As I dug a little deeper into the box of goodies sent from my pal in New Zealand, it was difficult to contain my glee upon seeing the above two singles from St Christopher. These are early pre-Sarah self releases straight outta York on a label the band called Bluegrass. These had been on my shopping list for years. St Christopher's pedigree is impeccable. Through a rotating roster, Glenn Melia was the rock, writing one great song after another. His band label hopped, but they always ended up on indie-pop's most respected labels from around the world, including the Bus Stop, Vinyl Japan and Elefant. There were hits on the indie chart too, such as "You Deserve More" (No. 13) and "All of a Tremble" (No. 19) to name a couple, but even with an unimpeachable run on Sarah, it felt like fans in Japan and France appreciated them more. Often, these things take time. With all of this 21st-century love for Sarah and C86, St Christopher has received a second listen and a new appreciation by many. Rightfully so. Some, like Duncan, were there from nearly the beginning. Here's how he got into St Christopher. Duncan, the floor is yours:
One of the more interesting developments of the '80s underground pop scene was the rise of the DIY compilation tape. Bands would contribute demos or previously unreleased versions of songs which would be compiled onto a C60 cassette and housed in a homemade photocopied sleeve (often hand coloured) and sold via mail order for two pounds. All very much part of the 'get-up-and-do-it' fanzine culture of the time.
These tapes were a great way to discover new groups, many of whom had yet to have a "proper" release. My favourite series was put together by Dave Driscoll from Fleet, Hampshire. His 'Abigail's Birthday Party' cassette included otherwise unavailable tracks by the likes of Hurrah!, the Dentists, the Submarines, Blue Aeroplanes, Del Amitri, the Clouds, Swell Maps ... quite a lineup. The packaging for his cassettes was also way ahead of the rest of the pack. Worth looking out for.
Another such compilation I picked up in the autumn of 1988 was 'Something's Burning In Paradise...' [click on photo above for a better look]. Altogether a more amateurish affair, it nevertheless included many names familiar to this blog: Emily, the Driscolls, Remember Fun, Another Sunny Day and James Dean Driving Experience. But for me there were two tracks that stood out from the rest. The first, a track by a band called the Pilgrims, managed to sound more Fire Engines-y that Fire Engines. And the second was "To The Mountain" by St Christopher.
I fell for the St Christopher track in a big way: full of bracing, wintery jangling guitars and aching vocals, it became a constant companion during my first term at University. So I sent some cash and a letter to the address included with the cassette and received in return a lovely long letter and a big bag of goodies from Glenn Melia, leader of the group: copies of the first two singles, two flexi EPs and a live tape recorded in Germany. Here's how Glenn explained it in his letter:
"It's really nice that people seem to like 'To The Mountain', 'cos it was recorded really quickly and cheaply, and it doesn't even figure in our live set anymore! I hope you like the enclosed collection - the singles are not representative of us now (although Are You Scared To Get Happy? touted 'Crystal Clear' as a "classic"!), at least not as much as the flexis and live tape. Also we have not one, but two new singles in the pipeline - the 1st is 'You Deserve More Than A Maybe' ep on Sarah (the live version is good but the recorded version just has to be heard - easily the best song we've ever recorded!) which is due out probably after Xmas now, and we're currently recording 2 songs ('All Of A Tremble', 'Our Secret') for release on Bus Stop in the USA ... which should be available in March time."
Matt Haynes was right about 'Crystal Clear' -- a minor indie pop classic released in 1984 when such things were thin on the ground. In his fanzine, Matt made the connection between this song and Aztec Camera's debut from four years earlier, and I think he was spot on. They share a sense of striving and yearning for something beyond the everyday: "So when you're asking me to define that feeling for you, what can I say? It's there until that gold just slips away." The other song I recommend from these early singles is "Awe," which calls to mind 'Before Hollywood'-era Go-Betweens -- all jittery rhythms, strummed guitars and a beautiful melody carried by the bassist.
But it was the songs on the two flexis that really knocked me out. "Forevermore Starts Here" with its ringing guitars, breathless excitement and a tune to die for; the mournful bass notes at the start of "Sinking Ships," sounding like ocean liners signalling through the fog, and then into the big clatterly drums and a reverb drenched lead guitar line straight out of a '60s Walker Brothers epic; those wonderfully melodic guitar and bass lines that kick off "Remember Me To Her;" the heart-stopping atmosphere and breathy vocals of "I Wish I Hadn't Seen Her," sounding like a long lost Prefab Sprout demo.
Many thanks to Glenn Melia for his wonderful generosity back then and for his lovely letter (which I hope he didn't mind me quoting).
Thanks for that, Duncan. I find this tape culture fascinating. Completely foreign to this Yank. With all of those songs Duncan mentioned, we must really have another post on St Christopher soon. Today's listen was going to come from the 53-track double-disc anthology 'Forever Starts Here' that Cherry Red released in 2014 -- more of that 21st-century love I was mentioning -- but my laptop has been fixed. Instead, I will just recommend that collection (especially for the lengthy interview with Melia in the liner notes) and give you the two singles ripped right from Duncan's parcel. Sure, there are more snaps, crackles and pops than a bowl of cereal, but that's called character. All I know is, for the first time since August, digitizing vinyl is possible again, and it feels great. I'm back, baby!
Since it's such a slow news cycle in the real world (kidding!), I thought I would catch you up on the headlines in my world. Our top story... Back in July, while listening to a podcast of Amelia Fletcher and Rob Pursey on the C86 Show, they mentioned in passing there would be a Heavenly singles compilation coming out on Damaged Goods Records. What!?! I bookmarked the label's site and have checked in a couple of times a week ever since. This image above popped up there the other day. There is no pre-order button as of yet, but we might be getting close. I have inquired about whether this will include all of the band's singles on Sarah, Wiiija and K. I also asked if this includes the B-sides as well as what to expect for liner notes. Stay tuned.
'A Bout De Heavenly: The Singles' will be a must-have record. I have all of Heavenly's albums and many of their singles, but I have never owned physical copies of those first three Sarah sevens. Shocking. Sad.
Oct. 15 Update: We have our answer. Here is the tracklist. The B-sides are included and across labels.
1. I Fell in Love Last Night
2. Over and Over
3. Our Love is Heavenly
4. Wrap My Arms Around Him
5. She Says
6. Escort Crash on Marston Street
7. So Little Deserve
8. I'm Not Scared of You
9. Atta Girl
10. P.U.N.K Girl
11. Hearts and Crosses
12. Dig Your Own Grave
13. So?
14. Trophy Girlfriend
15. Space Manatee
16. You Tore Me Down
17. Art School
In more new-release news, it has been a while since we have heard from the pride of Boise, Jeremy Jensen's indie-pop outfit the Very Most, but impending release 'Needs Help' proves he's been busy perfecting his craft... with a little help from his friends. Guest vocalists include but are not limited to Cristina Quesada, Kristine from Tiny Fireflies, Eli and Ashley from LAKE and, in a thank you for the Very Most backing her on 2015 album 'In My Flat,' Mel from The Hermit Crabs. Like the band's 2016 album 'Syntherely Yours,' 'Needs Help' comes out on the always reliable Kocliko Records. Should hit the streets around Oct. 9. Pre-order now, and treat yourself to pop perfection.
When you think of Athens, chances are R.E.M., the B-52's or, if you're really on the ball, Pylon or Oh-OK are the first bands to pop into your head. Ask members of those bands and Love Tractor would be in their first breaths... and for good reason. During the salad years, there was nothing like them on the scene. This was smart, angular art pop. At times post-punk, occasionally jangly but always danceable. Love Tractor took a long hiatus, but they never called it quits. Hometown label HHBTM Records is about to celebrate Love Tractor with a big reissue campaign, and it all kicks off during the third drop of Record Store Day on Oct. 24 with a reimagining of a couple of early staples. The mixes of "60 Degrees and Sunny" b/w "FEST-ivals" are co-produced by Bill Berry of R.E.M., Athens mainstay David Barbe and Love Tractor. Jeff Calder of the Swimming Pool Q's had his hand in the single as well. Support your local mom-and-pop shop by picking up this one.
Love Tractor's 1982 full-length debut LP is first up in the reissue series. As you can see, the cover has been updated a bit, and it looks sharp. Similarly, the album has been remastered, tweaked and expanded with the hope "after remixing and reimagining different aspects [it will] bring a sense of nostalgia for their long-time fans and introduce themselves to younger audiences." Dear readers, if you're new to Love Tractor, this would be the place to start. 'Love Tractor' will be out Nov. 6, and HHBTM has a bevy of purchase options. Stay tuned for news about the next album in the reissue campaingn.
Best of luck to the Bluebells. The lads are performing two unplugged shows in Glasgow on Sunday at SWG3's Galvanisers yard as part of a Last Night From Glasgow showcase. Yep, an actual live in-person event. Lots of rules, obviously, but still mighty exciting. Details here and here. For those of us not able to attend, here they are rehearsing 1984 single "I'm Falling" at the beautiful Oran Mor. Warning: After watching this, you will feel slightly ill at the prospect of not attending.
Finally, let's end the news with a feel-good story about... me. Back in December, I mentioned a couple of huge omissions on my list of best reissues for the year. I was on the fence about getting that gorgeous 5x7" box set from Optic Nerve Recordings that emulated and even bettered the Fierce Recordings box of the Pooh Sticks, circa 1988. It was the £50.00 price tag. Once shpping from the UK factored in, it was going to be about $80. Plus, I already owned the 12" version that gathered the singles. Nope, as much as I wanted it, couldn't do it. A few months ago I happened upon a copy on Amazon for about the same price. For the hell of it, I stuck it in my cart and watched to see if someone would buy it. Nobody ever did. Meanwhile, the price fluctuated wildly. At one point it was $46. Then it shot back up to $50-plus. Well, yesterday my jaw dropped when I saw it for $37. That included free two-day shipping. I'm now a proud owner of the Pooh Sticks box. I don't do much music purchasing on Amazon. That's what shops and Bandcamp are for, but it sure worked for me this time.
And that's all the news that's fit to type. Good day, from LTL headquarters.
Just ordered three 7" singles that have come out this year on Spinout Nuggets. The UK label has been around for a couple of years, but I have been a little slow to Spinout's charms because it sometimes co-releases albums with Shelflife Records on this side of the pond. The self-titled debut of Jetstream Pony and the impending release from the Luxembourg Signal are prime examples of these co-releases I got through Shelflife, but Spinout has exclusives by a few of my favorites I couldn't possibly resist.
Medway scenesters the Claim share a double-A-side single with Jim Riley's Blues Foundation. Despite the melancholy title, "Spring Turns To Winter" is a head bobbing piece of pop full of drum rolls and jangle.
I got in early on the Treasures of Mexico, and the ex-members of fellow Medway band the Dentists made my list of fave albums in 2018. Indie-pop legend Beth Arzy joins in on "Heart Shaped Clock," making this their best song yet. Stunning sleeve work too.
You'll feel "If Not Now, When?" right in the gut. Turn it up, man, but beware. That bass is a window rattler. The flip is a cover of 20/20's "Yellow Pills" that's been available digitally since New Year's Day, but I'm sure you would rather have it on wax, right?
Order here.
As I said, keep an eye on Spinout, and save your shekels because this indie is on quite a roll.
I'm a hypocrite. I have criticized the entire Record Store Day model on these pages, from the atmosphere straight out of Lord of the Flies to the inflated secondary-market prices when it's all over... and just about everything in-between. I stayed away for many years, but just when I thought I was out, they pulled me back in a couple of years ago. You can read about that here.
Like everything in 2020, RSD has been a different experience this year. The usual April event was delayed and delayed again. Finally, it was decided there would be three Saturdays for RSD, one in August, September and October, to spread things out a bit and, hopefully, benefit the shops. I decided to attend the first outing. First and foremost, I wanted to support a store that was hurting even more than usual, but I also felt this overwhelming desire to be the part of the record-buying community. That's not like me at all, but I had not been in a record store since the pandemic began. Participating stores made up their own rules on how to handle customers during these unprecedented times, but I commend the way it worked out at the shop I visited. In previous years, I would not know whether the store received the records I wanted. This time, since the records had been produced and dispatched so far ahead of time, the shop was able to list on their Web site what they had received. This proved to be vital because this particular store is part of a three-store chain, and the one closest to me did not get everything I wanted. I could move my business to another location and avoid disappointment.
I arrived at 8AM. There was quite a line, perhaps 60 people, and that surprised me a little. I would not say they were practicing social distancing very well, and I wondered why they were lined up at all because the plan was to pass out a hard-copy list of their RSD inventory to each customer. The sheets of paper would have a handwritten number in the upper right-hand corner. That was your number to enter the store. No need for a line at all. You put a checkmark next to the records you wanted and pick up to 15 titles. I could see the papers had already been passed out to those in line. I went to the door and received my inventory list. My number was 68. The maximum number of customers let in the store at once was three. They had just let in the first three. With time to kill, I went to my car, opened up the hatchback and ate breakfast. Then I moved on to my book. After a while, I struck up a conversation with another would-be customer sitting in a lawn chair about 20 feet away. We talked about our lists and our thoughts about whether we would get what we wanted.
Time flew by. When it got close to my number, I locked up the car, put on my mask and got closer to the door. When my number was called, I entered and gave my list to a worker. I just stood there while he thumbed through a couple of boxes behind a counter. I took a look around and realized the store was nearly empty. Usually, on RSD, it would be pandemonium as a mass of humanity pushed their way to those boxes. "Here you go," he said with a smile. I was directed to the cash register, That was it. I was in the store for about two minutes. That was my experience, but I realize it didn't work that way for everyone there. The guy who came in a few seconds after me went home empty-handed. My wants are usually off the beaten path, and that makes me luckier than some. Here's what I picked up. That's a live show by Pretenders from 1980 I have wanted for years. It came out originally as a promo on 'The Warner Bros. Music Show,' a series you may know from decades ago. The reissue of 'Longshot For Your Love' by the Pale Fountains is a collection of radio sessions and early releases. If you already have an original copy, keep it. The packaging of this reissue is superior, but the quality of the vinyl has been a huge letdown.
My goal was to be home by 10AM because that's when part two of my RSD would begin. In all other years, record stores are not allowed to sell new RSD merchandise online for one week. In another move to help the shops, these records could be sold on store Web sites at 6PM that day. Well, 10AM where I live is 6PM in the UK and, as always, the RSD listings across the pond are more catered to my tastes. I immediately logged on and ordered these two. They arrived in the post a week later. That one from Kirsty MacColl is a B-sides collection from the four singles during the 'Kite' era. The album from BMX Bandits needs no introduction, and I got it to replace a lousy CD issue I got in 2011.
RSD is still rife with the same problems it has had for years, but in some respects, I think it was a little better this year. If you didn't get what you wanted, at least you could try again online later that day and get your wants from actual shops and not resellers out to make big profits. At the shop I visited, there was no need to line up, and there was no pushing and fighting as the mob devoured a few boxes of stock. Tomorrow is the second installment of RSD 2020. I won't be participating this time because I don't need anything on the list, but there are a few things worthy of attention, including 40th anniversay editions of 2 Tone favorites and a bevy of reissues from the early days of the Jazz Butcher. Check out the full UK and U.S.A. lists, and make each day Record Store Day.
Among the many treasures Duncan sent me was this four-song EP from the Claim that's sometimes referred to as the "Mrs. Shepherd" 7" (shown above). It's an unusual release for a few reasons. First, it came out in 1993, the year after the lads called it quits. Second, all four songs were released five years earlier on their much celebrated album 'Boomy Tella,' via Esurient Communications. Third, and perhaps most bizarre on first glance, this small retrospective of sorts was the brainchild of one Brian Kirk, founder of the Bus Stop Label in Iowa City, Iowa, USA. I say on first glance because Kirk had a passion for this kind of indie pop coming out of the UK, and he helped Americans like me hear acts like the Mayfields and St. Christopher during this same time period. I want to get to Duncan's words about the Claim straightaway. This is one of his most beloved bands, and his passion can be felt all over the page. I think you'll agree today's scribe has a future in this business. Take it away, Duncan...
"Just now, a lot of people seem to be giving up on pop (as in the real stuff, the pure!), or giving time to people who have given in, but I stick by my dreams and ideals." -- Kevin Pearce, 1989
In the autumn of 1988 I left home and moved south to study in Birmingham. In many ways, the timing could not have been worse, for this was the beginning of a long fallow period for the UK underground music scene. The previous 12 months had witnessed a whole golden generation of Manchester bands (Laugh!, Bodines, James, Stockholm Monsters, Happy Mondays, A Certain Ratio, Big Flame...) falling apart, losing their way or blowing it big style. A similar malaise had struck many of the bands to emerge from the Living Room/Creation inspired explosion of two years previously. The newer independent pop combos seemed hellbent on conservatism, insularity and compromise. More worryingly was the return of a most unwelcome strain of rockism, infecting and disfiguring some of the brightest lights of the '80s (Hurrah!, Primal Scream, REM, Julian Cope), and running rampant amongst the highly touted new bands like House of Love and MBV. Other heroes (Kevin Rowland, Vic Godard, Martin Bramah) had simply disappeared from view.
True, there remained enough of those fiercely independent. wildhearted outsiders out there to keep things alive and interesting. But the vital and visionary sounds of McCarthy, Wolfhounds, Last Party, Felt, Benny Profane, Shack et al were being marginalised and ignored. I was an 18 year old desperately in need of a new soul vision.
And then, in early 1989, something very special arrived in the post to reignite my dreams; a shiny 7" EP ("Wait and See") by a band called the Claim. Accompanying it was a typically fiery and impassioned letter from label supremo Kevin Pearce. For the next two years, the Claim and the other Esurient bands became my new obsessions.
I searched out the Claim's earlier releases. Very soon the 'Boomy Tella' LP became the record of choice for me and my flatmate Mark. It's the record that became the soundtrack of our time at university. It's a record I still listen to and love to this day. These words Kevin Pearce penned at the time say it much better than I could:
"Few LPs ever seem as though they are meant to be. They tend to be gawky, uneven, unnatural, insufficient. 'Boomy Tella' is an exception. There's nothing there to taint, or detract from its unique beauty. I love it! I love the way it's finely balanced. The way it's sinewy and substantial but understated and light on its feet. The way there's something to get your teeth into but something you can't quite put your finger on. The way it's so English like Ray Davies, Vic Godard but altogether strange somehow. The way I keep coming back to it like a tongue comes back to a loose tooth. Most of all I love the way 'Not So Simple Sharon Says' starts as much as I love the way 'Waterloo Sunset' starts."
Kinks, Vic Godard. These were the common reference points for the Claim. But for me, the 'Boomy Tella' sound was a natural successor to the June Brides. Not in any obvious "spiky guitars and violas" kind of way. Rather, think of how the slightly unusual rhythms on songs like 'Down By the Chimney' or 'On My Way' can unsettle and knock you off balance. Or how there is something strange going on just beneath the surface of the seemingly humdrum everyday worlds of Not So Simple Sharon or Mrs Shepherd. Something going on that's not quite right. And then go and listen to the June Brides' 'Cold', 'Comfort' or 'Heard You Call'. THAT'S what I mean. There's an attention to detail and a stubborn individuality on display that sets these two bands firmly apart.
Mark and I started taking every opportunity to travel down to London to attend a series of Esurient showcase events. Small upstairs rooms in pubs dotted around the West End. Maybe 50 or 60 like minded souls for company. Three button jackets, button-down shirts, black levis, Dr Marten shoes, short back and sides. Two bands playing 30-minute sets of revolutionary, intense expressions of the deepest soul. And then a mad rush back across to the city to King's Cross for the 11:35PM coach home to Birmingham.
I saw the Claim five times between 1989 and 1992, playing alongside fellow travellers Emily, Hellfire Sermons, Jasmine Minks, Jactars, Last Party. I would rate at least three of these as being amongst the best 10 live shows I have ever witnessed.
By 1992 it was all over. Esurient released its last salvo of explosive singles, A Turntable Friend put out one final Claim 7" and then they were gone.
But a year later, this EP appeared on the US Bus Stop label. Four tracks taken from the then five years old 'Boomy Tella' LP. I've never really understood why, but it's a lovely item to own. A particular delight are the sleeve notes on the back. Four short pen pictures of the band members. An answer to the question of why David Arnold "holds his guitar like a machine gun". A chance to ponder whether David Read is "mean and moody poet or happy-go-lucky playboy". The chance to discover that bassist John was once a member of the "Devon Contingent"; a "notorious gang of Claim fans famed for their dedication and support". I saw the first show John played with the Claim -- I recall it was also the night they premiered "Sporting Life," one of my favourite Claim songs. I also seem to remember Kevin telling me John was once a member of the Visitors, or am I imagining all this?
Hopefully everyone who reads this article already has the reissue of 'Boomy Tella'. If not, get on to it right now. And for anyone interested in the Claim's story, I highly recommend Dan William's excellent 'A Jumped-Up Pantry Boy' blog. Finally a big thank you to Mr Mark Stratford Baker for the use of his Claim photos taken at the King and Queen, Foley Street, W1 in the summer of 1990, and to Kevin Pearce for introducing me in the first place to the wonderful world of the Claim.
What I tell 'ya? Good stuff, eh? The big news on the Claim is they are back. As Duncan mentioned, 'Boomy Tella' was reissued last year, amd there was a new album in 2019 as well. Of course, you already knew this as both of these were rated hightly on my favorite albums and reissues lists back in December. The Claim has popped up on these pages a few times through the years, but this post is the one I like the most. Oh, and Duncan, I have a collection of songs by the Visitors called 'Miss' that lists a "Jon Cleary" as a memeber on the liner notes. Same guy? Was the first name misspelled? Is anyone out there who can shed some more light? Here are two songs that appeared on the 1993 four-song EP...
While many of us have have had our heads resting in our hands during the pandemic, indie-pop royals Amelia Fletcher and Rob Pursey have made lemonade out of lemons by adding two more names to their impressive and ever-growing list of bands you need to hear. I think it's fair to say when you're talented, adored and have lots of like-minded musical pals, opportunity will continue to knock. First up is European Sun, fronted by singer-songwriter Steve Miles of the Short Stories. Behind the kind of pleasant understated jangle we love in these parts lies important points to ponder in this mixed-up world. These messages are delivered by Miles and Fletcher, and the way their voices sound together is, ahem, heavenly. The band's self-titled debut, out last week on the always dependable WIAIWYA label, is essential listening. Let's hope European Sun is much more than a one-off respite.
Switching gears, in the late '80s and early '90s, Fletcher popped up on many works of the Pooh Sticks, including albums 'Orgasm,' 'The Great White Wonder' and 'Million Seller,' to name a few. Must have been some unfinished business there because she has reunited with Hue Williams to form Swansea Sound, along with mates Pursey (on guitars) and Ian Button (drums) from the Catenary Wires. Like with European Sun, the band has a message or two, and the "oppressive dead hand of the corporate music sector," as their press release states, will surely have you nodding in agreement.
Everything about Swansea Sound rails against the machine, and that goes from debut single, "Corporate Indie Band"/"Angry Girl," down to the format used for release. This one comes out, ahem, on tape (sorry, again!) Oct. 17 as part of Cassette Week. This one is via obscure format label Lavender Sweep (from Swansea, of course), and future songs will come out on handpicked indies with similar ideals. If cassette is not your thing, you will be able to download from Bandcamp. Spotify, Apple Music or other corporate providers? Forget about it. That's right. Stick it to the man!
Fletcher and Pursey are the couple that keeps on giving. There is another impending release I'm excited about, but we'll save that for a little later.
After years left untended, there is a branch of the indie-pop tree bearing fruit again. For me, the first signs of growth occurred in 2006 when Glaswegian band (Strathbungo, to be exact) the Bachelor Pad appeared on a compilation when Jim Kavanaugh resurrected his legendary Egg Records for a brief reissue campaign. These songs were not the usual jangle I was expecting. This was louder and more psychedelic. More in line with, say, Hangman's Beautiful Daughters. Fast forward to the past decade and the band started showing up all over Cherry Red comps like 'Scared to Get Happy,' 'C87,' 'C88' and 'Big Gold Dreams.' I quickly came to realize the Bachelor Pad wasn't a band so easy to label. One minute there was a garage bent to them and the next they had you bobbing your head to pure pop. One thing for sure, there were a lot of '60s records in their collections. It has been said the Bachelor Pad are equal parts Buzzcocks and Syd Barrett. How can you resist that description?
Everywhere I turned the Bachelor Pad seemed to pop up. When I became obsessed with the Sha La La flexis, there they were sharing a split single with an equally fantastic Scottish band, Baby Lemonade. Then I heard "Dreaming" by the Wee Cherubs on a compilation and thought it was just about the the most beautiful piece of pop I had ever heard. What? This was the band Martin Cotter and Graham Adam were in before the Bachelor Pad? Then, of course, in the last year Optic Nerve reissued the "Dreaming" single and upped the ante by cobbling together an album's worth of "lost" songs on 'The Merry Makers.' Well, surely, if the Wee Cherubs can be anthologized, the better known Bachelor Pad can have a collection too, right?
On Oct. 6, Emotional Response is coming to the rescue with 'All Hash and Cock: The Very Best of the Bachelor Pad.' The 12 songs touch on the Warholasound, Imaginary and Egg eras. Even with the compilations I mentioned, there is still plenty here you need in your collection. Plus, you get a poster and sleeve notes by the Guardian's Alexis Petridis... all housed in a gatefold sleeve to keep your yellow vinyl pristine. Pre-order now!.
Here are a couple of songs to whet your appetite. This should illustrate the Bachelor Pad's spectrum of sound. "Country Pancake" appeared on the band's lone album, the teriffic 'Tales of Hofmann.' "Meet the Lovely Jenny Brown" came near the end for the band when Cotter had already flown the coop. Those songs for Egg like this one and "Smoothie" turned out to be my favorites. Both of the songs found below will appear on 'All Hash and Cock: The Very Best of the Bachelor Pad.'
Tracklisting
1. The Albums of Jack
2. Country Pancake
3. Girl of Your Dreams
4. Abu Nidals Bus
5. I Feel Sick
6. Jack and Julian
7. Tumble and Fall
8. Do It For Fun
9. The Coroners Wife
10. Garbagehead
11. Meet the Lovely Jenny Brown
12. I Want to Hold Your Head
Sept. 16 Update: There will be an exciting accompaniment to 'All Hash and Cock: The Very Best of the Bachelor Pad.' The band's last single, "Meet the Lovely Jenny Brown," will be re-released as a five-song 10" on white vinyl that includes a previously unreleased stripped-down piano mix of the song and a whopping 8-minute version of "Do It For Fun." Emotional Repsonse rules! I'll add the pre-order link when it becomes available. Save your shillings.
Dec. 6 Update: The "Meet the Lovely Jenny Brown" 10" is now available in very limited quantities. Better act fast. I found a copy overseas and snatched it. If I had any patience at all, I could have saved some moolah.
Let's dig a little deeper into the treasure chest from my pal in New Zealand. I didn't become aware of Bristol band the Driscolls until I became obsessed with Woosh and the flexis that came with the fanzines. That would be years after the band called it quits. You can catch up with part of my journey to the label, fanzine and the Driscolls here and here. Duncan, on the other hand, goes way back with the Driscolls. Here was how he discovered the band. Duncan, the floor is yours....
I first became aware of the Driscolls courtesy of a flexi included with the second Woosh fanzine, along with an interview with the band (this would've been 1988). There were three things that immediately attracted me to them:
1. The name:
"The name comes from Julie Driscoll... known as much for her looks as her voice. I'd always had a bit of a crush on her...." - Mike Eagle (singer/guitarist). Although it wasn't a very fashionable thing to admit to in 1988, I also loved Julie Driscoll. One of the great sixties girl singers: "Season of the Witch", "Save Me", "Indian Rope Man"...
2. The new single:
According to the interview, they had a new single out called "Julie Christie". At the time I was obsessed with the film 'Billy Liar', and particularly with Julie Christie's character in the film.
3. The cover version:
The previous year, my best mate H had sent me a tape of sixties mod, psych, freakbeat tracks, mainly culled from Bam Caruso compilation LPs: Creation, Eyes, Attack, Syn, Action, Birds, etc. One of the standout tracks was "Father's Name Is Dad" by Fire, which is the song the Driscolls covered on the flexi.
So, this was obviously a band with seriously cool taste. I immediately sent off for for their two singles (two pounds inc P&P) direct from the band. Some great songs, particularly "Julie Christie" and "Groovy Little Town". And the sleeve of the "Julie Christie" 7" is to die for; a gorgeous still of her from David Lean's 'Dr Zhivago'.
I got to see the Driscolls the following year in Birmingham, supporting fellow Bristolians the Brilliant Corners (what was it about Bristol and guitar bands in the 80s?). It was a brilliant show and they ended their set with a fiery version of "My Father's Name Was Dad". Great memories.
The Driscolls opening for the Brilliant Corners! My jealousy knows no bounds, Duncan. At this point you must be asking, alright, already, what was in the box? The "Julie Christie" and "Girl I Want You Back" singles, but that's not all. He threw in a promo poster for one of the singles. This will be framed and put up in my music room. A close inspection of the poster shows thumb tack marks in the corners which brings a smile knowing Duncan probably had this up in his room decades before.
Two interesting tidbits about these A-sides. I mentioned in a previous post John Peel was attracted to "Girl I Want You Back" because of the line "stacking shelves in Gateway" in the middle eight. I always sing along right there. One of the B-sides, "Andrew," has Superstore in the lyrics. What is it about these grocery stores? Turns out Eagle's flat was across the street from a Safeway. As for "Julie Christie," Eagle had a great photo of her he knew belonged on a sleeve. That was all the inspiration he needed to write the song. In the end, the photo that inspired him wasn't used because bassist John Foster found this one from 'Dr. Zhivago.' Eagle relented, but I can't help but wonder what photo of Christie was used as Eagle's muse...
Let's close with the two A-sides and a giant plug for my pal Chris at Jigsaw Records. In 2014, Jigsaw put out a single-disc Woosh collection that includes "Father's Name Is Dad," and it's still in print. If you are an indie-pop aficionado and don't have the flexis, you need this one. That same year, Jigsaw released a 35-track two-disc set of the Driscolls' complete recrdings. This one is sold out in physical form, but you can stream and download here.
All mp3s posted at LTL! are to highlight music you should buy... right now. Sure, give it a listen, but then run to your nearest indie record shop and pay up. Mp3s are linked for a limited time. Rants and raves to lineartrackinglives@gmail.com.
