The header is a misnomer today and tomorrow because we are moving from Sportique to a couple of choice nuggets from Gregory Webster post Razorcuts but not with the all-star band we have listened to the past three days. If your fandom for Razorcuts is what has brought you to these pages, today's single will warm the cockles of your heart.
In 1992, a good three years after the last album from Razorcuts, Webster released a single with his old partner in crime Tim Vass. This wasn't for Creation, but it was another reunion of sorts. Razorcuts had released a split flexi with Talulah Gosh on Sha La La way back in 1987. The band had also appeared in the second issue of the fanzine Are You Scared to Get Happy in 1986. The lad behind both of these legendary relics, of course, was Matt Haynes, and he would go on to co-found Sarah Records. So it was sort of like a homecoming when Webster and Vass released Sarah 54 as the Forever People in a one-time spinoff of Razorcuts. The 7" was a benefit recording for Friends of the Earth. Like many indie labels, Sarah was known for their creative inserts, but this one was a pamphlet describing the environmental organization and how to join and give. Both songs are a good listen, and the flip side, in particular, is a nice bit of jangle.
I didn't realize until this very evening that these songs are included on the bonus LP of Optic Nerve's 'The World Keeps Turning' reissue. You can pick that up here. I'm quite sure it will sound better than this scratchy 28-year-old piece of vinyl.
Today brings us to the last of the three albums from Sportique. The band is full of piss and vinegar on 'Communiqué No. 9' but are having a laugh or two along the way as well. Oh, and they are in a hurry to tell you about it. The eight songs clock in at about 17 minutes, and the message will come through loud and clear (often really loud). The band hates all art-world poseurs, and there are a few of them on the scene, eh? It's especially true in pop music, and principal songwriter Gregory Webster seems to have had his fill with all of the sellouts. Some may call it sour grapes, but I know none of you feel that way because you're here, and that means, like me, he is one of your indie-pop heroes.
The sound of the 2003 album is not too far off from 'Modern Museums.' You'll find more '70s post punk with a little '60s garage thrown in for good measure. There is even a forward-thinking experimental moment or two to be had. On "Arthouse Cinemas," I inexplicably find myself being reminded of the monochromatic early work of Stereolab. Sportique worked on this album with Liam Watson at his Toerag Studio in London. It was an extraordinary year for Watson. He would produce 'Elephant' for the White Stripes the same year and grab a Grammy for his efforts. Watson was a good fit for Sportique as he liked to work with old analog equipment. This was especially beneficial to Amelia Fletcher. Her efforts on the organ are the real star of 'Communiqué No. 9.' After wrestling with whether to play the humorous Other Peoples' Girlfriends" or "Tips for Artists Who Want to Sell Records," I have decided to go with the aforementioned song that reminds me of Stereolab and Komeda.
I'm also throwing in the A-side from the band's last 7". It was released in 2000, a full three years before Sportique called it a day, and I believe this marks the first appearance of Fletcher in the band. This is a poppy little number complete with handclaps.
Between the 'Black Is a Very Popular Colour' and 'Modern Museums' albums, the trio of Sir Mark Flunder, Gregory Webster and Rob Pursey became a quartet with the addition of Pursey's partner Amelia Fletcher on organ and assorted keyboards. Perhaps you've heard of her. If you haven't, all I can say is get yourself an education. The sound of Sportique changed quite a bit with that sophomore album, but there was a hint of what was to come early on with the 1998 single "Tiny Clues." This one owes something to Buzzcocks, and it's one of my favorite songs from the band. That's our first listen today.
Just about the entirety of 'Modern Museums' turns it up a notch on 'Black Is a Very Popular Colour,' and many have compared it to works by Magazine, Gang of Four and, especially, Wire. That's a far cry from when Webster was emulating the Byrds in the early years of Razorcuts, eh? There were no singles spawned from 'Modern Museums,' but I always thought the poppy "Art & Shopping," although light and not all that representative of the rest of the album, would have been a hit (whatever that meant in 2002). If you are new to Sportique, I would recommend starting with 'Modern Museums.' There isn't a duff note on the album, and I had a hell of a time deciding which song to play for you today. It's tight, angular, crisp, aggressive and not the least bit jangly. In other words, don't expect Razorcuts.
You can still buy these two releases. Here are some links: 'Modern Museums' 10"/CD at Jigsaw Records in America 'Modern Museums' 10"/CD at WIAWYA in the UK
That header rolls right off the tongue, doesn't it? I have heard from a few of you about how much you're enjoying those reissues of the Creation-era albums from Razorcuts (which you can still buy on black vinyl here and here). All of this chatter has inspired me to pull out some of my favorite vinyl from another of Gregory Webster's bands... one that began a good seven or eight years after the dissolution of Razorcuts. Well, with a stable of stars like are found in Sportique, perhaps it's unfair to call it Webster's band. In the beginning, around 1997, Webster was joined by Sir Mark Flunder of Television Personalities and Rob Pursey of Heavenly. An important addition to the band would come around the time of the second album, but we'll get to that tomorrow.
For now, let's take a listen to some early stuff from this trio. "If You Ever Change Your Mind" was the band's debut single, and the song also appeared on the 1999 debut album, 'Black Is a Very Popular Colour.' What else to know? One of the things I loved about the band was all of their albums came out on 10". Most (but not all) of Sportique's releases were on WIAIWYA in the UK and Matinée here in America. As you know, both labels would go on to become legendary in indie-pop circles. As you would expect, Sportique garnered plenty of praise and plays on John Peel's show during this period, and they recorded sessions for him in May 1998 and Aug. 1999. I think you'll find they sound a bit like Razorcuts but with some harder and rawer elements thrown into the mix. There certainly is no doubting Webster's voice, and the liberal use of organ on many of the songs might even take you back to his Subway days. At any rate, it's all good. Here's an excerpt from Webster's sleevenotes on the first album:
Last year we were definitely very 70s. But late 70s you understand. And everybody said, hey, look at Mark, Gregory & Rob! They're doing the 70s! Before that, of course, I did the 60s back in the 80s. With a little 70s thrown in; and Mark has always been very 60s, with that authentic 50s feel that all the cool kids have. Rob on the other hand has always been very now, but with a definite early 80s edge, since even before they tried to make that fashionable again.
So this year we're doing the 90s. Or maybe not. Maybe with the 00s coming up it's time to do some futurist stuff. Like back in the 80s. It's hard to tell.
Quite. Tune in tomorrow to see if Sportique went all futurist after the turn of the century.
Just want to take a moment to thank Ian and Optic Nerve Recordings for another stellar 7" series. I received my last six singles a couple of weeks ago, and it felt like Christmas. Once again, the painstaking effort shows in the quality of each record... from the colors chosen for the vinyl to the heavy stock used for the sleeves. You can click on the photo above to get a better look. For those new to the series, each single comes with a poster and postcard.
These were the two from this round I found most aesthetically pleasing. "Sean Connery," the fourth and final single from James Dean Driving Experience, was originally released in 1990 on él Records as a 12" EP. All four tracks are included here for the first time as a 7" single. JDDE were known for featuring a "screen goddess" on every one of their sleeves, including Audrey Hepburn, Rita Hayworth and Claudia Cardinale. This time around it was Gina Lollobrigida (still with us at 92, by the way).
Next up is the Loft with "Up the Hill and Down the Slope" b/w "Your Door Shines Like Gold." This varies from the original 7" Creation released in 1985 in that "Your Door Shines Like Gold" was only included on the four-track 12", but I contend this is the best B-side in the band's all-too-brief career. The color scheme for the vinyl is brilliant, and I'm pleased to possess the poster for the Loft's triumphant reunion at NYC Popfest in 2015.
If you like what you see, you'll be pleased to know both of these singles are still available to purchase à la carte, as are all of the others except for the Wedding Present, House of Love, Bob and the Vaselines. Check 'em out here. Don't dawdle. They do all eventually sell out, as the first incarnation of this series illustrated. Here's a look at that first series:
Ian has already let the cat out of the bag there will be a third series he hopes to launch around October. I'll let you know the titles as that information becomes available. Here are a few ideas I would love to see in a future series...
How do you waste a cold and rainy Sunday afternoon? By painting something other than the walls of a house for the first time in your adult life, of course. My son was using his paint set, and he had a spare canvas just sitting there when this idea popped into my head. No doubt because the reissue of 'Sisters' is approaching, and Monorail in Glasgow announced recently this special limited edition of the album that's exclusive to the shop. I quickly learned the tiny brushes I was using have a mind of their own. Many mistakes were made, but it was a great opportunity to forget my troubles and get lost in the tiny strokes. I enjoyed the experience so much I may give it another go and try to cut down on the slips of the brush.
Three weeks and one day until summer "vacation." Then I hand in my No. 2 pencil and retire from being a full-time teacher to my kids. (Well, at least until the next wave hits, eh?) Yes, just like when I was a lad, I'm counting the days until school's out. Tonight, after a particularly trying day of work and school, neither done as well as they could and should have been, I was horizontal on the couch vegging out and watching episodes of the late '60s sitcom "The Mothers-in-Law" and hoping for sleep when I hit season 1, episode 30, called "How Not to Manage a Rock Group." This ridiculous program really lifted my spirits because L.A. garage rockers the Seeds portrayed fictitious band the Warts and performed the biggest hit the Seeds ever had in "Pushin' Too Hard" (No. 36 in Feb. '67). Man, seeing frontman Sky Saxon on screen was a hoot. Here's a clip. Lester Bangs called him an American ripoff of Mick Jagger. Hmm. What do you think?
Now I'm awake as can be and have all three of my Nuggets box sets out and ready to spin. I have a feeling I won't be pushin' too hard tomorrow. Here's a fun cover from a band we all seem to have time for in this little corner of the 'Net.
Every few weeks for the past couple of years I have snooped around the 'Net looking for a copy of 'C86 & All That.' The book was penned by Neil Taylor, one of the original compilers of the legendary NME cassette, and there is no better journalist to tell the tale. The book was in print for the blink of an eye, and I seemingly missed my chance at this testament to the golden age of indie-pop because those lucky enough to grasp the grail never resell them. Trust me, I have searched high and low and have never seen one on the block. It's a keeper.
The other day while on the hunt I checked out the Facebook page dedicated to the book. Was it a mirage? Mr. Taylor was touting the fact that 'C86 & All That' was back in print. The post was dated May 12. Gulp. I wrote to Mr. Taylor, and he told me the second reprint had sold out in six days. Of course it had. Foiled again... but no! A third batch has been printed. Better hurry, lads and lasses. These won't last long. Here are the details. Comes with a batch of postcards too. Oh, and he's got badges for sale.
To whet your appetite, here is a fun watch. It's Mr. Taylor with some of our heroes from that era talking 'C86' to promote the book. Pete Astor, Luke Haines and more!
I could just about take the text from our last installment on Pete Astor and pop it on this page. I discovered the Monochrome Set in 1985 when the two singles from 'The Lost Weekend' received a little bit of airplay here in America, particularly on MTV. I immediately went for the band's back catalog and caught up. Bid was uncomfortable with signing to the Warner-backed Blanco Y Negro and with their commercial sound on that album, and the boys ended up calling it a day. Incidentally, the album is excellent. Everyone kept in touch, and they even backed Jessica Griffin in '88 on 'The Camera Loves Me,' the first album from Would-Be-Goods. In 1989, the Monochrome Set had made a demo and considered reuniting.
Surprisingly, the Set ended their first hiatus by signing with Vinyl Japan. Turned out, even to the surprise of the band, Bid and the boys were big in that faraway land. The band released 'Dante's Casino' in 1990 and hit the road... in Japan. Bid has described the experience as akin to 'A Hard Day's Night,' complete with girls chasing them. That never happened in the UK. There would be four more albums to follow between 1991 and 1995, the last three for their old mates at Cherry Red. Bid has said these were more or less for the Japanese market, but even there they had an expiration date. Britpop became the new flavor, and the Japanese economy started to take a dive too. The band broke up again, and this time the gap between albums would be 17 years.
That's when I re-entered the picture. I have been there for the six albums released since 2012, and there hasn't been a disappointing note in the bunch. I have been spending this time cooped up in the house getting acquainted with the '90s albums I missed, all with the help of the new Cherry Red box set 'Little Noises.' All five albums are in the set, 'Dante's Casino,' 'Jack,' 'Charade,' 'Misere' and 'Trinity Road.' There are only three bonus tracks, but that's not such a surprise since there were only two non-album B-sides during this era. Journalist Michael White spins a good story in the liner notes, and there are plenty of quotes from the band. The only tiny bone to pick is the box itself. I prefer the sturdy clam-shell design to this flimsy cardboard with an open end like you commonly find on the original album series boxes. I recently picked up the new boxes Cherry Red has put out of the Primitives and Shoes, and they have the clam-shell design for more or less the same price point as this one.
As for the music, the Monochrome Set means a lot to me, and I feel like a couple of listens to each of these albums isn't enough to compare fairly with their earlier and later eras. I can say I'm not hearing an 'Eligible Bachelors' in this box set, but that's setting the bar awfully high. The addition of Orson Presence on keyboards and guitar, as well as taking on some of the songwriting duties, did seem to change their sound a bit. Having said that, there is no doubt you're listening to the Monochrome Set, and there are songs I have taken an instant liking to and am playing over and over again. 'Dante's Casino' and the poppy 'Charade' are the two albums that seem to be rising to the top. As expected, this is probably not the place for the novice to start, but this is a great way for the true fan to fill the gap between the Monochrome Set's two wider known periods.
As if further evidence was needed that '90s era Monochrome Set is obscure, these are the only two clips I could find to give you a listen to songs from the box...
Regular readers know my enthusiasm for new music waned in the '90s. I won't rehash the reasons. It will have to suffice to say sounds and tastes went into directions that weren't my cup of tea. Soup Dragons "Hang-Ten" vs. "I'm Free" is about the best example I can give. While I licked my wounds and retreated to the bands that made me love music in the first place (Kinks, Beach Boys, Zombies), I missed out on releases from artists I had once adored. During this ongoing period of isolation, I have rectified a couple of those mistakes.
Through the years I have given quite a bit of time to Pete Astor on these pages. Whether with the Loft, Weather Prophets or the solo albums he's been releasing on Tapete in more recent times, it's obvious he's a musical hero. By the 1990s, Astor's sound had begun to fall out of favor with a fickle and aging indie crowd. The Weather Prophets had dissolved, thanks in part to Creation joining forces with WEA for a few minutes, but Astor continued his relationship with Alan McGee's label by releasing two solo albums, 'Submarine' (1990) and 'Zoo' (1991). By this time, McGee was looking for the hits, and Astor didn't have any on those two albums. McGee suggested a change of scenery. There was a monthly music magazine in France that was big with the university set called Les Inrockuptibles that constantly touted Astor's work. His popularity there led to signing with French indie label Danceteria. Astor released 'Paradise' in 1992 to favorable reviews, and it was bought by the usual suspects and a handful of new fans in France.
I completely missed this album. Thankfully, Tapete reissued it late last year. The 10 songs display Astor's talent as a singer-songwriter, and the sound reminds me a bit of later Lloyd Cole. It's mostly gentle and turned down, and there is a lot of acoustic guitar and even a little twang. The lyrics are brilliant, and standout songs "Almost Falling in Love" and "She Took the TV" are being played daily in this house. There was another album on Danceteria in 1993 before Astor grew tired of the industry and disappeared for quite a while. This story sounds an awful lot like Phil Wilson's, doesn't it? I'm hoping Tapete reissues followup 'God & Other Stories' as well. I'm sure if we all buy 'Paradise,' it will get the Hamburg label's attention. Here is a little taster. That's Felt and Everything But The Girl guitarist Neil Scott taking some of the duties on electric guitar. Back next time with another lost classic from this era.
That jackhammering piano. Those WHOOO-OOOOOHHHs. I would say rest easy, Richard Wayne Penniman, but that's just not your style. Heaven just got a helluva lot more interesting.
You have to hand it to the music community. Bands continue to make lemonade from lemons during this pandemic with inspiring online lockdown performances and other inspiring ways to stay relevant and maybe make a buck or two. I pulled out some of my records from the Bluebells after this popped up the other day. Tip of the cap to Into Creative for coming up with an interesting way to highlight one of my favorite songs from my youth. Isn't it great to see the McCluskeys and Bobby together again... even if it is apart?
This was also a good excuse to reminisce and pull out this photo of yours truly meeting a Bluebell on a sweet day in Glasgow with friends from around the world.
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.
