From wiki:-

Sons and Daughters were a rock band from Glasgow, Scotland formed from 2001 to 2012. Its members were Adele Bethel (vocals, guitar, piano), David Gow (drums, percussion), Ailidh Lennon (bass, mandolin, piano) and Scott Paterson (vocals, guitar).

Conceived while on tour with Arab Strap in 2001, Sons and Daughters was initially Adele Bethel’s creation. The band’s line-up at first comprised Bethel, David Gow and Ailidh Lennon, and the band began recording. After the later addition of Scott Paterson as a second vocalist, the band played a number of successful concerts. Their debut release, the twenty five minutes-long Love the Cup was financed by the band and initially released on Ba Da Bing Records label in 2003, and later re-released when Sons and Daughters signed to Domino Records in 2004.

Their second album, The Repulsion Box was released in June 2005. In February 2006 the band were invited to tour with Morrissey on the first leg of his UK tour. Their third album, This Gift, produced by Bernard Butler, was released on 28 January 2008.

After a few years of relative inactivity the band released a free download, “Silver Spell”, accompanied by a trailer for their new album, Mirror Mirror, which was released on 13 June 2011.

On 2 November 2012 the band announced that they would no longer continue as a band bringing an end to 11 years of their career.

They were a band I had an awful lot of time for, and not simply from the connections with Arab Strap. They made music that was unlike most of their Glasgow contemporaries – you would certainly never mistake them for Belle & Sebastian or Camera Obscura – consisting of a blend which tried to fuse post-punk, blues, folk, rockabilly and goth. A more tuneful and slightly less menacing 21st century Birthday Party if you like…..

I’ve long been meaning to pull together an ICA, so here goes. Oh and it has 12 tracks as the normal 10 tracks would have been short a running time.


1. Johnny Cash (from Love The Cup, 2004)

One of my favourite songs of all-time, earning a place in the 45 45s at 45 rundown back in 2008. And the only song by a Glasgow band that I’ve ever heard being played on commercial radio while hanging around a clothes shop on the French Caribbean island of Martinique.

The song was my introduction to the band. I had been told to look out for them by a few who were ‘in the know’ but I had never got round to buying anything. The video to Johnny Cash, played by Zane Lowe on MTV2, immediately caught my ear, thanks to its riff, beat and growling, almost menacing, vocal. And then Adele came in on backing/joint vocal for the chorus and I was mesmerised. I went out and bought the CD the following day.

2. Dance Me In (single version, 2005)

Love The Cup was a calling card, more a seven-track EP than a full-blown album. It was after signing to Domino Records that they went into the famous Conny Plank’s studio in Cologne in January 2005, with Victor Van Vught (who had previously worked with, among others, Nick Cave and PJ Harvey) in the producer’s chair, with the end result being a blistering and frantic 10-track record that was barely 30 minutes in length.

The album had been preceded by the release of a new single, one which had been recorded in August 2004 at Westheath Studios in London, with owner Edwyn Collins in the producer’s chair and his sidekick Sebastian Lewsley on engineering duties.  I’m not entirely sure why Edwyn didn’t go on to produce the whole album – it may well have simply been he didn’t have the time  – but his version of Dance Me In comparion to that which appears on the album is just that little bit more dynamic and danceable.

3. Chains (from This Gift, 2008)

A kind of second cousin to Dance Me In, thanks to the now trademark duel lead vocals and the whoa-whoa-whoas which Adele and Scott delivered like no others. By now, if you’ve really entered into the spirit of things, you should have sort of gyrated yourself dizzy….so it’s time to slow things down just a tad.

4. Rama Lama (from The Repulsion Box, 2005)

Sons & Daughters did record an awful lot of murder ballads, and so it was no real surprise that they eventually appeared on Mr Cave’s radar with him asking them to open for the Bad Seeds at what was, at that point in time, their biggest UK show at the Alexandra Palace, London in August 2005. I had no idea until I got to the venue that they were the support act and so it made for a very special evening.

As with any support acts in a venue as cavernous as the Ally Pally with its 10,000+ all standing capacity, they struggled to get everyone’s attention and there was far too much chattering. What I do recall, however, is that a group of about a dozen folk close to where myself and Mrs V were standing did shut up for a few minutes having been drawn in initially by the punch-to the-guts bass notes opening to Rama Lama and then by the gory and disturbing story which unveiled over the next five minutes. Adele’s spine-chilling vocal back-up to Scott’s deadpan, near spoken delivery, was that of someone who sounded as if she was possessed by something not of this world. Old Nick put on a great show that night, but he and his band didn’t get close to the brilliance of this.

5. Rose Red (from Mirror Mirror, 2011)

If I’m being brutally honest, the final album just before the break-up was something of a disappointment in comparison to what had come before. The band lost much of their edginess, possibly in the hope of getting some overdue commercial success, but the songs just weren’t there. The energy had largely been sapped which was all too apparent in the live setting of a packed hometown gig at SWG3 where a disappointing set was saved towards the end with some oldies before Rose Red, something of a highlight on the new record, brought the night to an end. No encore was given but none was really wanted by the audience. It was no surprise that they break-up was just a matter of months away.

6. Nice’n’Sleazy (b-side, 2005)

Yup…’s a cover of The Stranglers song………..and a bloody good one at that. The bass lines and keyboard solo may not be in the class of the original, but Adele’s breathless vocal delivery goes a long way to compensate.


1. Medicine (from The Repulsion Box, 2005)

The opening track on The Repulsion Box opens with what can only be described as a hoedown stomp on speed and sets the tone for much of what was to follow. Oh and it features the best use of a mandolin on any piece of music since….well I’ll come to that a bit later on.

2. Red Receiver (from The Repulsion Box, 2005)

There have been quite a few songs written over the years about being jilted at the altar….but none as good as this.

3. Gilt Complex (from This Gift, 2008)

Another album opener. It was released on 7” and digital download in advance of the album with hopes that it would get airplay and lead to some commercial success. Domino Records had drafted in Bernard Butler to add finesse and polish to the band….it would later be revealed that the recording process wasn’t easy and created a lot of unhappiness for the band…and while the results were a bit mixed there is no question that Gilt Complex was everything that the label was looking for. It must have been a sore one to take when it disappeared without trace. I should mention that the b-side of the 7” was a cover of Killer, the #1 hit for Seal….but having mentioned it, I’ll say nothing more other than it stinks the house out.

4. Fight (from Love The Cup, 2004)

The third track on this side of the ICA which had originally provided the opening to an EP or album. In many ways, it is the archetypal Sons & Daughters track with great vocal interplay between deadpan Scott and excitable Adele while the talents of David and Ailidh see things driven along at perfect pace and without either of them seeming to break sweat. Oh and it features the best use of a mandolin on any piece of music since Losing My Religion…..thanks Ailidh.

5. Broken Bones (from Love The Cup, 2004)

Just as I always expect Red Receiver to follow on immediately from Medicine (see above), so do I always expect Broken Bones to follow on immediately from Fight. This was the first of the Murder Ballads to be put down on vinyl and is one of their most enduring.

6. Awkward Duet (from Love The Cup, 2004)

I realise that by using the closer from Love The Cup to close the ICA, I’ve leant heavily on the EP with four of its seven tracks making the cut. There was just something almost other-worldly about the debut material which was recorded at Chem 19, just outside of Glasgow in the summer of 2003 and which was initially put out on a very small indie before Domino came calling. It is certainly more basic than all the successor works, but by no means is it lo-fi. Sometimes, a minimal amount of tweaking works best of all, as can be heard on Awkward Duet which, at times, almost collapses in on itself such is its fragility. It’s an unexpected piece of maudlin, coming-down type of music at the end of a record which had been truly dynamic and utterly different.

And that, dear readers, brings ICA #199 to an end.

#200 has already been written and held in reserve for that particular occasion. But as I’m going off on holiday next week and as I’m using that particular period for something specific (tune in on Monday for more), you’ll all have to wait a bit.

In the meantime, I’m set to enjoy myself at Simply Thrilled tonight…..



It’s after 2am and I’m pulling this piece together just a few hours before publication.

This is most unusual as I’m the type who has things written up weeks in advance, rarely deviating from a planned schedule. But in truth, the posting for 29 November 2019 was always going to be about a blogging friend but I wasn’t sure until now just how I was going to approach it.

The past wee while has been strange in terms of blogging. A crisis of confidence (of sorts) has led to me not reading other people’s stuff over the past six months – I was genuinely scared of visiting places and discovering so many amazingly well-written posts which I had no chance of matching that I’d end up using them as the excuse to give up entirely.

It’s been a selfish thing to do, especially given that I rely often on guest contributions. It’s also been a stupid thing to do as I’ve missed out on things that have been happening to friends – some good things, some bad things, some sad things and some happy things – and my life has been the poorer for it.

I can say that with some certainty as I’ve just spent much of the past three days, whenever I’ve had some spare time (of which there hasn’t been much and thus this particular late shift), catching up with SWC, Tim Badger and KT over at The Sound of Being OK.

There’s a number of reasons why theirs was the first to go back to after all these months – one being that I have received a few e-mails from the trio asking after me and they were kind enough to accept my excuses for not visiting and indeed being very understanding in so many ways.  The main reason, however, was because Tim and SWC supplied me with info and news which was very much in the public domain through their blog but which, of course, I had missed out on, namely that KT and her husband Dom were going to become parents around the end of this calendar year.

I don’t know how many of you are regular visitors to their place – I do know from their own comments section that a number of the regulars to T(n)VV are fans of TSOBO, something which is hardly a surprise given the quality of writing to be found over there.

The month of November has been a particular joy to read as TSOBO has been more or less handed over in its entirety to KT to allow her to say a few things before she takes her leave (hopefully temporarily). Tomorrow is her last day and will see her reveal something about her #1 song/singer/band of all time.

But today, KT will talk about #2 and I have it on good authority it will feature Coldplay. And I have promised the boys that, in her honour, and as a way of saying both thank you and good luck, I will have this blog do likewise. Eventually…..

KT previously provided an ICA on Coldplay. It was a wonderfully written and high-quality piece as you would expect, albeit most of the songs were unfamiliar to me, which in itself is not unusual with most guest ICAs.

However, in this instance, there was a badly judged effort on my behalf to take the piss out of the band, one in which I shamefully encouraged others to join in. It was meant to be funny but the joke wore thin rather quickly and KT would have been well within her rights to call me all the names under the sun.

The fact that she didn’t shows what a class act she truly is…..and I’ll always be grateful to her for being so magnanimous.

TSOBO is the follow-on from an old blog which was known commonly as WYCRA, something which the authors collectively deleted sometime ago.

KT (or KC as she was for much of WYCRA) was introduced to us on the back of an incredibly personal posting about how her world had collapsed around her without warning….it was one of the most remarkable pieces of writing I’d seen anywhere, in hard physical copy or digitally. Over the succeeding weeks and months, Kay (for that is her given name) took us on a rollercoaster of a journey through the life she had lived, introducing us to so many great people who surround her, be they family or friends. Oh, and she also threw out the most wonderful titbits that revealed very funny things about SWC and Tim Badger….

Kay is a ridiculously talented writer – as indeed are her two male sidekicks… and I’ll likely focus on them some other days.  Today is all anout the mum-to-be, someone who is  going to be missed by many, and no doubt by SWC and Tim more than any others, and I’m really looking forward to reading her final two contributions today and tomorrow.

I’ve never heard the song I’m posting today….but an internet search of ‘What’s the happiest Coldplay song?’ threw it up as a suggestion…..and the title seemed appropriate.

This one’s for you missus…..and I want to wish you, Dom and your soon-to-be-born daughter all the happiness in the world.

mp3 : Coldplay – Adventure of a Lifetime



I mentioned back in #131 of this series that Sean Dickson (formerly of The Soup Dragons and The High Fidelity) was still making records under the name of HiFi Sean.

Thanks to the generosity of Drew from the blog Across The Kitchen Table, I’m able to offer up something very special today, namely the 45 that was made available in a limited number for Record Store Day 2018. Here’s what the promotional blurb said:-

Record Store Day 2018: Clear 7″ vinyl in a clear plastic bag with a clear sticker to announce the partnership of HiFi Sean and David McAlmont (McAlmont & Butler) of their forthcoming album in later part of 2018 which is partially recorded with a Bollywood orchestra in Bangalore, India . The single ‘Transparent’ is in two parts over both sides and will only exist on this vinyl and will not be included on the forthcoming album.

mp3 : HiFi Sean & David McAlmont – Transparent



It was back in July 2017 that I first featured this occasional series, the idea being to try and offer up an example of where the lyric of a song makes for a great short story.

Here’s a rundown of previous chapters:-

1. I Work In A Saloon – Arab Strap
2. My Sister – Tindersticks
3. Up The Junction – Squeeze (guest contribution from Walter)
4. The Curse of Millhaven – Nick Cave & The Bad Seeds
5. Rushholme Ruffians – The Smiths
6. The Mariner’s Revenge – The Decemberists (guest contribution by Jonny)
7. The Gift – The Velvet Underground (guest contribution by Jacques)
8. The Most Fun – Brakes (guest contribution by jimdoes)
9. Lady of a Certain Age – The Divine Comedy (guest contribution by FoRW)
10. A Week In A Country Jail – Tom T. Hall (guest contribution by Jonny)
11. She’s Leaving Home – The Beatles (guest contribution by Jules)
12. I saw You – Arab Strap
13. Friday Night, Saturday Morning – The Specials
14. Red Light Indicates Doors Are Secured – Arctic Monkeys
15. The Ballad of Tindersticks – Tindersticks
16. David’s Last Summer – Pulp
17. Famous Tracheotomies – Okkervil River (guest contribution by Jules)

Strange in some ways that rap hasn’t thus far featured, given that so many of the lyrics tell stories. I’m changing all that today with one of the darkest, most disturbing and chilling of them all. One in which a sexually abused girl, who can’t get anyone to believe her because her father is a respected member of the community, just snaps and kills her father, while he is working in store grottos dressed as Santa Claus.

“If you will suck my soul
I will lick your funky emotions”


This is the stylin’ for a little that sounds silly
But nothin’ silly about triflin’ times of Millie
Millie, a Brooklyn Queen-originally from Philly
Complete with that accent that made her sound hillbilly
Around this time, the slammin’ joint was Milk is Chilin’
But even cooler was my social worker Dillon
Yeah, I had a social worker ‘cuz I had some troubles
Anyone who’d riff on me, I’d pop their dome like bubbles
He’d bring me to his crib to watch my favorite races
That’s how his daughter Millie become one of my favorite faces
She had the curves that made you wanna take chances
I mean on her, man, I’d love to make advances
I guess her father must ‘a got the same feelin’
I mean, actually findin’ his own daughter Millie appealing
At the time no one knew but it was a shame
That Millie became a victim of the touchy-touchy game

(Trugoy the Dove]

Yo Millie, what’s the problem, lately you’ve been buggin’
On your dukie earrings, someone must be tuggin’
You were a dancer who could always be found clubbin’
Now you’re world renowned with the frown you’re luggin’
Come to think your face look stink when Dill’s around you
He’s your father-what done happen-did he ground you?
You shouldn’t flip on him ‘cuz Dill is really cool
Matter of fact, the coolest elder in the school
He hooked up a trip to bring us all the Lacey
He volunteered to play old Santa Claus at Macy’s
Child, ya got the best of pops anyone could have
Dillon’s cool, super hip, you should be glad


Yeah, it seemed that Santa’s ways were parallel with Dillon
But when Millie and him got him, he was more of a villain
While she slept in he crept inside her bedroom
And he would toss and then would force her to give him head room
Millie tried real hard to let this hell not happen
But when she’d fuss, he would just commence to slappin’
(Yo Dillon man, Millie’s been out of school for a week, man, what’s the deal?)
I guess he was givin’ Millie’s bruises time to heal
Of course he told us she was sick and we believed him
And at the department store as Santa we would see ’em
And as he smiled, his own child was at home plottin’
How off the face of this earth she was gonna knock him
When I got home, I found she had tried to call me
My machine had kicked to her hey how ya doin’ (sorry)
I tried to call the honey but her line was busy
I guess I’ll head to Macy’s and bug out on Dillon

(Trugoy the Dove]

I received a call from Misses Sick herself
I asked her how was she recoverin’ her health
She said that what she had to ask would make it seem minute
She wanted to talk serious, I said, “go ahead-shoot”
She claimed I hit the combo dead upon the missal
Wanted to know if I could get a loaded pistol
That ain’t a problem but why would Millie need one
She said she wanted her pops Dillon to heed one
Ran some style about him pushin’ on her privates
Look honey, I don’t care if you kick five fits
There’s no way that you can prove to me that Dill’s flip
He might breathe a blunt but ya jeans he wouldn’t rip
You’re just mad he’s your overseer at school
No need to play him out like he’s someone cruel
She kicked that she would go get it from somewhere else
Yeah, whatever you say, go for ya self


Macy’s department store, the scene for Santa’s kisses
And all the little brats demandin’ all of their wishes
Time passes by as I wait for my younger brother
He as his wish, I waste no time to return him back to Mother
As I’m jettin’, Millie floats in like a zombie
I ask her what’s her problem, all she says is “Where is he?”
I give a point, she pulls a pistol, people screamin’
She shouts to Dill he’s off to hell cuz he’s a demon
None of the kids could understand what was the cause
All they could see was a girl holdin’ a pistol on Claus
Dillon pleaded mercy, said he didn’t mean to
Do all the things that her mind could do nothing but cling to
Millie bucked him and with the quickness it was over

mp3 : De La Soul – Millie Pulled a Pistol on Santa

Despite a real lack of radio play, its release as a single in 1991 saw it reach #50. Don’t think, however, it’s made it onto any festive compilations.



No apologies today even though this is a repeat posting from January 2017 in terms of the songs. In my defence I’m coming at the lead song from a different angle as last time round it was one of the b-sides which prompted the piece.

Pixies never really wanted to be bona-fide pop stars whose songs hung around the higher echelons of the charts – for evidence, you only need to look at the way they handled the eventual release of Here Comes Your Man as a stand-alone single.

The track is very unusual in comparison to much of the rest of the band’s late 80s/early 90s material. As has been written elsewhere on t’internet:-

“In contrast with the fractured compositional style the band became known for, Here Comes Your Man follows a straightforward verse/pre-chorus/chorus structure, with a short instrumental break in the middle – the very definition of a perfect three-and-a-half-minute pop single.”

It’s also a song which, by the time of its release in 1989 was almost ten years old as Black Francis had composed it when he was just 15 years of age. A version had been included in the demo tape which got them the deal with 4AD Records but the composer vetoed its inclusion firstly on Come On Pilgrim and again on Surfer Rosa. Indeed, it was only sleight of hand by producer Gil Norton that led to it being recorded for inclusion on Doolittle – the band, and in particular the front man condescendingly referred to it as ‘the Tom Petty song’ and way too commercial sounding. Norton waited until Francis was out of the studio and had the other three members record a fresh take on the tune, including Joey Santiago adding a new riff to beef things up, with the results being different enough to warrant a new vocal.

The label bosses worked hard to have it scheduled as a single, only getting their way by agreeing it wouldn’t be used as a precursor for the album. A promo video was made but sort of sabotaged by Francis and Kim Deal who made no attempt to mime the words thus causing severe bafflement to the MTV bosses. The band also turned down requests to play the song on the national chat shows which dominated US television in those days and indeed hardly ever included it in any live shows.

Despite all this, the single got a fair bit of play on college radio in the States and on evening shows in the UK and Europe. It reached #54 in the UK singles charts in July 1989, #1 in the UK Indie Charts and #3 on the Billboard Modern Rock Tracks chart.

Here’s all four tracks from the 12”

mp3 : Pixies – Here Comes Your Man
mp3 : Pixies – Wave of Mutilation (UK Surf)
mp3 : Pixies – Into the White
mp3 : Pixies – Bailey’s Walk

The question is……given that this alternative, wonderfully slowed-down version of Wave of Mutilation was recorded at Palladium Studios in Edinburgh, does it qualify enough to be aired at Simply Thrilled, the upcoming club night celebrating the best of Scotland’s alternative music??



It was as recently as 15 April 2018 when I featured the eighth solo single by Paul Haig:-

Released in Sepember 1984, the production is credited to B-Music/Dojo; in other words Bernard Sumner and Donald Johnson. How many of you wanted to shout out ‘Confusion’ just before Paul’s vocals kicked in?

The b-side is also worth a listen for a number of reasons – it’s a fun and fast-tempo cover of a Suicide classic that was produced by Alan Rankine.

The same b-side as had appeared on Big Blue World (featured in Part 7 of the series) and so it won’t be re-posted.

As for the a-side, the April post featured the 7″ version as released here in the UK. The sleeve at the top of this posting is that of the 12″ Belgian release on Les Disques Du Crépuscule and here’s the two tracks:-

mp3 : Paul Haig – The Only Truth (extended)
mp3 : Paul Haig – The Only Truth (instrumental)

The latter is a particular joy, especially if you’ve any fondness for mid 80s era New Order.



Other than the fact it is alphabetical, nobody can ever accuse this series of being predictable. Last week it was the near 60-year old Horse Macdonald (not her real name) while this week it is 32-year old Hudson Mohawke (not his real name).

And just like last week, I only have one track in the collection, this time courtesy of a download a couple of years back when he was shortlisted for Scottish Album of the Year (SAY) award in 2016.

From wiki:-

Ross Matthew Birchard (born 11 February 1986), better known by the stage name Hudson Mohawke, is a producer, DJ, and composer from Glasgow, Scotland. A founding member of the UK label collective LuckyMe, he signed to Warp Records and released his debut album Butter in 2009. In 2011, he formed the duo TNGHT with Canadian producer Lunice and released their debut EP the following year.

In 2012, he began a series of collaborations with Kanye West, resulting in production credits on the GOOD Music label album Cruel Summer. On 17 January 2013, it was announced that Mohawke had officially signed with GOOD Music as a producer, whilst remaining with Warp and LuckyMe as a recording artist. TNGHT announced their hiatus on 27 December 2013.

Mohawke co-produced two tracks on West’s 2013 album Yeezus (“I Am a God” and “Blood on the Leaves”) and contributed to West’s 2016 follow-up The Life of Pablo, in addition to working with various other hip hop and pop artists, including Drake, Pusha T, and Future. In 2015, he released his second studio album, Lantern (which was the work nominated for the SAY Award). Also in 2016, he collaborated with singer Anohni on her 2016 album Hopelessness, and created the original soundtrack for the video game Watch Dogs 2.

He’s been a busy young man right enough, and according to those who know about these things, he’s always been re-defining his musical style with one critic saying in 2015 “in the six years since debut full-length, Butter, Hudson Mohawke’s music has gone from a glitch-y, turntablist jitter to a euphoric, multicolored trap-hop pound and everywhere in between.”

mp3 : Hudson Mohawke – Scud Books