November 2023 – Page 2 – THE NEW VINYL VILLAIN

THE WEDDING PRESENT SINGLES (Part Six)

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April and May 1987 saw The Wedding Present out on tour across the UK, mostly at student union venues, while the following month they were a late replacement, well down the bill, at Glastonbury after Red Lorry Yellow Lorry had to pull out unexpectedly. Otherwise, the time was spent, writing, rehearsing and eventually recording the songs for the debut album.

A few weeks in advance of the album, a new single was released as a taster:-

mp3: The Wedding Present – Anyone Can Make A Mistake

Maybe it was around this time that someone cracked the line ‘all the songs sound the same’, to which the smart reply has to be ‘maybe….but it’s a helluva song isn’t it?’ Anyone Can Make A Mistake didn’t deviate too far from the tried and tested, but perhaps the one minor criticism on offer is that it wasn’t quite as brilliant as My Favourite Dress (but then again, what possibly could be?)

This one came out on 7″ and 12″, as well as on cassette, which was a limited edition with a free Reception Records badge. The 7″ had one b-side, but the other formats had two additional songs

mp3: The Wedding Present – All About Eve
mp3: The Wedding Present – Getting Nowhere Fast

The interesting thing about the latter is the fact it’s a cover version, something that the band would increasingly become famed for in the succeeding years. This one is of a song originally released back in 1980 by Girls At Our Best, a short-lived but much-loved post-punk band from Leeds. The decision by TWP to cover the song re-ignited interest in Girls At Our Best (they had broken up in 1982), one that has been maintained through to recent times with Optic Nerve, the Preston-based label which specialises in re-releases from the golden eras of indie-pop, giving said treatment to Pleasure, the band’s sole album from 1981.

JC

Wojtek The Bear

SATURDAY’S SCOTTISH SONG : #381: WOJTEK THE BEAR

Wojtek The Bear is an incredibly unusual name for a band.

The backstory can be read in full here on wiki, but in short, Wojtek was a bear cub who was found in 1942, who was adopted and raised by soldiers in the Polish Army, and who lived the latter part of his life in Edinburgh Zoo, passing away at the age of 21 in 1963.

The name has now been adopted by five Glasgow-based musicians, whose third album is scheduled for release in early 2024. The band, consisting of Tam Killean (vocals), Graham Norris (lead guitar), Paul Kirkwood (bass, vocals), Martin McClements (drums) and Becky Cheminais (violin) have been around for about five years, with the debut album A Talent For Being Unreasonable coming out on Scottish Fiction Records in 2018.

The band were a quartet at the time, but having guested on a number of the songs on the debut, Becky was asked to join by the time everyone went into the studio to record the follow-up, Heaven By The Back Door, which was issued by Last Night From Glasgow in 2021.

They make the sort of intelligently enjoyable indie-pop that has never quite gone out of fashion, certainly in the environs of Villain Towers, and I’m only sorry it was taken so long, and their appearance in this long-running series, for them to debut on the blog. Rest assured that when the new album, Shaking Hands With The NME is made available to buy, it will be getting well mentioned and plugged. I should mention that the new album, which will again be on Last Night From Glasgow, was produced by Stephen Street, which is usually a sign of quality.

To make up for them not featuring in the past, here’s a song from each of the two previous albums.

mp3: Wojtek The Bear – Made Out Of Maps (from A Talent For Being Unreasonable)

mp3: Wojtek The Bear -One Things’s For Certain (from Heaven By The Backdoor)

Ach…. let’s go the whole hog. The band recently released a video to showcase what will be the debut single from the third album.

It’s rather wonderful, isn’t it??

JC

Robert Smith, Twilight Sad

THEY’VE BEEN GREAT PALS FOR YEARS…

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The Twilight Sad appear to have won legions of new fans this year, thanks to them being the special guests of The Cure on what was a very extensive tour of North America back in May and June.

It’s not, of course, the first tour they have undertaken as the specially invited guests of the legendary pop-goths, and the fact they were asked to do so again is testament to their abilities not to be overawed by the logistics of playing in cavernous arenas not forgetting also that Robert Smith has been a long-time admirer of their music.

It was back in 2015 when Smith provided a vocal to a Twilight Sad song, one which was issued as part of a Double-A side single:-

mp3: Robert Smith – There’s A Girl In The Corner

The song had originally appeared as the opening song on the album Nobody Wants To Be Here And Nobody Wants To Leave. I’m sure I wasn’t alone, when I read that it was to form one half of the latest Twilight Sad single, that it would be one where he contributed a vocal to either the original tune or would see him in the studio with the band doing it all again fresh.

Nope.

As you can see from the back of the sleeve above, the voices and instruments were all the work of Robert Smith, and that he engineered, produced and mixed everything too.

The result is hugely enjoyable, with James Graham and Andy MacFarlane both saying at the time how thrilled they were that one of their heroes had accepted what they thought was an ambitious request to cover one of their songs.

But it’s not a patch on the original.

mp3: The Twilight Sad – There’s A Girl In The Corner

I’ve this one on 7″ white vinyl, which I had long believed was the only format in which it was released. Turns out there’s a rare and sought after CD version, with only 100 copies issued as a promotional release in America.

JC

Alan Rankine

THE 7″ LUCKY DIP (9)

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Bit of a strange one today.

The late Alan Rankine, who passed away on 2 January 2023, was probably best known as being a founder member of Associates. He quit in 1982, not too long after the release of their third album, Sulk, quickly moving into production during which he worked with, among others, Paul Haig, Cocteau Twins and The Pale Fountains.

He returned to performing in 1986, eventually recording three solo albums before moving on in a new direction by joining Stow College in Glasgow as a lecturer on a music business course, where he was instrumental in providing a very firm launchpad for the career of Belle & Sebastian.

His solo material was a bit on the patchy side, and that’s me being kind. This is the single which also lent its name to his debut album:-

mp3: Alan Rankine – The World Begins To Look Her Age

It’s one in which the kitchen sink has been thrown at, production wise, but all it seems to do is highlight that his own vocal is quite one-dimensional and limited. I don’t think he was ever cut out to be a frontman. He was probably more comfortable doing the more experimental stuff that was on the b-side:-

mp3: Alan Rankine – Can You Believe Everything I See? (Part 2)

This single, like much of his solo material came out on Virgin Records. It didn’t chart.

JC

Jam

ONE HUNDRED AND ELEVEN SINGLES : #038

aka The Vinyl Villain incorporating Sexy Loser

#038– The Jam– ‘Down In The Tube Station At Midnight’ (Polydor Records ’78)

Hello friends,

in the long run The Jam certainly were one of the most notable bands of all time. If you just consider the five years from ‘In The City’ to ‘The Gift’, there aren’t that many competitors who managed to keep up with such a level of constant brilliance. This makes it rather hard to pick just one single out of the big lot that the band had released within this period. So at the end of the day, basically it could have been any other one, but I went for their eighth 7”, ‘Down In The Tube Station At Midnight’, taken from their third album, from 1978.

Why this one? Well, just like The Clash, The Jam have always been a “lyrics band” for me. I well remember that once I finally had access to internet (when would that have been? 1995 or thereabouts?) I more or less immediately tried to get hold of ~~free porn~~ Jam lyrics, and when being successful, it was always a revelation for me, nearly for each and every tune of theirs. But I think finally being able to understand the full lyrics of ‘Tube Station’ stood out by quite some distance.

Of course I had already realized that Weller is not exactly singing about love, peace and harmony, no, the message seemed to be quite the opposite, in fact. But only after having access to the ‘missing parts’ – the bits I simply couldn’t translate, regardless how often I would play the record – the circle closed, and I loved the tune even more than I already had done before – a masterpiece, I thought: not only lyrically, but musically as well, obviously.

The funny thing is: Weller wasn’t at all fond of the song, so I learnt very much later. He even didn’t want to have it on the album. Apparently the producer, Vic Coppersmith-Heaven convinced him in the end: “I was insistent on him reviving it, and once the band got involved and we developed the sound it turned into an absolutely brilliant track, a classic. Maybe we would have come around to recording it later on in the project, but he’d just reached that point of ‘Oh bollocks, this isn’t working, it’s a load of crap.’”

In hindsight, it seems rather ludicrous that Paul Weller thought so bad about this song. But it is easily forgotten that Weller was only 20 years old in 1978. Me, I could barely write my bloody name when I was 20, let alone write three essential albums full of clever lyrics – which often tried to give the listener an understanding of the fucked up state of Britain’s politics, economy and society.

But the BBC, in their wisdom – instead of putting the single on heavy rotation in order to spread the word – subsequently banned it: in a time when racism was commonly accepted in British society, the song’s powerful message was not acceptable to play on the radio for the station apparently. To quote Tony Blackburn, BBC Top DJ at the time: “It’s disgusting the way punks sing about violence. Why can’t they sing about trees and flowers?”

These days a down-right ridiculous attitude of course, but as it seems at least a handful of young Britons were ahead of their time, because ‘Down In The Tube Station At Midnight’ became The Jam’s second Top 20 hit:

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mp3: The Jam – Down In The Tube Station At Midnight

And finally, for fact-fans: the cover photo was shot on Bond Street tube station on the Central Line whereas the sound of an Underground train at the beginning of the song was recorded at St. John’s Wood Station.

Enjoy,

Dirk

James

RECOMMENDED LISTENING FROM 2023 (Volume 8)

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The eighth of an occasional feature in which I’ll draw your attention to some albums that have been purchased in 2023 and which I reckon are worth highlighting.

OK. This is a total nostalgia kick. There’s a huge number of singers and bands who’ve been around for decades flogging many a dead horse to fans who are prepared to pay silly money for limited edition represses, gig tickets, t-shirts and all the other paraphernalia that comes with music in the modern era. I’m as guilty as most when it comes to forking out, although I’ve increasingly become tetchy and unwilling to pay the asking price for live shows which are unlikely to be as memorable or enjoyable as those from a few years or decades ago. (£50 for the Bunnymen at the Barrowlands next year? No thanks…….)

I did, however, fork out for the James show in Glasgow that was to feature an orchestra and choir. I did so as the venue was more than decent, and I’m very fond of hearing songs adapted to include strings. It proved to be a good call, as it turned out to be one of the best of what ended up being many live highlights during 2023.

I have to admit that the actual performance was far more spine-tingling than the accompanying album, but that really is down to the magic of seeing and enjoying things in the flesh as opposed to hearing a note-for-note perfect reproduction at home via the stereo speakers. It’s also the fact that the running order of the live show was quite different from the order in which the songs appear over the four sides of the vinyl, as well as having a number of songs that don’t appear on the record. But, all minor grumblings aside, Be Opened By The Wonderful is an album I’m very happy to recommend be added to your wish list from Santa if you’re looking for ideas.

I love that James went deep into the back catalogue for this one. Yup, a fair chunk of the better-known hits are given the full treatment, but there’s also a fair number of album tracks from before they hit payola, at least one very obscure b-side, a handful of songs from their most recent releases and one completely new song. They have all been imaginatively arranged by Joe Duddell, the Manchester-based composer and conductor, and the playing by the ORCA 22 Orchestra and the singing from the Manchester Inspirational Voices Choir is, as you’d expect, from the very top drawer, as too is the playing by the various members of James.

But none of it would work if Tim Booth wasn’t on top form. It’s hard to believe that he sounds as young, fresh and invigorated as he did when he started out some 40 years ago. He brings beauty, drama, power and raw emotion to every one of the tracks, his voice soaring when required but falling to a near whisper when the moments call for it, sometimes on the same song.

mp3: James – Hey Ma

The album and concept was pulled together to mark 40 years in the business. It would have been easy enough to go down some sort of box set route, but instead the band, and all involved with them on the management side, have spared no expense in this incredibly lavish production. Here’s one of the big hits.

If you need any more tasters for what the album offers, you can hear everything over at the James YouTube channel. Just click here.

JC

Carte de Sejour, Rachid Taha

CARTE DE SÉJOUR : DOUCE FRANCE

A guest posting by J.C. Brouchard (our French Correspondent)

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When JC placed a call for a guest posting about Rachid Taha, I thought I could only step up to the plate.

After all, I bought his band Carte de Séjour’s first record back in 1982 and wrote about it on my blog Vivonzeureux! back in 2007 (click here) and earlier this year, I remembered and reviewed one of his solo singles (click here). I have read his autobiography, Rock la casbah and many years ago, I bought on release and thoroughly enjoyed Carte de Séjour’s biggest hit Douce France, which I’m glad to introduce you to today.

What made Carte de Séjour stand out after they formed in Lyon in the early 1980’s is that they were a great rock band, with a line-up made up mostly of « beurs » (a French slang word which became popular at the time, derived from a reverse pronunciation of Arab »). They were maybe one of the first, and not many have followed suit since.

Their name itself was a statement (The « carte de séjour » is the residence card for foreigners in France) and they purposely elected to write lyrics in an arabic-Algerian dialect mixing in some French words.

Carte de Séjour performed their cover of Douce France for the first time on June 15th 1985 at a huge anti-racist concert on Place de la Concorde in Paris. A short clip is on YouTube, with comment by Rachid Taha, complete with subtitles:-

The choice to cover this Charles Trenet song was perfect. The original song itself has a chequered history. It was written and first performed by Charles Trenet in the 1940’s, during the German occupation. Some took this nostalgic paean to France and childhood memories as an endorsement of the Vichy regime, while others saw in it some form of passive resistance to the Germans, harking back to an eternal idealised France. Trenet first recorded it in 1947, and it became a classic of the « chanson française ».

Carte de Séjour recorded their studio version of Douce France with British producer Nick Patrick, who worked a lot with Barclay artists at the time and had produced Alain Bashung’s Touche pas à mon pote the year before. It was released as a single and was also included on their second album, 2 ½.

mp3: Carte de Séjour – Douce France

Asked later what he meant by covering this song, Rachid Taha replied « I meant «Fuck you», » We are here, we are to stay for good, we can sing this, we can sing Brassens,… ».
It was a way to reclaim a piece of French heritage as their own, but if their intentions were initially ironical, as underlined, by the use of a forced Arabic accent, it is not exactly the way in which their cover was ultimately received.

Here’s how Barbara LEBRUN puts it in “Carte de Séjour: Revisiting ‘Arabness’ and Anti-Racism in 1980s France.”, the first academic study published in English about Carte de Séjour (Popular Music 31, no. 3 (2012): 331–46. https://doi.org/10.1017/S026114301200027X) :

« the unchanged lyrics suggested that ‘Arabs’ expressed their love of France just as Trenet, and by extension white French people, once had. This literal interpretation also implied that, like the French, ‘Arabs’ had had childhoods in France, were an integral part of the nation, and kept ‘sweet’ memories of their life in France. This assimilationist interpretation was not intended. (…)

Taha detested Le Pen, but his intentions in this cover were ironic rather than literal. Instead of appropriating the patriotism of the original, his ‘Douce France’ was ‘an antiphrasis. It was out of irony precisely because France was not sweet for immigrants, that we chose that title’ »

The Douce France cover was a soft but also violent way to denounce rampant fascism, in the context of ambient racism, the rising far-right Front national and a new rightist government intent on fighting immigration (If you think the past sounds like our present, you’re unfortunately right !).

This culminated on November 19th 1986, when Parliament was debating a reform of the Nationality Code. With the band’s approval, ex-culture minister Jack Lang and Charles Trenet himself took it upon themselves to hand out copies of the single to members of Parliament at the National Assembly.

I didn’t underline it enough, but Carte de Séjour’s version of the song is a success all over, energic and exhilarating.

Unfortunately, even with a lot of media coverage, it was not that big a hit. The band never really made it big and split after two albums.

JC Brouchard

Wedding Present

THE WEDDING PRESENT SINGLES (Part Five)

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We’ve now reached 1987, the year in which The Wedding Present would break out of cult status and take firm grip of the indie-scene in the UK. It all began with the release of a new song in February, one which was given the accolade of ‘Single Of The Week’ in the NME:-

mp3: The Wedding Present – My Favourite Dress

There can’t be too many of us who haven’t been on the bad end of a painful break-up at some point in time. The luckier ones are those who never see the previous other half ever again, but such instances are very rare. It is an inevitability that paths will cross in the most difficult and agonising circumstances. Plenty of poems, prose and songs throughout history have touched on the theme, but there can’t be many better that have captured the gut-wrenching feeling of having it confirmed with your own eyes that it really is all over.

“A stranger’s hand on my favourite dress. That was my favourite dress you know.”

It was released on 7″ and 12″ on Reception Records.

As with previous singles, the b-sides proved to be worthy of attention.

mp3: The Wedding Present – Every Mother’s Son
mp3: The Wedding Present – Never Said

The former is a ridiculous burst of energy that is done and dusted in just over 90 seconds with Pete Solowka playing his guitar at a speed very few of us can comprehend, while the latter is another example of what has turned out to be the many hundreds of Gedge songs dealing with break-ups – in this instance the protagonist is seeking an explanation of what went wrong. But at least it seems he was spared seeing a stranger’s hand on his previously favourite dress.

JC

Withered Hand

SATURDAY’S SCOTTISH SONG : #380: WITHERED HAND

Withered Hand is the stage name adopted by Dan Willson, an English-born but Scottish-based musician who made a bit of a comeback this year after quite a lengthy spell out of the limelight.

He was a relative latecomer to music, seemingly not picking up a guitar until the late-90s, by which time he was in his 30s. Around the turn of the century and beyon, he became part of a number of bands based in the Edinburgh-area, none of which made any sort of commercial breakthrough. He was then involved in the Fife-based Fence Collective scene, quickly making a name for himself as a talented singer-songwriter in the folk/indie style that was becoming increasingly popular in Scotland at the time.

In 2009, he released what proved to be a very-well received debut album Good News, on Edinburgh-based SL Records, all the while attracting very positive press for his live shows. The next few years would see a number of EPs and singles and a move to Fortuna Pop!/Slumberland Records for whom he recorded New Gods, his second album, in 2014.

New Gods is a hugely enjoyable record from start to finish, and for a time it looked as if Dan would be the next singer/songwriter to emerge out of Scotland to a wider, international audience.

But it has taken nine years to write and record a follow-up, with How To Love making its appearance back on 28 April, and the momentum has been lost. In the media rounds accompanying the new release, Dan hasn’t shirked away from explaining what happened, revealing that he has been having severe struggles with his mental health much of his life, trying to deal and cope with anxiety, depression and addiction. He found himself totally unable to write anything in the wake of the acclaim heaped on New Gods.

I’m really pleased that Dan is on the comeback trail, and I did make a purchase of the new album a few months back. But it’s proving to be a difficult listen – it’s not that I think it’s a poor or disappointing record, but it had so much to live up to with the previous two albums and I can’t help but think it comes up a bit short. I’ll persist with it in the weeks and months ahead. It could well prove to be a grower.

In the meantime, here’s one of the songs from New Gods.

mp3: Withered Hand – Black Tambourine

JC

Indelicates

ONE HUNDRED AND ELEVEN SINGLES : #037

aka The Vinyl Villain incorporating Sexy Loser

#037– The Indelicates– ‘We Hate The Kids’ (Sad Gnome Records ’06)

Hello dear friends,

what would the world of music be without all those fine famous duets consisting of a male and a female part? You know what I mean, clear, strong, beautiful voices, which, in the combination of themselves – plus a little bit of seduction, if I may say so -, enrich a song to a degree where shivers are being sent down your spine each and every time you hear it. There have been quite a few of those duets over the years: Nancy & Frank Sinatra, John Travolta & Olivia Newton John, Joe Cocker & Jennifer Warnes, Sonny & Cher, ~~Paul McCartney & Michael Jackson~~, Simon & Julia Indelicate … sorry, what do you say? Oh, the latter are not known to you? Well, let’s revise this then straightaway – because quite clearly they are the fucking best of the whole lot, no question about this!!

Simon and Julia Indelicate, or Simon Clayton and Julia Clark-Lowes, to give them their real names, founded The Indelicates in Brighton in 2005. Simon was a poet, active in cabaret things, so most probably that’s why he didn’t appear on our radar before. Julia though was active in The Pipettes for two years, and perhaps this name rings a bell – it certainly should, they were a great little combo!

The Indelicates gained some attention with the online-only release of a tune called “Waiting For Pete Doherty To Die” in 2005. Doherty, he of The Libertines fame, but back then in Babyshambles, still was quite big in the press at the time, mainly for what he put in (drugs + drinks) than for what he put out (good music), I think it’s fair to say, so the song soon became the source of a lot of misunderstanding and controversial mentions in the press.

I won’t go into detail here, but if you listen to the tune and its lyrics, you will very quickly find out that it wasn’t about wishing Doherty to die, but instead about the media profiting of the death of musicians in general (before I forget: by coincidence I saw an up-to-date picture of good ole’ Pete a few weeks ago, opening some art exhibition here in Germany. You have to google him, you won’t believe your eyes if you, like me, last saw him some 15 years or so ago).

But I digress, as I so often do. Today’s song has nothing to do with any of the above apart from the fact how important lyrics can be: it is The Indelicates’ first proper single from one year later, 2006, in fact. The band found a record company, Sad Gnome Records, the single being the label’s first release, and although I tried to follow them a bit for a few years, they never did anything quite as fantastic as this afterwards, I would say:

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mp3: The Indelicates – We Hate The Kids

Obviously this is one of those songs that lives from its lyrics, and boy – that’s what I call lyrics! A perfect mixture of cynicism, disaffection and cleverness, well-packed in a lo-fi tune that make you want to jump along with it. What more could you possibly ask for, I wonder? One year later the band released an EP called ‘The Last Significant Statement To Be Made In Rock ‘n’ Roll’.

Well, as far as I’m concerned, ‘We Hate The Kids’ actually has already been the last significant statement to be made in rock’n’roll. By a mile …

Enjoy,

Dirk

Spare Snare

RECOMMENDED LISTENING FROM 2023 (Volume 7)

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The seventh of an occasional feature in which I’ll draw your attention to some albums that have been purchased in 2023 and which I reckon are worth highlighting.

The inclusion of Brutal by Spare Snare shouldn’t come as a surprise, given how much I waxed lyrically about it a few months back as part of a lengthy double-feature over two successive days with Jan Burnett, the band’s lead singer. I know that the lengthier articles on the blog are glossed over by a few folk, so I’m happy enough to do a bit of cutting and pasting from that time.

Most Spare Snare records are released in a low-key manner, partly as the time constraints on everyone really restricts how much can be delivered in the way of promotional activities. This time around, the release of the album is going to be accompanied by a week-long tour of venues in England, with Scottish dates later on at weekends. There’s a real desire and willingness to get the album out to as wide a crowd as possible, with a collective belief that it is as strong a collection of tunes as any they have ever delivered.

It’s a compact effort, with its ten tracks coming in at around 35 minutes all told. I played it with a pre-conceived idea of what a Steve Albini-engineered album was likely to sound like based on listening and enjoying his work with The Wedding Present, Pixies, The Breeders, PJ Harvey and so on, but found myself really appreciating how different and diverse things sounded on this occasion. I really shouldn’t have been caught out in that way given that Albini is far removed from being a one-trick pony, having worked with, among others, The Auteurs, Low, Cinerama and Jarvis Cocker, none of whom relied extensively or exclusively on guitars to make great albums.

But please, don’t be under the impression that the brilliance of this record is down solely to the magician behind the desk.

Far from it.

Spare Snare have very much upped their game on this occasion. As I outlined earlier, they took a different approach in the advance planning for this album, working and preparing harder than ever before. By the time they went into the studio, they knew they had a set of very strong songs, their first new material since the release of Unicorn in 2018; by the time they came out of the studio a week later, they had very much risen to the occasion and, to this particular set of ears, delivered the performance of a lifetime.

In summary, they nailed it.

mp3: Spare Snare – The Brutal

Spare Snare have always looked to closely control and manage the distribution of their music, and while there may well be copies kicking around in some of the independent record stores across the country, it’s probably best you pick it up via the Bandcamp page. Just click here.

JC

Various

WHAT’S NEXT?

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mp3: Various – No Idea Where This Is Going (So Have Some Fucking Empathy)

For this edition of the monthly mix, I started off with a particular song to open things up, with the idea/concept that I’d try it as an imaginary live broadcast with no preparation. All I knew was that the next song and/or band would have to flow well from the previous one.

By the time I reached the 14th song, I wasn’t sure if it was working, which is where the inspiration for the 15th song, and the title of the mix, came from. The 16th song was an attempt to finish off with a bit of pop, but then realising I still had a couple of minutes left, which is why song #17 was added to take it to almost the full hour, thus enabling the incoming newsreader to do their bit and on time.

Enjoy.

The Skids – One Skin
Blur – Colin Zeal
Hinds – The Club
Echo & The Bunnymen – Do It Clean
The Wedding Present – You’re Just A Habit That I’m Trying To Break
Dan Le Sac vs Scroobius Pip – Letter From God To Man
Joy Division – Disorder
Working Men’s Club – X
The Cranberries – Zombie
SPRINTS – Modern Job
Alvvays – Plimsoll Punks
Grrl Gang – Dream Grrl
David Westlake– The Word Around Town
Half Man Half Biscuit – Persian Rug Sale at the URC
Dream Wife – Leech
Jane Wieldin – Rush Hour
Soup Dragons – Whole Wide World