Notwithstanding that some of the production has dated somewhat there surely can be no counter-arguments to the motion that ‘The first Aztec Camera LP is one of the greatest albums in Scottish history’.

High Land, Hard Rain is packed with ridiculously catchy and memorable tunes and some wonderfully observant lyrics, many of which were written before Roddy Frame had reached his 18th birthday. He was also astute enough to recognise that the sublime We Could Send Letters deserved a far better fate than to wither as a b-side on an obscure and hard-to-find 45 on Postcard Records, and in doing so he takes what was already a very special song and turns it into something as beautiful as the sun going down of a late June evening off the west coast of Scotland. The album version has a slightly slower tempo than the Postcard version which enables the song to breathe a little bit more, and at almost a minute longer in length, it accommodates a cracking guitar solo:-

mp3 : Aztec Camera – We Could Send Letters

The album yielded two hit and popular singles in Oblivious (still a staple part of indie-discos the world over almost 40 years on) and Walk Out To Winter (although the remix version released as a 45 is one of those that hasn’t aged as well as others).

The track, however, I find myself most returning to is the one from which a portion of lyric was lifted to give the album its title:-

mp3 : Aztec Camera – The Boy Wonders

A joyous celebration of youth with that fearless take on things that you have in your teenage years….it’s just that Roddy was far more capable of articulating it than any of us. It’s also an absolute floor-filler with a hi-tempo tune that I feel is akin to one of those ceilidh number that leave you breathless at the end of the set dance.

And just when you need a perfect come down number, there’s the acoustic number that closes everything off:-

mp3 : Aztec Camera – Down The Dip

Allegedly named after a pub in East Kilbride whose staff weren’t that fussed about serving underage drinkers…………



So here’s the thing……..

Three top blokes – Robert, Hugh and Carlo – for a decade have been promoting a club night in Glasgow called Strangeways. I’ve written about it before, and indeed chronicled my experience of being given an amazing opportunity to do a guest slot at one of the nights.

There have been a couple of spin-offs from Strangeways in which I’ve had some involvement – most recently being the Mixtape Nights – but now things are going to a slightly different, higher and really exciting level. Best if I let Robert explain:-

“It’s a round world

While it turns things go in cycles, we presented our much cherished Strangeways night for almost ten years, and we loved every night.

Putting our hearts and souls into every one with the eternal hope that you guys would love them too.

And you came back time and again, dancing and singing until you drifted off into the night, it was happy, happy times.

We decided it was time to close the doors on Strangeways this year while it was still a popular night and leave on a high. But we couldn’t just waltz off into the sunset, naw.

Time for something new and the sounds of Northern Britain are calling you, Scotland’s music needs celebrated and celebrated loudly! It’s colourful, diverse, inventive, quite frankly it’s brilliant and we want to get you dancing once more.

So say hello to ‘Simply Thrilled’ our first night will be back at the fantastic Admiral once more on the 28th of July.

And here’s the dust jacket : Simply Thrilled: Glasgow’s new club night for Songs from Northern Britain and Beyond The mission? To celebrate all that’s great about alternative Scottish music – as well as some terrific bands from beyond. With a playlist that reads like a roadmap of Scotland, Simply Thrilled will be thumbing an A-to-Z of everything from the Associates to The Zephyrs. So expect to hear Glaswegian heroes including The Pastels, Franz Ferdinand, The Royal We and Teenage Fanclub – plus the sounds of the Chemikal Underground: Mogwai, The Delgados and Bis. And, celebrating another groundbreaking label, listen out for Postcard’s Orange Juice, Josef K and Aztec Camera. Need more? Here’s more: Arab Strap, Belle and Sebastian, BMX Bandits, Bossy Love, Camera Obscura, Cocteau Twins, Frightened Rabbit, Lloyd Cole, JAMC, Primal Scream, Simple Minds, The Soup Dragons, Snow Patrol, Young Fathers… And with a glut of newer names like Sacred Paws, Teen Canteen, Spinning Coin, Modern Studies, Happy Meals, Apostille and Hairband

There’s even a wee video trailer to cast your eyes over.

Here’s the thing. The intrepid trio have invited me to join them on a regular basis. And I’m simply thrilled, honeys.

These guys really do know what they are doing and they really play to their individual and collective strengths. Robert and Hugh in particular know how to crank things up at just the right moments in an evening to take the atmosphere to new levels. I can only hope that my own contributions, in whatever shape they take and whatever hour(s) of the evening they occur, maintain that level of quality.

And to celebrate all of this, I’m going to have a short series which celebrates some of the best in Scottish music. Not sure just how often the pieces will appear as they will be built in around the ongoing stuff like the 2018 ICA World Cup, the guest postings, Charged Particles and other inane ramblings that I have in the pipeline. There’ll even be an ICA from a Scottish act which I wrote a few weeks back but never quite manage to slot in.

For today, I’ve pulled out this double-pack single which was posted on the old blog but is one which I can’t trace via my search of what archives have survived.

Oblivious had been released by Rough Trade in January 1983 and reached a reasonably respectable #47 in the charts. The album High Land, Hard Rain had come out a few months later to huge critical acclaim and the band had enjoyed a very successful summer promoting it out on the road. There was a feeling that Oblivious could benefit from a re-release which duly happened in November 1983, with a new sleeve and bolstered also by a limited edition double-pack release to entice those of us who had bought the 45 first time around.

mp3 : Aztec Camera – Oblivious
mp3 : Aztec Camera – Orchid Girl
mp3 : Aztec Camera – Back On Board (live)
mp3 : Aztec Camera – We Could Send Letters (live)

The live renditions were from a gig at El Mocambo in Toronto on 11 May 1983 which had been broadcast by a local radio station. No apologies for the fact the mp3s pop and crackle a bit….I’ve played them a lot over the years.

The marketing campaign for the re-release was a success, taking the song into the Top 20, and providing a very fresh-faced and excited Roddy Frame with his first appearance on Top of The Pops.

More Simply Thrilled induced nostalgia coming your way tomorrow.



This has been partly cobbled from previous T(n)VV postings on Aztec Camera. I also had to wait until the singer/songwriter had been eliminated from the World Cup so that the song didn’t run the risk of featuring in consecutive or close posings.

Roddy Frame was born in January 1964. Before he was able to be legally served in the pubs of his hometown of East Kilbride, he had written, recorded and released two astonishingly good singles on Postcard Records that were released in 1981.

A teenage kid wrote this and recorded it not long after he turned 17 years old.

mp3 : Aztec Camera – Just Like Gold

Johnny Marr must have been tuning in and been inspired. And Grant McLennan and Robert Forster will have looked on while they made their fleeting visit to Glasgow to record for Postcard and smiled at being in the presence of a genius. I’ve previously admitted that it wasn’t a song I took an instant shine to. It was, if anything, too clean sounding. I realise now that my musical tastes in 1981 hadn’t quite evolved enough to appreciate it. It’s now probably my favourite Aztec Camera song of them all.

The fact it came with an equally majestic b-side does really beggar belief:-

mp3 : Aztec Camera – We Could Send Letters

In a parallel universe, radio stations across world over have picked up on the debut and record pressing plants have been working senseless amounts of overtime to ensure supply is keeping up with demand for this particular sound of young Scotland. Roddy Frame has become the biggest and most popular pop star on the planet and Alan Horne has just made the first of his many billions in what would turn into an entrepreneurial career that would turn him into one of the world’s best known personalities, albeit one who is loathed by as many as those who like or admire him.

I’m happy enough, however, with what happened in this particular universe in that a few thousand copies of the single were sold in small, independent stores across the UK, just enough to allow Roddy Frame to survive the demise of his record label to go onto bigger things that brought occasional chart success but sustained a career that is still going strong and is being critically acclaimed the best part of 40 years on. OK, I wish Alan Horne had gotten a slightly better deal out of it, but I get the feeling, for the most part, that he was happy enough with his occasional 15-minutes worth of fame every now and then, all of which has resulted in much of the myth still enduring.

Some might claim that the likes of Oblivious and Somewhere In My Heart (notwithstanding my personal disdain for the latter) were ‘better’ singles than the debut in that they had a catchiness and appeal that resonated with the record-buying public. But if I was around, I would be very quick to challenge such a claim and willingly enter into an argument. Just Like Gold b/w We Could Send Letters is a cracking debut single that no other 45 from Aztec Camera quite matched up to.




I’ve said many good things about Aztec Camera over the years.  But I can’t bring myself to be positive about what was the biggest ever hit single (and it’s even more insipid b-side) that reached #3 in April 1988:-

mp3 : Aztec Camera – Somewhere In My Heart
mp3 : Aztec Camera – Everybody Is A Number One (Boston 86 version)

OK, by 1988 Aztec Camera weren’t really a band – more a name under which Roddy Frame recorded and toured. And as much as I had little time for the sound of the hugely over-produced Love LP, and the singles that it spawned, I was secretly pleased that Roddy was at last enjoying some long overdue commercial success and a wee bit of fortune. Oh and it’s not as if one producer was to blame for the sound of Love – there were a multitude of them. The hand on the buttons for this single and this version of the song that made it to the b-side was Michael Jonzun, best known in part for radio-friendly electro-funk stuff and for working with his brother Maurice Starr, who to intent and purposes, invented the boy-band phenomena of the 80s thanks to New Edition and New Kids On The Block (and there’s two acts I bet you never thought would get name checked on T(n)VV).

Incidentally, there’s an ever bigger abomination to be found on the 12″:-

mp3 : Aztec Camera – Somewhere In My Heart (12″ remix)

Stretching out to a tortuous seven minutes, it’s precisely what was wrong with so much music in the late 80s.

It was interesting that having tasted pop stardom, and all that it entailed in terms of promotion (daytime TV, kids shows, miming on Top of The Pops and similar shows across Europe), Roddy seemed to go out of his way to make a follow-up called Stray that was mostly downbeat and lovely, albeit it also had contained a massive hit with the ultra-catchy Good Morning Britain.

Somewhere In My Heart is of course a great crowd-pleaser and Roddy still performs it whenever he takes to the stage.  I do prefer his fresh take on it:-

mp3 : Roddy Frame – Somewhere In My Heart (live in Osaka, 2007)





It was October 1990 that Roddy Frame last bothered the compilers of the UK singles chart with his bombastic but catchy duet with Mick Jones.  As I mentioned in my ICA effort last August, compiled just after the Boy Wonder had given a tremendous near-homecoming concert at the Kelvingrove Bandstand in Glasgow, there’s a really lovely piano only version out there, available as a b-side to the 1992 single Dream Sweet Dreams, in which the radio-friendly stomp chart is turned into a thing of beauty.

I had reason recently to dig out the original CD single and I re-discovered that in fact it was a decent release on its own as it contained a slight remix of the album version, two live tracks from a gig at the Barrowlands in August 1990 (one of which on the night was totally unexpected) and a radical remix thanks to Fatboy Slim himself.

mp3 : Aztec Camera and Mick Jones – Good Morning Britain (vocal remix)
mp3 : Roddy Frame and Edwyn Collins – Consolation Prize (live)
mp3 : Aztec Camera and Mick Jones – Good Morning Britain (live)
mp3 : Aztec Camera – Good Morning Britain (remixed by Norman Cook)

The lyric was of course a social commentary on life in the UK under a right-wing Tory government with no prospect of things changing but it was kind of lost in the tune that, with the help of Mick Jones, took Aztec Camera into the charts for that one last time in 1990.  This live version demonstrates just how great a song it is….maybe it is time for it to be dusted down and updated to take account of life under David Cameron…

mp3 : Aztec Camera – Good Morning Britain (live at Ronnie Scott’s)



My recent efforts to come up with the perfect imaginary album for Aztec Camera caused a few folk to comment about the lack of any tracks from the 1984 LP Knife with a number suggesting that it is very much an underrated record. I thought I’d offer up a personal perspective if that’s OK with you guys and gals….

The biggest and most obvious issue facing Knife is that it isn’t High Land Hard Rain MkII. There are always great expectations of any singer or band whose debut LP has taken the world by storm and the pressures more often than not lead to ‘difficult second album syndrome’. Nobody however, anticipated this being an issue for Aztec Camera given just how bloody brilliant the songs had been thus far from the Postcard debuts through to the b-sides of the singles lifted from HLHR. Plus there was the fact that Malcolm Ross who was already a legend in Scottish music circles thanks to his involvement with Josef K and Orange Juice – was now part of the band; it was the very thought of him and Roddy both playing guitar on the new material that whetted many an appetite.

And then it was revealed that the choice of producer was to be Mark Knopfler who at the time was flying very high with Dire Straits but whose songs and style was very much at odds with the Glasgow indie cognoscenti. Some immediately anticipated disaster while others, and I was among them, thought it was an inspired choice that would surely bring out the best in the Roddy and Malcolm as far as guitar playing went.

Some of the new songs were aired in the live setting with one such occasion being a free early evening gig at Glasgow Barrowlands in August 1984 that was broadcast as part of a continuous 15 hour music show on BBC2 (The Cure would also perform from the same venue later in the evening, again as free gig). The crowd response to the new material was fairly muted, partly out of a lack of familiarity with the material but partly as they just didn’t seem to be as strong as the older songs.

A few days later, All I Need Is Everything was released as the advance single. It was a shock to the system. Not as much for the a-side which was decent enough if a tad blander and less catchy than most of us would have liked but for the fact that the b-side being a cover of Jump by Van Halen. Maybe it was meant to be ironic but I hated the original with a passion and just couldn’t bring myself to endure Roddy’s take on it.  The other thing that was worrying about the a-side was the fact, just like the remix of Walk Out To Winter when it was released as a 45, there was a fair bit of reliance on a synthesiser on the record which didn’t sit too easy with a number of fans who saw Aztec Camera as being very much a guitar band akin to The Smiths and Everything But The Girl.

The single didn’t quite bomb but three weeks floating around in the mid-30s on the charts was not the outcome the folk at WEA had been anticipating…and the critical backlash to the release of the album just a few weeks later did nothing to help.

More than 30 years on, I’m still of the view that Knife is a stinker of a record albeit it does have the occasional decent moment. Let’s get the truly awful out-of-the-way first………….and that is the fact that the title track would not have sounded out-of-place on a Dire Straits record. It is nine minutes long; it is more akin to noodling or jamming than a proper song; it was unlistenable then and it remains that way today. The one saving grace is that it was the closing track on side 2 and so you could race over to the turntable and lift the needle out of the groove before it started.

Knife also disappointed in other ways. Having only eight songs meant fans felt a bit short-changed. The extended version of All I Need Is Everything on the album was a total waste of time as all we got was two minutes of bland elevator synth muzak tagged on at the end. There wasn’t much evidence of the indie-pop guitar sound many of us had been hoping albeit album opener Still On Fire just about fits bill but is let down again by a reliance on synths in the instrumental break.

I suppose if I hadn’t known anything about Aztec Camera before the release of Knife then I’d have been impressed with Just Like The USA and The Birth of the True but they felt at the time, and still do, as poor relations to tracks on HLHR. Such were the standards on which they were being judged.

The remaining three tracks don’t do anything for me. I was particularly disappointed with Back Door To Heaven, the ballad that closes side one of the album which has an awful production complete with Roddy struggling with a vocal style that was completely alien to him.

So there you have it. A highly personal view that Knife doesn’t cut it. It’s no shock that it cost the band a fair chunk of its initial fanbase., that it also sold poorly and led to a major rethink from all concerned. It would take three years before the next Aztec Camera album would be released by which time only Roddy Frame was left from those who had been involved in the first two records…..

mp3 : Aztec Camera – Still On Fire
mp3 : Aztec Camera – Just Like The USA
mp3 : Aztec Camera – The Birth Of The True

and NOT from the album:-

mp3 : Aztec Camera – All I Need Is Everything (single version)




I was lucky enough just last Friday to get myself along to see Roddy Frame play an outdoor solo acoustic set in front of an adoring home audience at the restored bandstand in Kelvingrove Park here in Glasgow.  He was on blistering form and relaxed enough to engage in a fair bit of entertaining chat with the audience in between songs.  It was only after this set, which extended out to well over 100 minutes, that I fully appreciated just how many great songs he’s written over the years under his own name and of course under the label of Aztec Camera. And that was after a set that didn’t include all four of his Postcard songs!!

So I thought it would be worthwhile giving him the imaginary album treatment.

Side A

Track 1: Western Skies (from the 2006 solo album Western Skies)

This wasn’t aired at the recent gig and more’s the pity.  It’s the opening track to what was the third LP released under his own name.  I rarely like when ballads open up albums but this is such a lovely little understated song with very fine acoustic guitar plucking and a melodoica.  And I’m a sucker for that particular instrument…

Track 2: The Boy Wonders (from the 1983 Aztec Camera album High Land Hard Rain)

Notwithstanding that some of the production has dated poorly there can be no question that the first Aztec Camera LP is one of the greatest records in Scottish history.  It is a record packed with ridiculously catchy and memorable tunes and some wonderfully observant lyrics.  And of course Roddy Frame wrote most of the songs before he had reached his 18th birthday.  This song may not have been a single but it is the one that really has endured…a joyous celebration of youthful life with that fearless take on things that you have at that age.  And its a great record to dance to.

Track 3: How Men Are (from the 2006 solo CD Live In Osaka)

I have a real love/hate relationship with the third Aztec Camera LP from 1987.  Love is over-produced to the point where at times it becomes near unlistenable which is a damn shame as some of Roddy’s best songs can be found among its nine tracks.  It is when you hear them played nowadays, almost 30 years later, with just the voice and the acoustic guitar to occupy your thoughts, that you get a full appreciation of their majesty.  As with this, the sublime second track on Love but captured live in Osaka, Japan in September 2006.

Track 4: Just Like Gold (Postcard single, 1981)

A 16-year old kid wrote this.  Johnny Marr must have been tuning in and been inspired.  And Grant McLennan and Robert Forster will have looked on while they made their fleeting visit to Glasgow to record for Postcard and smiled at being in the presence of a genius.

I’ll admit that this wasn’t a song I took an instant shine to.  It was, if anything, too clean sounding.  I realise now that my musical tastes in 1981 hadn’t quite evolved enough to appreciate it.  It’s now probably my favourite Aztec Camera song of them all.

Track 5: Orchid Girl (b-side of the Aztec Camera single Oblivious, 1982)

I somehow haven’t found space on this imaginary offering for the single that first brought the band to the wider attention of the record buying public albeit I think it’s a belter of a 45.  But it is the b-side I have always been really fond of….not least as it helped me along the way to reassessing how I felt about Just Like Gold.  A short while later I fell for the charms of Billy Bragg and there’s many a time I’ve thought that Orchid Girl is the greatest BB love song that he never wrote…..

Side B

Track 6: Bigger Brighter Better (from the 1998 solo CD The North Star)

The North Star was the first album that Roddy hadn’t released as Aztec Camera and yet it is the album which overall is closest to the Aztec Camera debut record than any other in that it was packed with hooks and catchy choruses.  There’s an irony in there somewhere….

This track, tucked away in the middle of the CD, was the one that I thought at the time could have taken him back into the charts if the record label, Independiente, had gone for it as a single….but they didn’t.  It’s the one where Roddy reflects how maybe he wasn’t quite prepared for everything that was involved with being a pop star on a major label.  There would have been a real irony if Bigger Brighter Better had turned out to be his return to the singles charts.

The final irony?  In 1999, Independiente oversaw the release of The Man Who by Travis – a record that wasn’t really all that far removed from the sort of songs Roddy had tried to make his comeback with and yet it sold in millions.  The record buying public at their fickle best.

Track 7: Killermont Street (from the 2006 solo CD Live In Osaka)

The closing track on the Love album wasn’t one that suffered from too much over production and almost made the cut.  But there’s just something a bit special hearing Roddy, with just a guitar for accompaniment, deliver this ode to his roots at a venue thousands of miles away and realising that it’s a song capable of bringing a lump to the throats of an audience who have never set foot in the famed bus station.

Track 8: We Could Send Letters (from the 1983 Aztec Camera album High Land Hard Rain)

Originally released on the b-side of Just Like Gold and I honestly don’t know which of the versions I prefer.

The original is more dependant on the acoustic guitar and in comparison to the album version is almost demo-like in nature but comes with a passion and energy that makes it an essential listen.  However, the slicker production and the fact the tempo on the album version is slightly slower allows the song to breathe a bit more.  Oh and it’s also nearly a minute or so longer in length with a cracking solo from Roddy thrown in that ensures its place on this imaginary compilation.

Track 9: Good Morning Britain (from the b-side of the 1992 Aztec Camera single Dream Sweet Dreams)

A rare time when Roddy puts the guitar to one side and plays the piano to turn his radio-friendly stomp chart hit into a thing of beauty.  The lyric was always a social commentary on life in the UK under a right-wing Tory government with no prospect of things changing but was kind of lost in the bombastic tune that with the help of Mick Jones took Aztec Camera into the charts for one last time in 1990.  This live version demonstrates just how great a song it is….maybe it is time for it to be dusted down and updated to take account of life under David Cameron….

Track 10: Down The Dip (bootlegged version from Paisley Abbey, 27 October 2012)

The closing track from High Land Hard Rain has always been a crowd favourite.  Nowadays, and this is what he did at Glasgow the other week, Roddy extends it out with a coda of It’s Alright Ma (I’m Only Bleeding) and then shows off his guitar skills.  There’s a few versions of this out there but the fact that this was another gig in front of a home crowd who you can sense are going wild in the aisles of the historic old church makes it an ideal closer for this imaginary compilation……

mp3 : Roddy Frame – Western Skies
mp3 : Aztec Camera – The Boy Wonders
mp3 : Roddy Frame – How Men Are (live)
mp3 : Aztec Camera – Just Like Gold
mp3 : Aztec Camera – Orchid Girl
mp3 : Roddy Frame – Bigger Brighter Better
mp3 : Roddy Frame – Killermont Street (live)
mp3 : Aztec Camera – We Could Send Letters (LP version)
mp3 : Aztec Camera – Good Morning Britain (live)
mp3 : Roddy Frame – Down The Dip (live)