THE TESTIMONIAL TOUR OF 45s (aka The Singular Adventures of Edwyn Collins)

#14: Pale Blue Eyes : Paul Quinn & Edwyn Collins (Swamplands, SWP1, 1984)

I mentioned last time out that Edwyn Collins likely knew the contract with Polydor wouldn’t be renewed, and I speculated that he was likely to receive offers from elsewhere.  My speculation was, based on events in 1984, fairly well-founded as Alan Horne, the man behind Postcard Records was very much back on the scene.

The first suggestion of them working together again can be gleaned from the sleeve of the Orange Juice single What Presence?!, released in March 1984, as the images of Edwyn and Zeke which adorned the sleeve are credited to Alan Horne.  Around the same time, Horne had been approached by London Records to ‘come out of retirement’ and run a new independent style label as an offshoot, with no strings attached as to who he could sign.  His first move was to name his label Swamplands and his second was to approach Paul Quinn, the vocalist who had quit Bourgie Bourgie just as that band were preparing to begin work on a debut album for MCA Records.

It has often been said, but I’m not sure if it’s true or not, that Alan Horne’s favourite song of all time was Pale Blue Eyes by The Velvet Underground.  If so, the fact that he was able to have a cover version released as the very first single on Swamplands, and that the two musicians involved were, in August 1984, technically, still the property of two other major record labels, is something of a coup.  Indeed, the credits on the single indicate that Paul Quinn appears courtesy of MCA Records and Edwyn Collins appears courtesy of Polydor Records.

mp3: Paul Quinn & Edwyn Collins – Pale Blue Eyes (7″ edit)

The single was produced by Edwyn but there is also a line within the centre labels stating ‘Original Sound Recording by Alan Horne from the soundtrack of Punk Rock Hotel’.  Said soundtrack was, more than likely, the intended debut album from the duo.

mp3: Paul Quinn & Edwyn Collins – Burro

This was the b-side. It’s less than a minute and a half in length, and is an instrumental credited solely to Edwyn Collins, and again it has been lifted from the soundtrack to the Punk Rock Hotel.

The 12″ version of the single included Burro as well as a fuller-length take on Pale Blue Eyes along with an alternative mix.

mp3: Paul Quinn & Edwyn Collins – Pale Blue Eyes
mp3: Paul Quinn & Edwyn Collins – Pale Blue Eyes (Western)

It’s a stunning cover version that should have been a huge hit.  But 1984 was a year when Lou Reed‘s stock was low and the ‘rediscovery’ of The Velvet Underground was still a few years away. It reached #72.  Just typing those three words make me want to weep.

 

JC

SATURDAY’S SCOTTISH SONG : #485: THE HIGH BEES

Another courtesy of the Big Gold Dreams boxset:-

mp3: The High Bees – Some Indulgence

“Formed with vocalist Syuzen Buckley and Ruts and Aztec Camera drummer Dave Ruffy, Malcolm Ross‘s short-lived trio released their only single on Alan Campbell‘s post –Rational imprint Supreme International Editions in October 1985.

B-side She’s Killing Time was co-written with former Orange Juice bassist David McClymont.  Ross released two solo records, Low Shot and Happy Boy, on Marina Records, and worked as musical advisor on films including Backbeat, Chocolat and The Illusionist, all of which former Fast Product boss Bob Last had a hand in as musical coordinator.

Ross also released an album with The Low Miffs. Ross and Buckley still play as Buckley’s Chance, a countrified combo who can usually be seen when former Moodist Dave Graney moseys into town”.

 

JC

 

THE 25/26 FESTIVE PERIOD SERIES (3)

Given away with the NME on 18 June 2005. The day I turned 42 years old.

From the blurb :-

Anger is an energy growled John Lydon, formerly Johnny Rotten, figurehead of the first generation of punk. And those words rang just as true last year when Green Day decided to return to the source for their seventh album and use punk for the purpose it was invented for – protest. The whole world rediscovered its inner safety pin and, to celebrate, Billie Joe, Mike and Tre have hand-picked this exclusive free CD, especially for you. There’s vintage trailblazers and nu-school whippersnappers alike. But most of all, it features three chords and the truth. All together now : 1! 2! 3! 4!

mp3: My Chemical Romance – Give ‘Em Hell, Kid

Taken from the album ‘Three Cheers For Sweet Revenge’ (2004)

mp3: The Distillers – Drain The Blood

Taken from the album ‘Coral Fang’ (2003)

mp3: Generation X – Kiss Me Deadly

1978, Chrysalis Records Ltd.

mp3: Operation Ivy – Knowledge

Taken from the album ‘Operation Ivy (1989)

mp3: AFI – The Days Of The Phoenix

Taken from the album ‘AFI’ (2004)

mp3: The Stooges – I Got A Right

Recorded in 1972 but not released until 1977

mp3: MC5 – The American Ruse

From the album ‘Back In The USA’ (1970)

mp3: Alkaline Trio – Back To Hell

Taken from the album ‘Crimson’ (2003)

mp3: Deftones – Be Quiet and Drive (Far Away)

Taken from the album ‘Around The Fur’ (1997) 

mp3: Dead Kennedys – California Uber Alles

Taken from album ‘Fresh Fruit For Rotting Vegetables’ (1990)

mp3: Filter – Captain Bligh

Taken from the album ‘Title Of Record’ (1999)

mp3: Flamin’ Groovies – Golden Clouds

Originally released in 1968

mp3: Stiff Little Fingers – Tin Soldiers

Originally released in 1980

mp3: Green Day – Letterbomb

Taken from the album ‘American Idiot’ (2004)

 

Not the usual stuff you normally find around these parts, albeit some of the old skool punks have had the occasional mention.

I’ve never been comfortable with the likes of Green Day and their contemporaries being labelled as punk acts.  I just don’t see them at all in that light.

The CD can be had for 49p plus P&P over at Discogs.

 

JC

THE 2025 CHRISTMAS DAY POSTING

I’ll let this article from The Skinny magazine, back on 13 December 2017, provide the background.

‘With Christmas just around the corner, Glasgow’s Olive Grove Records have put together a lovely wee Christmas compilation record. From Olive Us to Olive You features olive (geddit?) your favourite Olive Grove artists, performing their own original Christmas songs, and it’s all for a good cause as well. Every single penny of profit will be donated to CDH UK, a leading UK charity who support and advise families who are affected by Congenital Diaphragmatic Hernia. To tell us more about the record, we hand over to Olive Grove head honcho, Lloyd Meredith.

“The album came by chance – back in September we did a wee showcase gig at St Luke’s, at which my friend Jon who does all of the mixing and mastering, had planted the idea of doing another Christmas EP… We’d done an EP a few years back with Jo Mango, the Son(s), The State Broadcasters and Randolph’s Leap, which I really loved. Since then I’d started working with Carla Easton, who seems to love Christmas songs even more than I do. Plus she’s a hell of a lot better at writing them than than I am!

“So in my usual over-excited state I found myself bounding [around] the venue trying to talk all of the bands playing at the showcase into writing and recording a Christmas song for me. Surprisingly pretty much all of them were up for the challenge of coming up with a festive tune in such a short space of time. More scheming was to follow, as text messages and emails were fired to other artists on the label to see if they were game too. Before I knew it, an EP had turned into an album! Given the limited amount of time we had to pull it all together, I really was flying by the seat of my pants.

“The last song to be completed was only finished a few days before the album was announced! Plus it wasn’t just the recording that needed to be done, we had Jon from Smallfish Recordings, who instigated this whole idea, working flat out to mix and master the songs. I had the amazing Craig Rorrison do the artwork in just under a week. He even managed to rise to the challenge of incorporating a snowman picture that my daughter drew into the back cover. Oh, and I should mention the good folk at EmuBands who very kindly arranged the digital distribution of the album for free.

“All of the profits that are made from the album are going to be donated to CDH UK, a charity who support and advise families who are affected by Congenital Diaphragmatic Hernia (CDH). My son Luke was born with CDH three years ago this month, so it means a lot to me to be able to give something back to families who might not have been as lucky as ours.

“I’m really excited about this album, as I always try to treat Olive Grove as being like my other family. That and I have a lot of love for alternative Christmas songs; When I Get Home For Christmas by Snow Patrol sparked my passion for alternative festive tunes, many many moons ago. So to be able to release my own Christmas album which has such a diverse range of talent on it, really means a lot.

“We have Carla J. Easton (TeenCanteen / Ette) and Eugene Kelly (The Vaselines), doing not one, but two duets. Both of which are future Christmas classics in my ears; there’s Randolph’s Leap‘s Warm Outside, a beautiful song about Santa getting older, [and] there’s some more tender moments from The State Broadcasters and Henry & Fleetwood, alongside some festive tunes that we’ve revisited from Jo Mango, Woodenbox, The Son(s) and a personal old favourite from Campfires in Winter.

“We also have an utterly amazing song about Jesus being a stereotypical Capricorn, from Pocket Knife, a new addition to the Olive Grove family. It’s every bit as good as it sounds and I can’t wait for folk to hear it!”

JC adds……

The CD is long sold out, and as I type this up, there are no copies available via Discogs.  If anyone listening to the tunes decides that they’ll download and hang on to them, it would be nice if you could do some sort of charitable act over the coming days as a way of payment.

mp3: Carla J. Easton & Eugene Kelly – Christmas Eve Alone
mp3: Randolph’s Leap – Warm Outside
mp3: Pocket Knife – Half The Presents
mp3: Henry & Fleetwood – Winter Photographs
mp3: State Broadcasters – All Our Christmas Days
mp3: Woodenbox – The Christmas Song
mp3: Carla J. Easton – Spending Every Christmas Day With My Boy
mp3: Jo Mango – As A Child I Awoke
mp3: The Son(s) – Johnny Mathis, 1976
mp3: Carla J. Easton & Eugene Kelly – When It’s Starting To Snow (Please Be Mine)
mp3: Campfires in Winter – Christmas Song

Merry Christmas, one and all,

 

JC

THE 25/26 FESTIVE PERIOD SERIES (2)

Continuing this look back at free CDs given away with newspapers and magazines. Today’s dates from 2002 and consists of ten tracks from singers/bands on Heavenly.

From the blurb on the back of the CD:-

Heavenly Recordings started out in the summer of 1990, fired up in equal measures by acid house and Dexy’s Midnight Runners. Within a year, the label had acted as a springboard for Manic Street Preachers, Saint Etienne and Flowered Up. In the 12 years since then, Heavenly has broadened its horizons to take in club nights (The Heavenly Sunday Social, the first DJ residency by The Chemical Brothers) and bars (The Social bars in London and Nottingham), all the while releasing music by anyone who gets them excited. 2002 sees new records by, among others, Doves, Beth Orton, The Vines, Dog and Ed Harcourt, tasters of which are included on this CD. We hope you like them as much as we do.

mp3: Doves – New York

Taken from the forthcoming album ‘The Last Broadcast’ HVNLP35CD

mp3: The Vines – Country Yard

Taken from the forthcoming album ‘Highly Evolved’ HVNLP36CD

mp3: Manic Street Preachers – Spectators of Suicide

Taken from the 1991 single ‘You Love Us’ HVN10

mp3: Beth Orton – Daybreaker

Taken from the forthcoming album ‘Daybreaker’ HVNLP37CD

mp3: Flowered Up – It’s On

Taken from the album ‘The Best Of Flowered Up’. Watch out for the DVD release of the Weekender film this summer

mp3: Dog – Force

Taken from the forthcoming album ‘Neverland’ HVNLP38CD

mp3: Saint Etienne – Like A Motorway

Taken from the album ‘Smash The System – Singles and More’ HVNLP32CD

mp3: New Buffalo – 16 Beats

Taken from the EP ‘About Last Night’ HVN108CD

mp3: Doves – Here It Comes

Taken from the album ‘Lost Souls’ HVNLP26CD

mp3: Ed Harcourt – Beneath The Heart of Darkness

Taken from the album ‘Here Be Monsters’ HVNLP31CD

I think that’s the first time Beth Orton, Dog, Ed Harcourt and New Buffalo have ever featured on TVV. The CD can be had for 30p plus P&P over at Discogs.

 

JC

THE 25/26 FESTIVE PERIOD SERIES (1)

A number of years ago, a close friend offered me a substantial sized collection of CDs that he was otherwise intending to throw out after deciding to cull his collection.  As Charity Chic will testify, there are very few charity shops now really willing to accept old CDs to sell on for good causes, mainly as the bottom has more or less dropped out of the second-hand market and my friend, being unwilling just to throw them into the rubbish where they would be destined for landfill, thought that I might be interested.  I said yes, gladly accepted the box that was handed over, and put it up on a shelf where it has lain untouched ever since.

All the CDs came from music papers/magazine give-aways, and while I always had intended to give them a listen at some point just in case there was something I had missed back in the day, time soon got the better of me.  But I’m finally turning to them now as a way of filling up the blog over the festive period when I kind of take a break from writing and I know many regulars take a break from reading.

Please note, these will only appear midweek days, as I’m keeping the regular series for Saturdays and Sundays going.

First up is Spring Offensive, given away free with the NME on 5 April 1999.  The accompanying notes for all 14 songs are lifted from the description given by the paper.

mp3: Suede – Popstar

First released as an accompanying track to last month’s ‘Electricity’ single on Nude, ‘Popstar’ is Suede tripping the light fantastic with ‘Head Music’‘s engineer Ben Hillier at the controls.

mp3: Cast – Dreamer

Rousing, Power-driven preview track from Cast‘s long-awaited third album, ‘Magic Hour’, due for release on Polydor on May 17.

mp3: Pavement – The Hexx

Spooky band-composed trailer for the highly regarded forthcoming ‘Terror Twilight’ LP, out on Domino on June 7.

mp3: Basement Jaxx – Same Old Show

Sampletastic KRS-One and Selecter-driven taster for the top-tipped dance smash ‘Remedy’ album, out on May 10 through XL.

mp3: Regular Fries – Dream Lottery

Spaced-out, saxed-up stinky skunkadelia from the Fries‘ debut album, ‘Accept The Signal’, released through JBO on June 7.

mp3: Underworld – Moaner

Pumping electronica, slippery as a conger eel, taken from this March’s critically-acclaimed JBO album, ‘Beaucoup Fish’.

mp3: Mogwai – Small Children In The Background

Rare B-side from Chemikal Underground’s guitar heroes whose recently released ‘Come On Die Young’ album went straight to the top of the indie charts.

mp3: Add N to (X) – Robot New York

Dial-shattering machine overload from NME‘s Album Of The Month, the insanely genius ‘Avant Hard’ on Mute, in a store near you since April.

mp3: Mishka – Bring A Man Down

Cool, laid-back reggaefication from Creation’s latest surfdude signing. The eponymous debut LP is released on June 7.

mp3: Ultrasound – Fame Thing

A very big and very clever prog blast from Ultrasound‘s debut LP, ‘Everything Picture’, released in April through Nude.

mp3: Sebadoh – Flame (exclusive acoustic version)

Special acoustic solo live version of a Lou Barlow song originally available on NME fave ‘The Sebadoh’ LP, which came out on Domino in February.

mp3: Super Furry Animals – Download

Remixed version of a track from their 1998 ‘Radiator’ LP, something to keep you going until the new Super Furries album, ‘Guerrilla’, comes out on Creation on June 14.

mp3: The Flaming Lips – The Spark That Bled

An early slice of sonic genius from the Lips‘ forthcoming masterpiece ‘The Soft Bulletin’, out over here on Warner Brothers on May 17

mp3: Travis – She’s So Strange

Big Bowie-esque ballad from the rocking new Independiente album ‘The Man Who’, due out on May 24.

I have to say that it’s a long long way from being the worst free compilation CD to ever have been foisted upon an unsuspecting public. Still available on Discogs from as little as 24p plus P&P….with the latter becoming increasingly ridiculous with each passing month.

 

 

JC

ON THIS DAY : THE FALL’S PEEL SESSIONS #19

A series for 2025 in which this blog will dedicate a day to each of the twenty-four of the sessions The Fall recorded for the John Peel Show between 1978 and 2004.

Session #19 was broadcast on this day, 22 December 1995, having been recorded on 17 December 1995.

A gem of a session from the revitalised ‘The Light User Syndrome’ line-up, now fully established, rocking a three-girl and three-boy vibe. A mid-90s Guys and Dolls it is not.  Not content with giving us the prog-opera of ‘Chillinist’, we have Brix’s banshee-like wail towards the end of ‘Oleano’ and the sway of ‘He Pep!’. The session’s real curiosity was occasional vocalist Lucy Rimmer’s Smith-less version of Nancy Sinatra’s ‘The City Never Sleeps’. This most American of numbers takes on an English madrigal quality, with her plaintive tones underpinned by the group’s light-as-a-feather backing.

DARYL EASLEA, 2005

mp3: The Fall – He-Pep! (Peel Session)
mp3: The Fall – Oleano (Peel Session)
mp3: The Fall – Chillinist (Peel Session)
mp3: The Fall – The City Never Sleeps (Peel Session)

Production details unknown

Mark E Smith – vocals; Brix Smith – guitar, vocals; Steve Hanley – bass; Julia Nagle – keyboards; Simon Wolstencroft – drums; Karl Burns – drums; Lucy Rimmer – vocals

And with that, all 24 sessions have now featured on the blog.

JC

SATURDAY’S SCOTTISH SONG : #484: THE HARDY BOYS

WITH MORE APOLOGIES THAT THIS DIDN’T APPEAR IN THE USUAL TIME SLOT YESTERDAY……

The Hardy Boys completely passed me by back in the days when they were active, which is to say, 1989-90 and then again in 2010-11.  My first time hearing them would have been at one of the Little League nights that were always so much fun, and then a few years later, I was alongside my dear friend Carlo, my DJ sidekick at the Simply Thrilled club nights, when he celebrated the re-release of Wonderful Lie by airing it to an appreciative and knowledgeable crowd in the basement of the much-missed Admiral Bar in Glasgow.

The following day, I sent an order to the Berlin-based Firestation Records for a copy of the re-release. It has since become one of my favourite bits of vinyl here in Villain Towers.

Little did I know that The Hardy Boys also happened to be one of the great loves of flimflamfan, one of the most prolific contributors to this blog.  His tremendous ICA, (#275, posted in January 2021), tells you all you need to know about them.  It really is worth a few minutes of your time.  Click here.

I have become very appreciative of the songs from both eras of the band, but I just can’t see past the brilliance of Wonderful Lie from 1989 for inclusion in this long-running series.  The original pressing on Stella Five Records goes for quite a handy sum on the second-hand market, but for anyone just wanting the opportunity to have it on vinyl, the Firestation Records reissue can still be picked up at a bargain price over at Discogs.

mp3 : The Hardy Boys – Wonderful Lie

One of the very best indie-pop songs of all time.  Thank you, Carlo and flimflamfan for bringing it to my very belated attention.

 

JC

 

THE TESTIMONIAL TOUR OF 45s (aka The Singular Adventures of Edwyn Collins)

#13: Lean Period : Orange Juice (Polydor, OJ7, 1984)

The summer of 1984 saw the recording of what would be the third and final Orange Juice album, The Orange Juice, seemingly named that way as a nod to The Velvet Underground whose third album was an eponymous release.

Edwyn knew, in his heart of hearts, that the end was nigh and that Polydor wouldn’t be extending any contracts.  I don’t know if he was quite content with his lot knowing he was likely to receive offers from elsewhere, or extremely hacked off with how Polydor had mishandled things on so many occasions.  There were quite a few barbed quips in many of the new song titles and lyrics, but listening to the tunes, it kind of felt they were being sung by someone who felt he was going to have the last laugh.

What Presence?! was included on the album, but the remaining nine tracks were worked on with two different producers – Will Gosling and Dennis Bovell  – while Claire Kenny continued her studio involvement with the band, playing bass on all but one of the songs, with five other musicians, one of whom was Bovell, being credited in some shape or form.

Lean Period was chosen as the advance single, released in the first week of October, with the album scheduled for a month later.  In an ideal world, the single would have gone into the charts and still been there when the album hit the shops.  The packaging for Lean Period is one example of Edwyn still calling the shots, arranging to have it released in a brown paper bag rather than a normal sleeve…and this was the case for the 7″ and 12″ versions.

I want to testify, my love is bona-fide
This is the real thing, not just a casual fling
But please don’t expect consistency from me
I’ve been maimed and I’ve been chained before you see

But right now I’m
Going through a lean period
A decidedly mean period

Let’s talk things over in the ‘Old Rover’
Let’s drown our sorrows like there’s no more tomorrows
All those words that I have wasted in haste
Have left such a bitter aftertaste

The reason being I’m
Going through a lean period
A decidedly mean period

This joke I’ve made at my own expense
Has long since worn thin
And yet by way of recompense
You respond with a wink and a knowing grin

Going through a lean period
A decidedly mean period

The lyrics might look quite acidic, but the tune is upbeat and joyful, with Dennis Bovell bringing some keyboards on board to sound as if there’s a horn section involved, as well as adding his booming voice alongside Edwyn’s as the chorus is sung.

mp3: Orange Juice – Lean Period

A real toe-tapper and radio friendly as fuck!  #74 was a travesty…….but then again, the same could be said for almost all the OJ singles over the years.

The b-side was a track that had been recorded during the sessions with Will Gosling:-

mp3: Orange Juice – Bury My Head In My Hands

It feels as if it is still in the demo stages of development, and given it is quite different sounding from the other tracks, it is no real surprise that it didn’t make the cut for the album.

As usual, there was an extended version put on the 12″ vinyl:-

mp3: Orange Juice – Lean Period (12″ dub version)

The use of the keyboards to make it sound as if a steel drum band were playing is one of the big differences, along with the extra minute or so of music.  There’s a fair bit of studio gimmickry which ends up making it quite different from the 7″ version while many of the lyrics are omitted.

But wait……there’s one final thing to offer up before the series switches to the collaborative and solo years.

Some copies of the 7″ single came with a flexi disc offering up two live tracks that were, according to the info provided, were taken from ‘Soundtrack of the forthcoming Polygram video Orange Juice – dAdA With Juice’.  This turned out to be a VHS tape featuring 45 minutes worth of live footage that had been recorded at the Hammersmith Palais in June 1984.  Edwyn and Zeke were joined by Johnny Britton (guitar) and Paul Heard (bass), both of whom had been involved at different stages in the recording of The Orange Juice.

mp3: Orange Juice – Rip It Up (Live)
mp3: Orange Juice – What Presence?! (Live)

And that, brings an end to the first chapter of the Singular Adventures of Edwyn Collins.  The next chapter begins in seven days time.

 

JC

FICTIVE FRIDAYS : #6

a guest series, courtesy of a very friendly lawyer

One and Done : Bands that recorded only one album

JC says…….Delayed by 24 Hours as I’m an idiot!!! Apologies to Jonny and those who tune in regularly to this series.

Sound System by Operation Ivy.

From Energy (1989). The San Francisco punks were best known as the precursor to Rancid, formed by OpIvy alums Tim Armstrong and Matt Freeman. The band anchored the Gilman Street scene and put Lookout Records on the map. The definitive version of this tune is by Cherry Poppin’ Daddies, who recorded it for the Take Warning: The Sounds of Operation Ivy tribute album.

Pretty Vacant by The Sex Pistols.

From Never Mind the Bollocks, Here’s The Sex Pistols (1977). For all the hype and history and analysis and legacy, it’s worth noting that the Pistols only released one studio album. Recorded essentially as a trio, with Steve Jones playing bass on all songs except ‘Anarchy in the UK,’ which featured Glen Matlock. Noel Gallagher had this to say about it: “I made 10 albums and in my mind they don’t match up to that, and I’m an arrogant bastard. I’d give them all up to have written that, I truly would.”

Such Great Heights by The Postal Service.

Fom Give Up (2003). An indie supergroup, kinda, with Ben Gibbard of Death Cab for Cutie, Jenny Lewis from Rilo Kiley and Producer Dntel. The band name came about because the members posted DAT tapes to each other instead of recording together in a studio.

I’m A Pretender by The Exploding Hearts.

From Guitar Romantic (2003). This pop/punk band seemingly had the goods to go a long way. The Portland, Oregon’s debut is loaded with tunes in the vein of UK standard bearers Buzzcocks, the Clash and the Undertones. But tragedy struck when the group’s van crashed in the early hours after a gig. Singer/guitarist Adam Cox, bassist Matt Fitzgerald, and drummer Jeremy Gage were all killed. Cox, at 23, was the oldest band member.

Teacher Teacher by Rockpile.

From Seconds of Pleasure (1980). Bassist Nick Lowe, guitarists Dave Edmunds and Billy Bremner, and drummer Terry Williams recorded five albums between 1978 and 1981. Labour of Lust was released as a Nick Lowe solo album, while Repeat When Necessary, Tracks on Wax 4, and Twangin’ were all Edmunds’ solo LPs. The quartet also served as the backing band for Mickey Jupp and Lowe’s wife at the time, Carlene Carter. The four would record together off and on in later years, but Seconds of Pleasure is their only release as Rockpile.

Include Me Out by Young Marble Giants.

From Colossal Youth (1980). YMG were a truly post-punk act. As minimalist as possible; just bass, guitar, and vocals played to pre-recorded drum tracks. The slide guitar on this song is the only instrument overdubbed on their lone album. A favorite of Kurt Cobain and Courtney Love, the latter of whom recorded a version of ‘Credit in the Straight World’ with her band, Hole.

Lexicon Devil by The Germs.

From GI (1979). The Germs were such a chaotic mess. You get a big dose of singer Darby Crash‘s barely listenable schtick in the seminal LA punk film, The Decline of Western Civilization. It was years later before I saw that his lyrics were actually pretty good, especially for a 21 year old. Produced by Joan Jett, who was 4 days older than the doomed singer. After Crash’s suicide, guitarist Pat Smear performed as a member of Nirvana, eventually joining Foo Fighters.

Born To Lose by Johnny Thunders & The Heartbreakers.

From L.A.M.F. (1977). When the New York Dolls split up, Thunders took drummer Jerry Nolan and formed the Heartbreakers with Demons’ guitarist Walter Lure and Richard Hell, who’d been booted from Television. Then they booted Hell in favor of Billy Rath and went to England where punk was just underway. After joining the Pistols, the Clash and the Damned on the ill-fated Anarchy in the UK tour, the boys cut L.A.M.F. for Track Records. The sessions and mixing were so contentious they broke the band up. Thunders stayed a little longer in England to record his debut, So Alone, featuring Phil Lynott, Chrissie Hynde, Steve Marriott, and members of the Sex Pistols and the Only Ones.

Last Goodbye by Jeff Buckley.

From Grace (1994). It didn’t light up the charts, but Grace was a major critical success. Jeff Buckley had a knockout voice with tremendous range, power and emotion. His version of Leonard Cohen‘s ‘Hallelujah’ on the album is so beautiful it makes your teeth hurt. But Buckley accidentally drowned before he could complete a follow up. He was only 30, just two years older than his star-crossed father, Tim Buckley, was when he died of an accidental overdose.

Feelin’ by The La’s.

From The La’s (1990). I’ve tried to look into why Lee Mavers packed it in after the Liverpool combo’s only LP. I never learned any satisfying reasons. Everyone loved the album and half the songs were singles. But Mavers said he hated it and never made another. It’s a shame, because the tunes still sound fresh 35 years later.

BONUS TRACK : Sound System – Cherry Poppin’ Daddies

As I said earlier, the definitive version of the tune.

 

Jonny

 

THE 12″ LUCKY DIP (31): Micky Dolenz – Dolenz Sings R.E.M.

This EP was released in November 2023, and so I reckon just about enough time has passed to allow me to post the songs without feeling guilty.

The PR blurb:-

7A Records are proud to announce the release of Micky Dolenz Sings R.E.M., a 4 track EP released on November 3rd. The EP is comprised of songs R.E.M. wrote throughout their career, all beautifully reimagined by Dolenz and producer Christian Nesmith .The EP features fresh and completely new arrangements of some of R.E.M.’s most memorable and catchy songs. As Dolenz says: “Once again, this EP reaffirms my long-held conviction that a solid recording always begins with solid material. You don’t get much more solid than R.E.M. What a joy to sing these classics and honor a team of outstanding writers.

Christian Nesmith, who also plays all the music (except drums) on the EP is the 60-year-old son of the late Michael Nesmith, best known as the guitarist with The Monkees, while Micky Dolenz, who will turn 81 next March was the drummer in The Monkees and is the band’s last surviving member.

This EP, on the face of it, shouldn’t work.  But it does, partly because the songs themselves are so timeless, but also because they almost sound as if they have been written to suit Dolenz’s voice.    I’m not going to make any extravagant claims about them being better, or even equal, to the originals, but they are worth a listen.

mp3: Mickey Dolenz – Shiny Happy People
mp3: Mickey Dolenz – Radio Free Europe
mp3: Mickey Dolenz – Man On The Moon
mp3: Mickey Dolenz – Leaving New York

Members of R.E.M. were more than happy to express their delight with the EP:-

‘These songs are ABSOLUTELY INCREDIBLE. Micky Dolenz covering R.E.M. Monkees style, I have died and gone to heaven. This is really something. Shiny Happy People sounds INCREDIBLE (never thought you or I would hear me say that!!!). Give it a spin. It’s wild. And produced by Christian Nesmith (son of Michael Nesmith), I am finally complete’ – Michael Stipe

‘That voice—one of the main voices of my musical awakening—singing our songs… It is beyond awesome. Let’s help make this as huge as we possibly can. I am beyond thrilled.” – Mike Mills

‘I’ve been listening to Micky’s singing since I was nine years old. It’s unreal to hear that very voice, adding new depth to songs we’ve written ourselves, and inhabiting them so completely.” – Peter Buck

 

JC

ON THIS DAY : THE FALL’S PEEL SESSIONS #18

A series for 2025 in which this blog will dedicate a day to each of the twenty-four of the sessions The Fall recorded for the John Peel Show between 1978 and 2004.

Session #18 was broadcast on this day, 17 December 1994; the recording date had been 20 November 1994.

The eighteenth session from December 1994 found the group in full, festive mood and marked the return of two old stalwarts; Karl Burns (last heard on Session nine in 1985) and, remarkably, Brix Smith (last heard on Session 12 in 1988). However, it was to be Craig Scanlon’s last appearance with the group.  ‘Cerebral Caustic’ standout ‘Felling Numb’ (or ‘Numb At The Lodge’ as it was then known) steals the show, with its anaesthetised talk of ‘post-festivities’.  The Christmas theme is writ even larger with ‘Hark The Herald Angels Sing’, ‘Jingle Bell Rock’ and a revisit of ‘Glam Racket’, which became a favourite in the rejoined Brix era.

DARYL EASLEA, 2005

mp3: The Fall – Glam Racket – Star (Peel Session)
mp3: The Fall – Jingle Bell Rock (Peel Session)
mp3: The Fall – Hark The Herald Angels Sing (Peel Session)
mp3: The Fall – Numb At The Lodge (Peel Session)

Produced details unknown

Mark E Smith – vocals; Brix Smith – guitar, vocals; Craig Scanlon – guitar; Steve Hanley – bass; Dave Bush – keyboards; Simon Wolstencroft – drums; Karl Burns – drums

JC

WHEN THE CLOCKS STRUCK THIRTEEN (December Pt 2)

Turning again to the big red book to see if anything half-decent was released in December 1984.

Last month’s edition of this series opened up with a solo single from Pete Shelley.  As for this month….

mp3: Flag of Convenience – Change

The group had formed in 1982, with Steve Diggle and John Maher of Buzzcocks very much to the fore.  There had been a debut single, Life On The Telephone in September 1982, but it took more than two years before a follow-up was recorded.   This proved to be Maher’s last involvement with Flags of Convenience, with the group then going through a series of further personnel changes through their eventual break-up in 1989.

mp3: Talking Heads – Girlfriend Is Better (live)

The film, Stop Making Sense, and the live album of the same name had been released to huge critical acclaim in October 1984, but I hadn’t realised until browsing through the big red book that a single had been lifted and released at the beginning of December.  It failed to chart, and with it selling in such small numbers, now attracts a wee bit more on the second-hand market than many other Talking Heads 45s.

mp3: Sonic Youth & Lydia Lunch – Death Valley ’69

I wouldn’t normally include an American-only release in this series, but given there’s so little to highlight from this particular month…..

This came out on 12″ on the Los Angeles indie-label Iridescence Records. It proved to be the demo version of a track that was later re-recorded for inclusion on the 1985 album, Bad Moon Rising.

And that’s it…….most indie labels kept their powder dry until the early months of 1985.  But that’s not a year I intend to devote any sort of lengthy series to.

 

JC

FOUR TRACK MIND : A RANDOM SERIES OF EXTENDED PLAY SINGLES

A guest series by Fraser Pettigrew (aka our New Zealand correspondent)

#11: Teenage Kicks – The Undertones (1978)

Some records, like other iconic cultural artefacts, become so famous that they defy objective analysis and enter an indefinable zone of existence divorced from history and context. They become Mona Lisas, Beethoven’s Fifths, Venuses de Milo. They are talked about so much for so long that they seem impossible to discuss without retreading paths worn into deep ruts through constant repetition.

Thus, with Teenage Kicks, as with Spiral Scratch, I find myself boldly going where literally thousands have gone before me. One cannot proceed without mention of John Peel and his epitaph, nor can one even think the words “teenage kicks” without hearing those three chords, eternally descending and ascending and inverting.

And yet, simply by undertaking this hopeless task as part of a series on EPs, it occurred to me that the thing Teenage Kicks is least famous for is being but one of four songs on The Undertones’ first release. The iconic one has taken on a life of its own, floating magically alone in the ether of consciousness, while True Confessions, Smarter Than U and Emergency Cases languish in semi-darkness, like the other two Walker Brothers, Thingmy and Whatsisname.

True Confessions at least made it onto The Undertones’ first LP. It’s such an infectious number that you wonder whether Terri Hooley ever got to play it to any of the record execs in London when he went hawking Teenage Kicks to the big labels, or if they threw him out straight after telling him the lead song was the worst thing they’d ever heard. Surely if they’d heard True Confessions as well, they might have changed their tune?

The other two songs are none too shabby either. They give due warning of the seemingly inexhaustible production line of catchy tunes that John O’Neill would deliver over the next half-decade, ably supplemented by brother Damien, and band members Michael Bradley and Billy Doherty. Altogether the disc is a perfect little sampler of what was to come, and if the title track hadn’t taken off as it did, the disc would surely now be remembered much more as a classic EP of the era.

John O’Neill, of course, has always been modest to the point of disparaging about Teenage Kicks as a song. He felt it was a bit derivative and not particularly clever, just the product of following a similar route to The Ramones in turning old 60s Spector and surf style into 70s punk-powered pop. Sometimes it’s the simple things that work best, however, a sentiment that John Peel evidently agreed with.

You could point out that the other songs are hardly of symphonic sophistication. O’Neill’s diffidence towards his own work was partly down to the lyrics, provoking a slight embarrassment at the clichéd theme of Teenage Kicks. Brother Damien poked fun at it with his deliciously titled More Songs About Chocolate and Girls that opens second album Hypnotised, but John almost defensively has called that song “a bit twee”.

Clichéd is not a word you’d use of the other songs. The lyrics are quirky, sometimes cryptic, witty, but don’t labour a point beyond hanging on any hook provided by the music. “Each song makes its point and then ceases,” said Paul Morley in praise of the first album, a critic not notably averse to complicated things. All the tracks on the debut EP are of Morley-approved brevity, three of them qualifying for this blog’s Songs Under Two Minutes series (though only True Confessions has featured thus far). Teenage Kicks makes it 28 seconds into the third minute, probably only on account of the slower tempo.

In his memoir Teenage Kicks: My Life as an Undertone, bassist Michael Bradley revealed that Emergency Cases was basically the Rolling StonesParachute Woman (from Beggar’s Banquet) played at hypersonic speed (perhaps the parachute failed to open). The band played the original as a blistering cover version before John O’Neill decided to make his own song out of it. “When we decided to upgrade it,” says Bradley, “John sped up the riff beyond recognition. That’s our defence if the ghost of Allen Klein ever sues.” All in the finest tradition of blues robbery, as practiced by many, including The Rolling Stones.

Peel’s patronage was undeniably crucial in the take-off trajectory of The Undertones, landing them the deal with Sire that brought the EP (also in two-track single format) to an audience that Hooley’s Good Vibrations label could never have reached. But judgement in the court of public opinion is just as important. Peel championed The Fall with comparable dedication, but the masses never took to them in quite the same way, for obvious reasons. (Their highest charting single came after ten years of effort and peaked one place higher than Teenage Kicks at 30, and that was with a Holland-Dozier-Holland cover!) The Undertones delighted a wide range of fans with their much more accessible charms, and if they had never committed another thing to record, this quartet of gems would surely have secured a corner of music history for them.

My copy of Teenage Kicks is the Sire release, bought in late 1978. It’s not clear exactly how many copies were ever pressed on the Good Vibrations label, but it can’t have been many, and there was barely one month between its initial release and its appearance on Sire in October 1978.

Teenage Kicks

Smarter Than U

True Confessions

Emergency Cases

 

 

Fraser

THE TESTIMONIAL TOUR OF 45s (aka The Singular Adventures of Edwyn Collins)

#12: What Presence?! : Orange Juice (Polydor, OJ6, 1984)

The one thing that has really hit me in pulling the first part of this series together is just how hard Edwyn Collins was working back in the early-mid 80s.

The Texas Fever mini-album had come out on in March 1984, recorded by a line-up that was no more.  Less than two months later, a new single was released, with the personnel consisting of Edwyn, Zeke Manyika, and a guest bass player in Claire Kenny, who was part of the reggae/ska band, Amazulu.

mp3: Orange Juice – What Presence?!

A personal favourite of mine – far removed from the sound of the Postcard era, but which felt totally different to what anyone else was doing in 1984.  It also seemed that Edwyn, at long last, had found a sound to best suit his voice, one in which louder guitars were to the fore and the solos were more than just the two-finger style that had been his calling card for much of his career – maybe the time spent hanging around with Malcolm Ross had seen things rub off on him in a very positive way.  The studio wizardry on the single was deftly handled by Phil Thornally, who at the time was producing The Cure as well as being part of their touring band.

Lyrically, Edwyn was going down a different road again, confident enough in his own abilities to share his wordsmith skills with the listening public, as the postcard which came with the 7″ copy of the single was able to demonstrate:-

There was some airplay, but most radio stations simply wanted a retread of Rip It Up and not this new, harder edged version of the band, and criminally, What Prescence?! only reached #47 in what was a four-week stay in the singles chart.

The b-side dated from the Texas Fever sessions, but this particular take saw Dennis Bovell bring his particular talents to the party:-

mp3: Orange Juice – A Place In My Heart (dub version)

There was also a 12″ release, on which there was an extended version of the A-side:-

mp3: Orange Juice – What Presence?! (extended version)

The thing is, it is only some eight seconds longer than the 7″, but the mix has a significant difference in that the section with the harmonica on the standard version which comes in around the 2:10 mark is replaced an extended guitar solo…and that’s precisely what accounts for the extra eight seconds!

The 12″ extra track is this:-

mp3: Orange Juice – What Presence?! (BBC session)

As recorded for the David Jensen show on 22 February 1984.  The producer was John Porter who, just two days previously, would have enjoyed the fact that an album he had worked on the previous year had finally reached the shops and had been well received in most of the music press…and that being the eponymous debut by The Smiths.

There is one final Orange Juice single left to cover, and as I’m not closing the blog down over this upcoming Festive period, it’ll be posted next Sunday.

 

JC

SATURDAY’S SCOTTISH SONG : #483: HAPPY SPENDY

My one song by Happy Spendy comes courtesy of its inclusion on the Indietracks Festival compilation of 2018:-

mp3 : Happy Spendy – Flex

Here’s info from the Lost Map Records website:-

“Lost Map Records are excited to welcome Glasgow based synth-pop purveyors of feelgood sad songs Happy Spendy to the label roster, with the release of their brand-new compilation album You’re Doing Okay on 12” vinyl and via digital services on June 5, 2020. Gathering together all three of Happy Spendy’s EPs released between 2017-2020 in one place for the first time, it’s a collection of songs which act almost like a diary for singer and songwriter Eimear Coyle, marking milestones in grief and falling in love. Not to mention a comprehensive survey of everything that has made Happy Spendy one of Scotland’s most instantly loveable new bands of recent years.

Eimear started Happy Spendy to help her work through some tough times, and brought it to life with Glasgow friends Kieran Coyle, Rosie Pearse, Siobhain Ma and Connell King. Eimear and her drummer/producer brother Kieran had previously played together in indie-pop band Wonder Villains, the soundtrack to their teenage years growing up in Derry, Northern Ireland. Eimear relocated to Glasgow in 2015 and began writing songs more about love and loss and less about football and celebrities. Happy Spendy self-released their debut EP You Look Lovely in 2017 and the follow-up Take Care of Yourself in 2018.  They went on to support some of their favourite artists including Self Esteem, Lomelda, The Spook School, The Vaselines and Bossy Love.

Early in 2020 Happy Spendy began a new chapter working with Lost Map with the release of the single ‘Feelings 2’, a track poignantly reflecting on the past couple of years since the Coyles’ father died. Backed by a happiest of hardcore remixes by Lost Map labelmate Coatbridge polymath Romeo Taylor, it received radio support from BBC 6 Music’s Gideon Coe and BBC Radio Scotland’s Roddy Hart, and preceded the release of Ready When You Are, the third Happy Spendy EP.

“I like writing sad lyrics to help me through my feelings (or two),” says Eimear, “but as an otherwise cheery person I enjoy the juxtaposition of disguising my sad songs behind fun melodies and keyboard sounds. And performing them on stage with all my best pals.”

There’s not been much social media activity since November 2020, when Happy Spendy performed a set at the Scottish Album of the Year awards ceremony (from when and where the above photo dates), so I’m guessing this is another band whose career aspirations were cast asunder when we all had to close down when the COVID pandemic struck.

 

JC

 

WHEN THE CLOCKS STRUCK THIRTEEN (December)

2-8 December

It’s the run-up to Christmas, and I did the research, fully anticipating there would be little to look back with much fondness in terms of the new entries in the singles chart.  My worst fears were realised. It’s the Smooth Radio playlist from hell:-

Spandau Ballet – Round and Round (#23 – would spend 8 weeks in the Top 75, reaching #18)
Thompson Twins – Lay Your Hands On Me (#30 – would spend 9 weeks in the Top 75, reaching #13)
Queen – Thank God It’s Christmas (#36 – would spend 6 weeks in the Top 75, reaching #21)
Paul Young – Everything Must Change (#39 – would spend 11 weeks in the Top 75, reaching #9)
Foreigner – I Want To Know What Love Is (#67 – would spend 16 weeks in the Top 75, including three weeks at #1)

Two of the biggest selling male singers, who would later pass away within four months of one another in 2016, had new entries this week:-

mp3: David Bowie – Tonight (#58)

The second single lifted from the underwhelming 16th studio album, also called Tonight, that had been released in September 1984.  It’s a cover of a song originally recorded by Iggy Pop for his 1977 album, Lust For Life.  Bowie had written the lyrics for this one, and his take on these seven years later is reggae-influenced and has Tina Turner singing alongside him.  I’m not a fan….not many at the time were, as it stalled at #53.

mp3: Prince & The Revolution – I Would Die 4 U (#64)

The fourth and final single to be lifted from Purple Rain, and with the album now almost six months old, it can’t be too surprising that it did no better than #58 in the charts.  Worth mentioning that the b-side was a Christmas number, although not exactly the cheerful type you hear in the shops when searching for the last-minute gifts:-

mp3: Prince – Another Lonely Christmas

9-15 December 

This was the week when Band Aid came in at #1, where it would stay for five weeks.  This was the week when Last Christmas by Wham came in at #2, a position it would occupy for the next five weeks.

The next highest entry was a re-release.  I Wish It Could Be Christmas Everyday by Wizzard came in at #50, eventually reaching #23.   It had originally been a#4 hit in 1973.

After that, it was So Near To Christmas by Alvin Stardust at #54. It would later climb to #29.

But before you run off screaming into the abyss, here’s a couple of lower down entries that look really out of place among all the festive offerings:-

mp3: Ian McCulloch – September Song (#61)

Mac the Mouth’s first solo single.  A cover, dating from 1938, when it was used in the Broadway musical Knickerbocker Holiday. The music was composed by Kurt Weill and the lyric was the work of Maxwell Anderson.  The song had been written as the solo number in the show for the veteran actor Walter Huston, someone not exactly well known for his vocal talents.  A version by Frank Sinatra would chart in the 1940s and 1960s.  Mac’s take peaked at #51.

mp3: Smiley Culture – Police Officer (#66)

The then 21-year-old Londoner, whose real name was David Emmanuel, had a brief brush with fame in the mid-80s.  This was his biggest success, an urban tale of a black man who was arrested for possession of cannabis but was let go after the arresting officer recognised him as a famous reggae artist, in exchange for an autograph. Sung in a mixture of Cockney and a London-take on Jamaican patois, the song could be construed as a comedy number, but it did highlight the fact the black youths were far more likely to be unfairly treated and likely arrested than their white counterparts.

Here’s something I didn’t know till looking into the career of Smiley Culture.

David Emmanuel would die, at the age of 48, in 2011.  The official line is that it was suicide by knife wound, just a matter of days before he was to appear in a London court to face a charge of supplying cocaine.  His death came an hour-and-a-half after four police officers had arrived, with a warrant, to search his home. His family and friends have never accepted the suicide verdict, and the report carried out into his death by the Police Complaints Commission has never been shared with the family, far less been made public.

Tragic.

16-22 December and 23-29 December

I wouldn’t have thought that many new songs would make it into the charts over the last two weeks of the year, unless of course they were festive-themed.  Paul Weller, however, has always been a thrawn bugger.

mp3 : The Council Collective – Soul Deep (Part 1)

In at #37 on 16 December, it would spend five weeks in the Top 75, peaking at #24 the following week.  It was The Style Council augmented by three guest vocalists – Jimmy Ruffin, Junior Giscombe and Vaughan Toulouse, and two guest musicians, Dizzi Heights and Leonardo Chignoli.  The aim of the single was to raise money for the families of striking miners in the run-up to Christmas.

Worth mentioning that Weller’s profile was at an all-time high, what with him being asked to contribute to the collective vocals on the Band Aid single.

And with that, the charts version of this year-long series comes to its natural end.  I’ll be back in next week with a look at the very few non-hit/indie singles from the period, at which point it will be a farewell (for now) to the music of 1984.

 

 

JC

THE CD SINGLE LUCKY DIP (29) : James – Lose Control

James have already been lucky-dipped for the 7″and 12″ singles, so today marks the hat-trick.  And given that I’m feeling incredibly lazy, I’m doing a cut’n’paste from a post which was written up back in May 2014.

1990 had been a very good year for James.

The LP Goldmother had received very favourable reviews, as had a performance at that summer’s Glastonbury festival. The band was gaining a very formidable reputation as a live act, and it was no surprise that they were being asked to play as special guests at outdoor gigs as they did with both David Bowie and The Cure (the former being at Maine Road, the then home of Manchester City FC where James stole the show from the headliner).

It was decided that a new single should be released just prior to Christmas and with a mini-tour taking in Glasgow, Newcastle and Manchester to help with its promotion. The popularity of the band in their home town could be seen from the fact that they sold out two consecutive nights at the 10,000 capacity G-Mex and could probably have done the same again if the time had been available. Sadly, I wasn’t able to get a ticket for the Glasgow Barrowlands gig, but I am reliably informed by someone who was there that it was amongst the best ever at the famous old venue.

The new single came out on  7″, 12″, cassette and CD,  but I’ve only a copy of the latter:-

mp3 : James – Lose Control (extended version)
mp3 : James – Sunday Morning
mp3 : James – Out To Get You

The extended version is two and a bit minutes longer than the 7″ version.

The b-side common to all formats was a tremendous cover in which the lyrics were amended with the addition of all sorts of song titles and lines from other Velvet Underground songs,

The bonus b-side on the CD was such a great bit of music that it was resurrected and re-recorded some two years later. If you’re only familiar with the later version from the album Laid, then I hope you appreciate this gentler sounding effort – I think it represents one of Tim’s loveliest and most tear-jerking vocal performances.

Enjoy

 

JC

SHOULD’VE BEEN A SINGLE ?(13)

I started this one off and soon discovered that, in the fullness of time, it actually was released as a single.

mp3: The Costello Show – Brilliant Mistake

Brilliant Mistake is the opening song on the 1986 album King of America, which is credited to The Costello Show.  Recording had taken place the previous year at various studios in Los Angeles, California. The original idea had been for half the album to be performed by a large group of American session musicians dubbed The Confederates, who had been selected by producer T Bone Burnett with some drawn from a band that had backed Elvis Presley in the 1970s, with the other half being performed by Elvis Costello‘s regular backing band of the time, The Attractions.

In the end, The Attractions appeared on just one of the album’s 15 final tracks. Also worth mentioning that the writing credits of the original songs were attributed to Declan Patrick Aloysius MacManus (the singer’s real name), and the performances to The Little Hands of Concrete, a name given to him in fun by Nick Lowe as a result of Costello’s tendency to frequently break guitar strings.

The odd number can partly be explained by the fact that the bosses at Columbia Records, on hearing the proposed album, considered none of the songs as being obvious singles, which led to the late addition of a cover version – Don’t Let Me Be Misunderstood, originally recorded in 1964 by Nina Simone but better known as a later Top-10 hit for The Animals a year later.

The single entered the charts at #39 in February 1986, peaking eventually at #33. The album followed a month later, entering at #11, and going on to spend just seven weeks in the Top 75.  It was an album not loved by the bosses, and judging by sales, not too loved by the fan base.

And yet, many critics on both sides of the Atlantic raved about it, although there were a number who panned it.  The retrospective take on things is quite similar, with loads of praise, with some pointing out that it really marked where Costello really began the journey of looking to experiment with different styles, sounds and genres that would increasingly define his later career, but others really not liking it – one later review to coincide with a 2005 reissue said it was a mess, containing eight of Costello’s  “meatiest songs” and seven others that ranges from “forced whimsy” to “self-parody”.

Me?  I fell for it immediately.  Not all the songs are ‘classics’, but there were way more hits than misses.  Which is why I was bemused that the label bosses didn’t see fit to lift a second 45 to help boost sales during the spring/summer months.  Especially the album opener….but then again, it seemed to be the sort of clever song that British and European fans would fully appreciate but American fans night feel bordered on being sacrilegious.

Time has proven to be very kind to Brilliant Mistake, and in 2005 it was given a very belated release as a single to help promote the fact that King of America had been reissued in a remastered form, along with a bonus disc with ten additional tracks.  Too little, too late in my book.  It should have been all over radios throughout the summer of ’86.

 

JC

BOOK OF THE MONTH : DECEMBER 2025 : ‘FALLING AND LAUGHING – THE RESTORATION OF EDWYN COLLINS’ by GRACE MAXWELL

The blog is in the middle of a celebration of all the singles Edwyn Collins has released across what has been an unbelievable career.  I thought I’d delve into the vaults for a review that I originally penned in July 2009 when the hardback edition of the book was published, and which I then re-posted in February 2015 with an update of what had happened during the intervening six years.  I now want to bring it right up to date, and to make a very strong recommendation to everyone in the TVV community – if you don’t own a copy of Falling & Laughing, then ask someone to gift it to you this coming Christmas.  I’ll provide a link at the foot of this post.

– – – – –

After reading this compelling 310 pages, I was left with quite a number of impressions, one being that I couldn’t possibly cope with being married to Grace Maxwell. She herself acknowledges that she is a nagging, dominating, sharp-tongued and single-minded individual who has difficulty ever admitting that she ever gets something wrong. But one thing is for sure…..if she wasn’t like that, her partner would most likely be dead, or at best locked away from the world, dependent on specialist round-the-clock treatment. So without any question at all, Edwyn Collins is very blessed to have Grace Maxwell by his side…

Falling and Laughing – The Restoration of Edwyn Collins is a truly astonishing and eye-opening book. It’s also a very very frightening bit of work, and not the sort of thing you really want to be reading if someone close to you is lying ill in hospital with a life-threatening condition.

I’m sure most regular TVV readers are familiar with the basic facts, but here’s a quick resume of what I knew before picking up the hardback.

In February 2005, Edwyn Collins suffered a stroke which left him seriously ill in a London hospital. He was in a coma and required major brain surgery to stop internal bleeding which threatened to kill him. His recovery was hampered by him contracting MRSA, but in the fullness of time, he got back home, and thanks to some fantastic TLC from his partner Grace, their son Will and many other members of his family and his close friends, not to mention many hours of therapeutic treatment, he made a remarkable recovery which allowed him to get back on stage again in late 2007 and to then go on tour in the summer of 2008.

If only it had been that simple……

Opening with a very short prologue that asks the reader to imagine you not having any more thoughts, the book then looks back at the early part of Edwyn’s career with Orange Juice and the circumstances which brought him and Grace together for the first time in 1980, leading to them deciding to live together some five years later. From the outset, Grace was an essential part of Team Edwyn – she was his full-time manager before they got together as a couple, and she shared his woes and worries as he went out of fashion post-Orange Juice but never ever giving up on his immense talent, even when his records were selling to almost no-one.

The world-wide success of the single A Girl Like You in 1994/95 changed everything, setting them, and new son Will, up for life in terms of financial security. It also gave Edwyn the opportunity to make and produce music as and when he liked from the comfort of his own and much-in-demand studio. By early 2005, life seemed quite uncomplicated. Edwyn was 45 years of age, an elder and much respected statesman in music, still recording new songs but under no pressure to come up with the hits. Indeed, there was a great deal of satisfaction with the new songs recently recorded and about to go into the post-production for a new LP which would be followed by the inevitable tour and other promotional work.

But then Grace came home on at around 7pm on the night of Sunday 20th February 2005 after picking up her car that had been left at a friend’s house after a party she and Edwyn had attended the night before – and discovered him lying semi-conscious and distressed on the living room floor….

Much of the book deals with the next few months as Edwyn tries to battle back from the stroke. Grace writes with a directness and clarity that is utterly refreshing, and she is never over-dramatic about events. She gives a great deal of praise to the medical and nursing staff involved in saving Edwyn’s life, but without ever making them appear as saints. At the same time, she also paints a very distressing picture of a medical system that contributes more to a crisis than it does resolve it.

Grace was fortunate in having some immediate family members who work in medicine, and so she could often talk to someone and try to get an alternative view. Grace was also able to devote 100% of her own energy to be with Edwyn over an extended period of time – a luxury very rarely afforded to most wives/husbands/partners. If she had been in a position where she had taken all the medical opinions totally at face value, and had been unable to spend as much time by Edwyn’s side in the very early days, it is quite likely that everyone would have given up the fight…but they battled through all the obstacles and barriers placed in their way, and slowly his recovery began.

But just as Edwyn was about to be moved out of general care into a specialist unit where his therapy would be intense, there was a setback that made the original stroke seem a bit like a pleasant Sunday stroll in the sunshine round – the contraction of the superbug MRSA. What follows really is the stuff of nightmares……

I’m not spoiling anything by revealing that in the fullness of time, Edwyn faced up to and defeated death for a second time. His rehabilitation is covered in great depth and compassion. Grace doesn’t hide from the fact that this was an immense strain on her and Will, and describes some unpleasant family exchanges with an admirable honesty that brought a lump to the throat of this particular reader. I’m sure most of us by now have been in difficult circumstances when someone close is being treated for an illness, and reading many of Grace’s lines brought back a lot of memories of watching loved ones painfully tear themselves up trying to work out what course of action is the best way forward.

As a long-time fan of Edwyn Collins, I would love to have discovered that his recovery turned out to be a smooth and straight-forward process, with him taking his medicine and undergoing his therapy without complaint or giving anyone any cause for concern, and indeed Grace could have easily painted such a rosy picture with very few of us being any the wiser. That she doesn’t is testament to just how good a book this is, and helps the reader gain a much better understanding of just how remarkable it is that Edwyn has the ability nowadays to take to the stage and entertain us.

Having been lucky enough to see him perform three times over the past 12 months I thought that Edwyn – not withstanding the very clear mobility and speech difficulties he still has – was almost completely rehabilitated. Grace’s book reminds everyone that there is still a long way to go. It also reminds us that what Edwyn and so many others close to him have achieved over the past couple of years is quite miraculous – but it has all been through grit, graft and guts, not to mention a lot of Grace.

2025 Postscript

Just over twenty years later, and Edwyn has released a new album and completed a UK tour for which there was nothing but love and praise from fans and critics alike.  There are three shows scheduled to take place in Austria at the end of next month, after which he should be able to take a well-earned retirement from live performances.  There’s now been five studio albums since the near-death experience, although the first of them, Home Again (2007), had seen much of its work completed before he took ill.

There have been numerous live shows almost each and every year, including lengthy tours in each of 2008, 2010, 2011, 2013, 2015, 2019 and 2025, while he has travelled all over Europe and played in America and Australia.  All the while, he has been closely supported by Grace and Will, both of whom were selling the merch on the recent UK tour, while Andy Hackett, Sean Read and Carwyn Ellis have been constant companions in the studio and out on the road, with many others, too many to mention, helping, assisting and contributing along the way.

There was also a documentary film, The Possibilities Are Endless, released in 2014 which sought to tell the story of his recovery and comeback – and if you want to know why the film has that particular title, well you can find out through the book (albeit typing the phrase into any search engine will reveal all).

I know that Edwyn Collins is not everyone’s cup of tea, and that there are many who have always found his vocal mannerisms and delivery to be an acquired taste.  But you don’t need to be a fan of the music to appreciate the story that’s told within the pages of this book. At times, it is not an easy or comfortable read, but ultimately, it’s a true tale about love, sheer bloodymindedness, resilience and courage, and one which comes with a happy ending.

mp3: Edwyn Collins – Searching For The Truth (from the album Losing Sleep, 2010)

The book can be bought in many places, but I’d recommend doing so direct from Edwyn and Grace’s online store.  Click here for info.

Thank You.

 

 

JC