11
Oct

Day 579

The Fisherman and his Soul: our friend Sebastian Voss who once was in the wonderful Grindcore Poppies and now is one half of another amazing band, Nah…, has released a new CD under his solo project. The Münster based popkid has just put out “Nothing (Never) Ever Stays the Same”. This album is a follow up to the band’s previous release on Subjangle and Shiny Happy Records. This album is mostly a collection of remixes of the songs that appeared on said album.

Carolina Zac: the new release and new signing on Spain’s Kocliko Records is Argentina’s Carolina Zac. The album “Posible” will be released on October 22 on black vinyl. It is a 9 song album of carefully and beautifully crafted pop songs. I had never heard about her before and I am happily surprised. Limited to 100 copies.

Un Día Soleado: another new song by Argentina’s wunderkid Enzo. His new jingle jangly popsong is called “Skate 3” and it is such a great track. Poppy, catchy, and with great melodies!

Pash: who are Pash?! the one song we can hear, “Raincoat”, out of the 4 from their EP “Somersault” is a nice surprise! Never heard this band! They have a very limited CD, 20 copies only! I just spent so much on the new Optic Nerve releases…. and I need to wait before spending more money, but if you can afford it. This one seems like a must have!

Optic Sevens 4.0: finally we can pre-order the next set of 7″s by Optic Nerve. I just spent as I was saying more than a hundred dollars for the 12 singles that will be in this new series. I think it is totally worth it, I am not complaining as these are deluxe releases with posters and postcards of rare records. The Wild Swans, Josef K, Dolly Mixture, The Wake, The Monochrome Set, The Chefs, Suede Crocodiles, The Times, Black, Article 58, The Avocados and The Bluebells, are part of this new series!

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I was wondering how come there hasn’t been a Corn Dollies compilation yet. Their songs are probably now in control of Cherry Red and it is surprising to me that they haven’t released a CD with all of their songs as they did with The Waltones in the past. True. They also have The Raw Herbs and they haven’t been released yet on a retrospective compilation, and probably never be. But yeah, instead of many compilations and box sets with the same songs time and time again, wouldn’t a retrospective compilation be cool? I think so!

The Corn Dollies hailed from London and were active between 1987 and 1991. They were formed by Steve Musham on vocals and guitar, Tim Sales on guitar, Steve Ridder on bass, Jack Hoser on drums and Jono Podmore on violin. From the Wikipedia page they have we know they hailed from Dalston but met in King’s Cross. We know too that Steve Ridder was actually from California.

The band’s name was inspired on corn dollies or corn mothers which are a form of straw work.

Before Christianisation, in traditional pagan European culture it was believed that the spirit of the corn (in American English, “corn” would be “grain”) lived amongst the crop, and that the harvest made it effectively homeless. James Frazer devotes chapters in The Golden Bough to “Corn-Mother and Corn-Maiden in Northern Europe” (chs. 45–48) and adduces European folkloric examples collected in great abundance by the folklorist Wilhelm Mannhardt. Among the customs attached to the last sheaf of the harvest were hollow shapes fashioned from the last sheaf of wheat or other cereal crops. The corn spirit would then spend the winter in this home until the “corn dolly” was ploughed into the first furrow of the new season.

The band’s first record was “Forever Steven” on their own label called The Farm Label (FARM 001). This record had the songs “Forever Steven” and the B side had “About to Believe”. This is maybe their most known single also because Robert Forster from The Go-Betweens produced it. Steve Ridder is now the bassist replacing Knowler. The photography on this record is credited to Kate Stubbs. This record got single of the week on Sounds and Record Mirror.

Next came the “Be Small Again” single. It was released on 7″ and 12″ formats on Andy Wake’s label Medium Cool Records (MC008) in 1987. The single had “Be Small Again” on the A side and “In Bethpage” on the B side. On the 12″ the B side had two different songs on the B side, “Rubber Fish” and “The Big House”. The songs were recorded at Pyramid Arts Studio and mastered at The Exchange by Jonz (John Dent). The engineer was Andy Parker with David Emmanuel as his assistant. It is worth noting that on this record the bassist was Stuart Knowler. The cover is credited to Piers Wallace. This record was an indie hit reaching number 28 in the UK Independent Chart.

That same year the band re-released “Forever Steven”  Now it came out on Medium Cool on 12″ (MC009). The A side had  The 12″ adds two more songs to the B side. “Big Cane Call” and “Sweetheart Rose Special”. Now this re-release would reach number 16 of the Indie Chart.

The band also appears this year in the legendary compilation “Uncle Arthurs Pop Parlour”. On this cassette comp put together by the great Dave Driscoll the band contribued the song “Mary Hopkin Song”. I had to look online for who she was. Mary Hopkin (born 3 May 1950), credited on some recordings as Mary Visconti (from her marriage to Tony Visconti), is a Welsh singer songwriter best known for her 1968 UK number 1 single “Those Were the Days”. She was one of the first artists to be signed to the Beatles’ Apple label

1988. Time to release more singles. First is “Shake” on Medium Cool (MC015). Released again as a 7″ and a 12″. “Shake” is on the A side and “Climbing Stairs” on the B side. On the 12″ we add one song to the B side, “Gathered Up”. The songs were recorded at ICC Studios in Eastbourne. They were produced by Alun Lane with Jessica Corcoran and Mike Newbon as engineers. They were mixed at Greenhouse Studio in London.

Then comes “Map of the World”. This single was also on Medium Cool (MC017) and released on both formats. The A side has “Map of the World” and the B side has “People Gone”. On the 12″ the song “This is Mine” appears as the second song on the B side. The producer this time was Chris Allison.

In 1988 the band contributes the song “Mouthful of Brains” to a CD compilation called “The Fundamental Hymnal” that was released by Fundamental (GEEZ 1CD) in the US. The compilation “Edge of the Road” released by Medium Cool (MC010) in the UK and Fundamental (CAM001) in the US included the songs “Mouthful of Brains” and “What Do I Ever”.

Lastly in 1988 Midnight Music released a compilation titled “The Corn Dollies”. This one came out on CD and LP (CHIMEE 00.44).  This was a singles collection of sorts. It contained 14 songs and it is the closest we have to a full retrospective. The songs were “Map of the World”, “Moutful of Brains”, “Shake”, “Forever Steven”, “The Big House”, “What do I Ever”, “Gathered Up”, “Be Small Again”, “Big Cane Call”, “Sweetheart Rose Especial”, “About to Believe”, “Climbing Stairs”, “People Gone” and “This is Mine”. I am looking for a CD version of this release. Any help will be appreciated.

1989 continues to be an active year for the band. “Nothing of You” is the single they release this year. Again a 12″ on Medium Cool (MC020) and a 7″ and 12″ on Midnight Music (DING 52). The 12″ includes the songs “Nothing of You” on the A side and “Polly West”, “Wrecked” and “Be Small Again (Mix)” on the B side. The producer was Chris Allison for the A side and the band, Andy Parker and Alan Barclay for the B side. The design is credited to Peter Cooke.  I am not sure why the two different 12″ versions as they have the same songs and the art is the same. We know Medium Cool collapsed and they moved to Midnight Music… but why re-release the record?

A flexi disc that came with the Zine magazine that year included their song “Map of the World”. The other song in the flexi was “Down Here” by The Rain.

The song “Map of the World” and “This is Mine” got included in the Midnight Music LP compilation “Pop Up the Volume. This is a fine compilation with bands like McCarthy, Bradford, The Wedding Present and The Wolfhounds.

Another 1989 appearance for them was on the classic “Bananas!” compilation released by Rodney, Rodney! (RODNEY 1). This album that was put together against the planned introduction of identity cards for football supporters in the UK. The song the band contributed was “This is Mine”.

Lastly this year they release their debut album, “Wrecked”. It was released on CD, LP and cassette by Midnight Music (CHIME 00.59). The songs included were “In Your Hands”, “Submarine”, “Map of the World”, “Seven”, “Wrecked”, “Nothing of You”, “Jingo”, “Everything Box”, “Mary Hopkin Song” and “This is Mine”. The producers were Alan Barclay, Chris Allison and the band. In support of the album the band went on a national tour supporting Ian McCulloch.

It is also wroth nothing that this year the band toured Europe. They built a good fanbase in Spain.

1990. A new single, “Joyrider!”. This one gets released by Midnight Music (DONG65). It comes as a 12″ vinyl and also as a CD single. Both come with four songs, “Joyrider!” and “Slow Death” are on the A side and “Happy” and “Kool-Aid Mix” on the B side. They were recorded and mixed at the Strongroom in London.

This year they appear on another legendary compilation, “Alvin Lives (in Leeds)” that came out on Midnight Music (CLANG 4). This comp came out in vinyl, CD and cassette. This release as many of you know was released in aid of the Anti-Poll Tax Campaign. The song the band covered was Chic’s “Le Freak”.

Then another cover, “I Don’t Live Today”, appears on “If 6 was 9 – A Tribute to Jimi Hendrix” released by Imaginary Records (ILLUSION 008) in the UK as an LP and CD, by Communion Label (COMM 18) in the US on LP, CD and cassette and on Paradoxx Music from Brazil (!) as a CD comp titled “Tributo a Hendrix” (OXX 1062-1). This same song would be included in a triple CD compilation called “The Many Faces of Jimi Hendrix (A Journey Through the Inner World of Jimmi Hendrix)” that Music Brokers released in 2017.

Midnight Music also released that year a cassette sampler titled “The Independent Clarion 1” where they included the songs “Seven” and “Nothing of You”.

There is a 1991 release too that was a promo white label. All songs are untitled. It had 8 songs and it seems like an album titled “Past Caring”. Midnight Music had even given it a catalog number, CHIME 01.19. What songs were these? Why wasn’t this ever released? Anyone has any info about this record?

Then we have to jump to 1997 for them to appear on Cherry Red compilation “Nocturnal – The Best of Midnight Music” (CDMRED 13). The song that they have on this one is “Nothing of You”. Then it would become repetitive, Cherry Red using the Corn Dollies catalog to include them on their many boxsets. In 2013 they include “Be Small Again” on “Scared to Get Happy (A Story of Indie-Pop 1980-1989)” (CRCDBOX10) boxset, then “Forever Steven” on “C87” boxset (CRCDBOX26) in 2016, and lastly on 2017’s “C88” (CRCDBOX36) they had “Shake”.

Then I have a look at other bands the members had been on. Stephen Colin Musham, who sometimes went by the name Steve Mushroom, was in Lockjaw, Repetition, Rhythm of Space and The Escalators. Tim Sales was also in The Escalators in the early 80s. Jonathan Scott Podmore was in many bands including Cyclopean, Gain Reduction, Leeloo Kobayashi, Metamono, Rhythm of Space and The Jonathan S. Podmore Method.

The band also did a promo video. There’s one for “Joy Rider“. Then there is a video for “Shake” and “Map of the World“. On this last video uploaded by a Spanish fan it says that the band played in Madrid and Valencia and their music was on heavy rotation on the radio programme “La Conjura de las Danzas”.

I look for more info online and I was not surprised to see Darrin had written about them in his excellent Jangle Pop Hub blog. Here I find that the band had played at Wolverhampton Poly in 1989 from the comments. But most importantly it is enjoying the memory of Darrin about this band!

I also find that Steve Ridder ended up returning to the US and this sort of made the band reach a natural conclusion and called it a day. Why did he have to return?! Why not continue? There is an interesting story about Steve Ridder who was involved in the sale of a Hindu goddess Lakshmi doll that was featured on the album cover of “Sgt. Pepper’s Lonely Hearts Club” of The Beatles. The seller was Bonhams. And this is the story:

In another entertainment collecting field, music, a key name to bring in the bidders is of course The Beatles. At Bonhams, the Hindu goddess doll from the album cover for Sgt Pepper’s Lonely Hearts Club Band (1967) was on offer estimated at £4000-6000.

The classic cover was designed by Jann Haworth and her then-husband, pop art great Peter Blake, and the doll is seen in position under the ‘T’ of Beatles. The catalogue states: “It’s possible it was a suggestion by George Harrison, although Peter Blake is quoted as saying that George only gave him a list of Indian gurus and four were indeed included in the cut-outs gathered behind The Beatles.”

Bonhams says the vendor’s best friend, Steve Ridder, a Californian bass guitarist, had moved to the UK and joined a band called The Corn Dollies in the late 1980s. Ridder later met Haworth’s daughter who gave him the doll. After returning to the US, Baker gave the doll to the vendor’s son as a wedding gift. Some years later, after noticing the condition of the doll had deteriorated somewhat, the vendor and his son agreed to part with it.

The doll sold for £24,000 (£30,000 including buyer’s premium) to an international private buyer bidding online.

And that’s all I was able to find. Quite a lot. But yeah, I wonder what happened to them? Did they do any reunions as many of their peers? Who else remembers them?

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Listen
The Corn Dollies – Forever Steven

08
Oct

I just heard the terrible news that Pat Fish has passed away this past Tuesday. His longtime friend Max Eider posted this message on Facebook:

Very sad to announce that my old friend Pat Fish died suddenly but peacefully on Tuesday evening. Pat rocked my world in every way and his death leaves a big hole in my life and in my memory, much of which was only stored in his outsized brain. Goodbye mate and thanks for everything. I’m going to miss you. Max x

It is hard to believe another indiepop legend leaves us. One that was even bigger than indiepop as you would see at the band’s gigs, social media, and mailing list. People that liked The Jazz Butcher were many. Many, many.

I don’t know if I told this story, but when I was working at the AP I had a colleague that was a big fan. He wasn’t a music fan like me. He didn’t even know what indiepop was. But growing up in the US he had heard and enjoyed The Jazz Butcher on college radio. So yeah, he was a fan. We even went to see Pat Fish play in Brooklyn once. That is the only time I actually saw him live, in a small bar/restaurant in Williamsburg. We talked a little with Pat, I think I have a photo of me and him somewhere.

But yeah, these connections, that possibility to make new friends who love music outside my indiepop peers… I think this was one of the few times it has happened! And it was thanks to The Jazz Butcher. That’s something special to me.

For me it is always strange when I meet a music hero here in NYC. I always feel I have less time to talk to them or even hang out. When I visit the UK and I am at gigs or festivals, the band members are part of the crowd and they go out to smoke in the street and so on. They seem more approachable. Whereas here in the US there is that back room for the bands and so they go in there and they just disappear! I guess I was lucky that the time Pat Fish he played in such a small place that everyone was approaching him!

I can’t remember what we talked about. He was promoting the last Jazz Butcher album “Last of Gentleman Adventurers” and I can’t recall if I bought the record that night or I had already had it. I have it signed though. My memory is blurry about that night. It was 2013 I think. Long time!

I have at home many of the records of The Jazz Butcher, original ones and reissues. They are fantastic. There are plenty of songs that have been important to me. I wrote a post ages ago when I shared the song “Girlfriend“, a true favourite of mine, one of the best pop songs if you ask me. Ever.

I am not great at writing these pieces. I know he will be missed. It is hard to believe. A few weeks ago he was playing at Preston Popfest. I wish I could have attended. The lineup was something any popkid would dream for. And sadly it was also the last Jazz Butcher gig. I know some of my Spanish friends traveled there. I wonder how it went. How did they like it. I was just very jealous. It’s been a long time since I’ve traveled in this world that feels upside down.

And it seems the band was to play Bristol on October 7th. This is heartbreaking.

This is just a small post, from a fan from far away Peru that was lucky to live in the US and work here and find the chance to see him live. Just the once. I traveled to the UK many times to see pop bands but who knows why but they weren’t ever booked at the many festivals I went. One of the first vinyl records I bought was by The Jazz Butcher, it was the “Roadrunner” 12″. Maybe not their finest, but a damn good record. Then I started getting their many records. I don’t have them all of course. There are so many.

Lately Fire Records have been putting out some fine boxsets with the band’s output. There is one coming out soon called “Dr Cholmondley Repents: A-sides, B-sides and Seasides“. Great title, With the classic humour of the band. This will be another must have. I honestly hope they continue putting out this material out. It is just fantastic to have. And now it will help remember the genius, the talent, the quality, the humour, the wittyness, the cleverness, of one of the best indie lyricist that came from the UK, the mighty Pat Fish.

Rest in peace legend. We’ll miss you The Jazz Butcher.

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Listen
The Jazz Butcher – Southern Mark Smith (Big Return)

07
Oct

Thanks so much to Dave Fennessy for the interview! I wrote about the band Soundhouse a few months ago not knowing at all who were behind the one song I had heard by them. Luckily Dave got in touch and it turned out it was the same Dave that run the legendary indiepop club The Fountain in the early 90s! So I had to ask questions about that too! So this is a 2×1 interview, with lots of great anecdotes, one no indiepop fan should miss!

++ Hi Dave! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Rather alarmingly I’m 60 next year, but you know, the spears of age keep going in but I’m still moving and can remember what I had for breakfast so I can’t be doing too badly. I still dabble with noise from time to time, my PC can double as a recording studio and I’ve amassed quite a lot of virtual equipment over the years that I could never afford when I was young and pert, it’s just something to do when I’ve got nothing to do, and I’ve got a very short attention span.

++ Let’s go back in time. What are your first music memories? Do you remember what your first instrument was? How did you learn to play it? What sort of music did you listen to at home while growing up?

My Mum played records a lot of the time, mostly crooners and artists like Gene Pitney and Dorothy Squires. A lot of Rodgers & Hammerstein film soundtracks too. Not sure if they directly influenced me, but I went down the route of glam rock then listening to the John Peel show and sort of side stepping anything that was popular or presented to you by daytime BBC playlists. The top 40 chart used to be a big thing, full of various genres of music. It’s only when you find out it was rigged and it was just the tip of the iceberg as to what music was out there, that was annoying.

I can’t play any instrument, I just meddle and prod at things until something nice comes out the other end. I couldn’t bare the idea of knowing what the notes were called, that would somehow have taken the fun out of it. It’s like people who put ‘musician’ on their passports as an occupation. I’d knock their fucking heads together.

My first ‘instrument’ was a Stylophone. Me and my brother got one each for Christmas, and after the limited play value was up I took both of them apart and joined them up in different ways with wires and crocodile clips. It made some weird sounds, great sounds. I always lent to being a bass player because I loved the sound of Colin Mouldings from XTC, to name but one. But I became sort of hooked on anything electronic and a bit broken, that’s the direction I would mostly follow. Once I’d discovered groups like Throbbing Gristle, Cabaret Voltaire and early Human League, I was off.

++ Had you been in other bands before Soundhouse? If so, how did all of these bands sound? Are there any recordings?

First group was Adventures in Colour, a sort of synth pop band but with lyrics more suited to the anarcho punk scene or a suffragettes meeting. Drum machine, two synthesisers, bass and two female vocals. There is a track on the Dennis GPC compilation cassette, recorded just after our live line up dissolved. Gail and Lisa were ‘punks’ in dress and lifestyle, me and George were two straight looking blokes who didn’t get bottled off because of the two women when we played at out and out punk gigs. We did that on purpose rather amusingly, mostly to see how far we could push things and challenge barriers of inclusion, exclusion and all the other social areas we were exploring as we were growing as people. I remember reading that The Rezillos used to be supported by the Human League and no one got seriously hurt.

++ What about the other members?

Gail Thibert was our first vocalist, she joined the Lost Cherrees after she sang with us, again not an indie pop band, more Crass type of thing. George had a pedigree in that his previous band was called Illustration from Stockport. They were on the Some Bizarre compilation LP. We were lucky to get him for a time as he helped us arrange songs better and said daft things like, we should compose and play songs in the comfort range of the vocalist. How we scoffed at such professionalism, but he was probably right.

++ Where were you from originally?

Originally from London, born in Stepney then brought up in Silvertown, which was right next to the Royal Docks in east London. I lived in various places in south London including Hither Green, Deptford, New Cross, then moved down to the Kent coast in 2000. And I’m not moving again as I’ve spent a lot of money on this house and garden.

++ How was your area in London at the time of Soundhouse? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

My area of east London wasn’t exactly a hub for indie music, although the exception was a small record shop in Walthamstow called Small Wonder Records. Not only did Pete stock all the hard to find singles that John Peel played, he also ran a record label and brought out the first Cure single. Gig wise we had the Bridgehouse where I caught young unknown bands like Dolly Mixture and Dépêche Mode over the years. Over Woolwich we had the Thames Poly who put on some great groups like The Passage, Farmers Boys, Shop Assistants, The Bodines and some hopeless drugged up twerps called Primal Scream.

++ How did you all meet? How was the recruiting process?

Lisa and myself met through the small ads in Sounds, as penpals. You don’t hear that word anymore. We were both lonely isolated teenagers but with similar musical interests. First time we met we went to see the Gang of Four at the Lyceum. They were absolutely terrifying, in a great way. She only lived three miles from me, separated by the Woolwich ferry. We became such good friends and found that together we could do all the creative things we wanted to do, but couldn’t do alone, not just being in a group but writing a fanzine, experimenting with photography and actually making new relevant friends. Other passing group members were from the music press small ads. No auditions, if we liked them as people then that was what mattered. Anything else you can work on.

++ How was the creative process for you? Where did you usually practice?

Come up with ten ideas, throw nine of them out as being a bit lame, and after a while we would probably get one good song out of all the bits scattered all over the floor. We practised in my bedroom with a rare outing to a proper rehearsal studio, we used one underneath the railway arches in Leyton. It was popular with anarcho punk bands so we made some interesting contacts along the way. We ended up meeting groups like Rubella Ballet, Poison Girls and Crass, all of whom we shared political and social ideologies with but obviously not the style of music. As we grew into a four piece we rehearsed in Georges flat in Ladbroke Grove, such an exciting multi-cultural area. We didn’t mind travelling across London to do things, we always bunked the tube fare so it didn’t cost anything. You can’t do that now, too many barriers and CCTV cameras. I used an old ladies shopping trolley to transport the gear in, such as it was.

++ What’s the story behind the band’s name?

Soundhouse just looked really good on paper, a very balanced word if you look at it. Unfortunately there was a musical instrument shop in London called the same thing so we would have been challenged on it had we become known in any way. I think there was a heavy metal roadshow called the same thing. Curious bedfellows.

++ Who would you say were influences in the sound of the band?

Wouldn’t be able to put my finger on it, just the way we grew and developed as people, and probably most of the things we rejected along the way as things we knew we didn’t like or align with. Musically I was probably still obsessing over groups like the Cocteau Twins, Pink Industry, Crash Course in Science, Young Marble Giants, The Liggers…. lots of contrasting things, really. Themes for Dreams is quite a dark haunting song with some very troubling lyrics which I didn’t fully interpret at the time. I think Lisa was going through some heavy shit that none of us around her were fully aware of until much later.

++ I really liked the song “Themes for Dreams” so I was wondering if you could tell me what inspired it?

It was very much Lisa’s song that she put together on one of those cheap Casiotones, the MT40 if memory serves. I had very little input in it at the recording, she came with it fully formed in her head and I just overdubbed the bit she kept getting wrong. I dragged a friend from the GPC along, Gary Parker, to add some guitar to gently jangle it up a bit and not for it to be exclusively electronic.

++ This song was recorded in a small studio in East Ham you said. Do you remember what it was called? Did it take much time to put the song together?

Grandly named Empire Studios but it was just a normal terraced house with one bedroom turned into a main studio, and I think Lisa sang her parts in the bathroom or on the stairs. Gary played his guitar sat on the bed. I found the studio out of the Melody Maker I think, because it was local and easy to get to. And cheap of course, about £40 for the whole thing, which lasted about 4-5 hours, certainly no more.

++ One thing that I thought was cool is that you used a drum track from a percussion LP for it. What other anecdotes can you share of that recording session? Was there a producer by the way?

Producer was the engineer was the tea maker, a one man outfit with his own gear. Think it was an 8 track but it could have been 16. It was a small set up but he knew what he was doing. We only had a Soundmaster ST305 drum machine which was fairly basic, although they seem to go for good money these days like a lot of old analogue gear. He just said do you want to try one of these instead, and he had a rack of vinyl LPs that were just professionally recorded rhythm backing tracks. I didn’t even know those things existed. It made a massive difference to the finished article and most people didn’t quite know how we’d done it when they heard it.

++ This song appeared on a tape called “Here’s the Shit!” that was released by the Greenwich Performance Collective. Who was behind this collective? Were you part of this collective? If so, what did entail being part of it?

The GPC were a motley collection of drop outs, the unemployed, and the unemployable to be honest, set up by some ex-student friends to provide a focus for Woolwich area based music. There was a lot of it about at that time but nowhere for things to become focused. They put on gigs once every three or four weeks, just turn up, say you wanted to play songs or read a poem or juggle some milk bottles with your knob painted bright yellow as some sort of statement; it was that kind of thing. If you still had a pulse by the time you was due to go on, out on stage you went, and whatever happened, happened. They had a grant from Greenwich council so there was no pressure to be financially successful. There were others too, there was a London Musicians Collective, one in Bromley and New Cross. The most famous was probably the one in Manchester. Adventures in Colour were already a band at this point and we joined the GPC to play in our ‘home town’ kind of thing. Then we got involved with writing the newsletter and helping out where we could. The weekly meetings were always a good laugh, so many characters.

++ What about the bands on this tape? Were you familiar with them? Perhaps friends? Which were your favourite?

We got to know most of the groups as they were at the meetings, a handful of the bands on the tapes were more or less the same people to be honest, just doing contrasting things under different names. I thought The Climbing Frames track on ‘Dennis’ was excellent, very indie pop for the time, and I never had a clue who they were or where they came from. I still don’t. If I did I would have nicked the vocalist for a start. All of these groups didn’t go on to super stardom of course, but two thirds of the Instant Automatons were in there, and if you know your obscure UK DIY music history, they were big hitters and we looked up to them.

++ And there aren’t other recordings by the band, right? Unreleased tracks?

Lisa probably had a few more songs in some form, and I distinctly remember one of them, a really good one, as she did it on our 4 track in Lewisham. Our opportunities to properly record any more would always be thwarted by money and equipment issues. We never had any, we were dole kids during the Thatcher years. We had been inseparable friends and creative partners for five/six years, we drifted apart over various things that were going on in our private lives and that was that. We caught up again on Facebook many years later, and Iike to think that she still remembers me with as much fondness as I do for her.

++ So tell me, why was this just a one-off? Why didn’t you make more songs with the Soundhouse name? Or maybe more songs of this style?

We recorded it specifically for the Here’s The Shit compilation, if it hadn’t of been coming out we wouldn’t have recorded a song for it. I think it was just an in between project with no clear plans for the future, but I can see with hindsight that we should have concentrated on this direction and done more. There was definitely something in the air at that time that slowly became what was later described as ‘Shoegaze’ or ‘Dreampop’. Projecting forwards I can imagine that we would have been very similar and aligned to what Candy Claws and Sound of Ceres eventually produced.

++ I suppose you didn’t play any gigs either?

That was never going to be a thing, not with one song and no backing tape LOL

++ One thing that has to do with gigs is that you used to promote indiepop nights at The Fountain in Deptford. How did that happen? What bands do you remember booking?

I got fed up going to the trendy NME hangout that was The Falcon in Camden to see any groups I liked. Why not put them on in my local pub, seemed like a good idea so I went with it. The Fountain was at the time 50% mixed between working class council estate and gay. At times it was quite lairy, fights breaking out between the pool playing lesbians because someone had been sleeping with someone behind someones back. And there was me putting on bands upstairs with names like the Red Alarm Clocks and Dalek Beach Party. I love diversity, I love plonking opposite things next to each other and seeing them get on. I remember when I put a poster up of Heavenly downstairs and all the gay women were going nuts over Amelias photo. They certainly filled the crowd out that night. The landlord had a gigantic Rottweiller called Zeus, he sorted out any trouble.

I’m a colossal nerd so usually I’d do this in alphabetical order, but I’ll just see what my memory can do. Strawberry Story, Fat Tulips, Another Sunny Day, Screeming Custard, The Haywains, Thrilled Skinny, Groove Farm, Sea Urchins, Heavenly, St.Christopher, Brighter, Phil Wilson (June Brides) instantly spring to mind. We had quite a few unknown indie pop acts, even to great archive blogs like Cloudberry, who never made their own mark but had fun trying. Quite a few local south London groups too, much like from my GPC days, who didn’t have that many places to play. They didn’t fit the indie pop scene in the strictest sense but it was nice to help them out in some small way.

++ And were there any bands that you would have wished you’d have booked and for a reason or another didn’t happen?

I had just missed out on The Siddeleys, they had split up just before I started. A gang of us used to follow them all over London, such a great group and we were heartbroken when they called it a day. We felt a bit slapped in the face by Johnny Johnson to be honest; she got fed up playing the same places to the same people. None of us realised she was very ambitious and hard-nosed, her lyrics that we warmed to and identified with seemed to be the opposite of that kind of personality. The group that she disbanded the Siddeleys for, Armstrong, were painfully average.

I used to go up to people at gigs and just ask them if they wanted to play at a small club in Deptford for door money and no mixing desk. Oh and can you bring your own stands and mics because people kept stealing mine. People like Robert Sekula (14 Iced Bears) and Rob Wratton (Field Mice). Both of them turned me down quite happily but it was impressive that a shy twerp like me would just go up to them and take liberties. Not even so much as a how do you do, but then getting a conversation out of Rob was painful. Most of the bands I got from just writing to them or ringing them up from details on the back of 7” singles, or John Peel of course. Most said yes without any squabbles about money and that. They all got what I was trying to do; it was like a party most Saturday nights in someone’s long cosy room rather than a full blown rock night out. We had curtains and nice carpet, made for some good acoustics. And the toilets were clean, that’s always a deal breaker if you ask me.

I did bump into the bassist from the Glitter Band in a music shop in Catford where I was getting the vocal PA repaired, and had a chat with him. They were doing all the old hits as a three piece during 1990. I was a huge fan as a kid, Gary Glitter was my first pop concert in 1973 and it had blown me away. Of course I asked them to play a tiny pub room in Deptford, I thought that would have been hilarious to see the look on the landlords face if nothing else, but then the talk started involving contacting managers, security, riders, advance tickets, dressing rooms and showers and what not, four figure sums of money and it would be best to do it in a larger venue he suggested, and it stopped being quite so amusing.

++ Did you DJ or put together the songs in between bands as well as booking the bands? Was it just you or was there a bigger team?

It was my idea to put on my favourite bands in my local pub, I didn’t worry too much about the actual practicalities of it, it just fell into place once it got going. The landlord let me have the room upstairs for nothing as long as people bought his drink, I bought a vocal PA and used my own mix tapes and the tape deck from my hi-fi. On the first night Sue and Stu from south Croydon turned up for the Fat Tulips and said did I need help on the door. That was just how it worked; people turned up for a love of the music and got involved in some way. It was never run to make money, more like an enthusiastic living fanzine run on a tiny budget. I made some great friends who are still friends today. People like Richard Coulthard from Waaaah was a regular and we all had a whale of a time on the coach trips to Bristol for Sarah parties. We were all part of the same small crowd.

++ What would you say was your most successful night as an indiepop promoter?

The packed nights included the Sea Urchins, everyone and his dog turned up for that one and we only had an official capacity of 70. I remember looking round and thinking, this is getting daft, I coul feel the floor sagging, I’d better put a house full sign up or something. Then Michael from the Field Mice turned up and I had to let him in rather than turn him away. Heavenly always pulled a big crowd as you would expect. Local indie group Screeming Custard fans drank the pub dry on two occasions. I loved the way my favourite bands were all such lovely people, so friendly and approachable, apart from one group who were completely obnoxious and thought they were something special. We didn’t do ego.

But it wasn’t just the ones where loads of people turned up, St.Christopher played with Brighter watching as paying punters in the audience, and that for me was a magical moment. We had a fair few ‘famous’ faces pop in, like Bob Mortimer, Bob Stanley, Matt & Claire, Fruitbat etc. I know it was a colossal pisser for the groups when not many people turned up and I had to pay the bands out of my not too impressive British Rail wages, but sometimes The Venue up the road would wipe us out by having Lush or some other indie superstars playing that night. We never stood a chance. New Cross and Deptford were great places to see John Peel / indie bands in the late 80’s and early 90’s.

We did feature in the My Secret World documentary, the gig with a special Amelia Fletcher solo set and Another Sunny Day (mostly solo thinking about it). That was a great night as it also featured a debut performance from Confetti (they gave in to my constant nagging to do it).

++ Another thing that is really cool were the flyers for The Fountain. Did you make them?

It was all home-made, no desktop publishing unless you could afford an Amiga or something, and a decent home printer of which there weren’t any at the time. Found images, cut up lettering from newspapers, a manual typewriter and some Letraset. Just things that were lying around my flat in New Cross. Sometimes I’d just photocopy the latest single and use that as a template. I used to hand out photocopied ‘postcards’ to likely looking people at Greenwich market to advertise the club, obviously it was a thinly disguised ploy to talk to short haired indie pop women but I was never good at that either.

++ At some point you wanted to do a live compilation CD with recordings from The Fountain, right? What happened?

The lack of a posthumous live compilation appearing was basically down to differing and poor quality of the recordings. Some were done by Richard Waaaah and some by Tim Chipping. We didn’t have a mixing desk to record from, it was play through your amps and sing through the PA, the venue was small enough to be able to get away with that. I’ve certainly got a few shows in mp3 format (or wavs) can’t remember now.

I also figured I’d have to get permission from the acts involved to release it to see if they would allow it. It would have been a free download, I certainly wouldn’t have charged money for it but maybe one or two of the groups would have disputed that. It was a road I didn’t want to go down to be honest. I have put Another Sunny Day and one of the Brighter shows up on Youtube (audio) and if I can find them I will link those below. They have not had many views, maybe need a leg up in some way

++ And when did you stop doing this? Why?

It ran for a year, and it was to be honest approaching the arse end of a genre cycle. Finding new groups that fitted the bill or even excited me were getting thin on the ground. I’m not one for doing the same thing and overstretching it until it snaps. I think it ran its course and I achieved everything I’d set out to do. We had Britpop taking over by then as well and I was not impressed with that lot, bunch of fake prancing show offs if you ask me.

++ Had you been in other bands after Soundhouse?

I had one more go at being in a pop group called Jacobs Room, with Gary who played guitar on Themes for Dreams. It was his songs that were mostly middle of the road rock/indie, nothing your blog or readers would be too interested in unless they were being polite. I did enjoy arranging all the songs and ‘playing’ everything on them apart from the guitar. We used a Fostex 4 track as the backing tape and we were joined by a singer who didn’t really suit the music. Did three gigs then I left because Gary wasn’t putting any money into the group and I was basically getting myself into serious debt making a fist of things with modern equipment. I wanted to be in a group where people would put their hands over their ears. I wanted to make an unholy wall of noise racket but underpinned by swoony sort of tunes. Then I did some TV theme cover versions using distorted Casio’s in the privacy of my own hell-hole / bedroom. Then I just stopped on the music front and tried to be normal. That didn’t go well either.

++ What about the rest of the band, had they been in other bands afterwards?

As far as Adventures in Colour went, George changed his name to Morgan King and won a Swedish Grammy for some commercial house music. He is still active and plays drums in the reanimated Lene Lovich band mostly on the continent – there’s a name for the 70’s pop kids there. Lisa I really don’t know, I’m sure she will fill you in. Gail has probably been in about 50 punk bands since and is still racking them up. Gary Parker has continued in various indie rock bands. I think Lisa and myself just grew out of it ☺

++ Was there any interest from the radio?

Not that I know of. The GPC tapes were never of broadcast quality after they had duplicated them, so even the local community station in Thamesmead wouldn’t have played it even if they knew about us.

++ What about the press? Did they give you any attention? Fanzines?

Nope, it was just a very immediate local thing. There was a feature in a Woolwich newspaper, and Adventures in Colour got a good mention, but it was about the GPC overall and what it did and how it helped people. It’s only because of the internet and various obscure music hunting sites that have dug us up after all these years. We simply had no idea. It took me years to get copies of two songs and there is still another AIC one to be found on yet another obscure GPC tape. This has yet to be documented and made available online like the others and I can’t even remember what it was called.

++ Aside from music, what other hobbies do you have?

I run a Facebook group about Silvertown & North Woolwich local history but that doesn’t take up much time. I still dabble with weird electronic sounds but not seriously. Whereas I used to sigh when my Dad listened to military bands on the music centre at home, so my sons sigh at me when they catch me listening to Whitehouse or some other god awful racket. I don’t watch telly or follow the news. I’ve finally turned into my Dad by turning off lights and plugs, and wanting to make a nice garden for the family and pets. I like mending things too. Hope that’s late middle aged and dull enough for your readers ☺

++ Been to London many times, and really liked it. But never to Silvertown or Plumstead. I want to know what would you suggest doing there, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Silvertown was/is famous for four things, Tate & Lyles sugar factory, the Thames Barrier, the Royal Docks and now London City Airport, which they built in peoples back gardens and paid for double glazing as a gesture of goodwill. It’s basically always been a place where working class people had to put up with noise and fumes from various heavy industry which was always far too close to housing. It’s changing now, loads of new unaffordable multi storey flats, so the working class are being pushed out and big earning city workers moving in. The newer people don’t mix or socialise locally, and tend to be quite transitory, they don’t appear to give a shit about the local history and whatnot, just a place to live that’s fairly near the city on a rung on their own progression ladders. You really shouldn’t try the kebab and pizza shops that have replaced the chemists, the greengrocers and the post office. A walk under the Thames through the damp foot tunnel is always an experience, and the ferry is free so you can go back and forth a few times until you get bored.

Plumstead was and still is very suburban, mostly residential, an attractive place to live that doesn’t get many mentions because it’s just tucked away behind Woolwich. It has a lovely old common that they haven’t built over yet.

++ Anything else you’d like to add?

Thanks for showing an interest after all these years, I’ve been aware of Cloudberry Records for some time, keep up the good work.

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Listen
Soundhouse – Themes for Dreams

06
Oct

Day 574

Scarlet Drops: Harriet Records, the legendary label is making a comeback. Their first release is a CD retrospective compilation of Ottawa’s Scarlet Drops! There are 24 songs in this record from singles, cassette releases and other unreleased tracks. Seems like a record no one should miss! Also I hope to get an interview with the band as I would like to know more about them!

The Reds, Pinks & Purples: two new songs by Glenn Donaldson’s project. The San Francisco based project keeps recording and recording new tracks that are perfect janglepop! The two latest ones are “I Only Ever Wanted to see You Fall” and a cover of Mazzy Star’s “Common Burn”.

EggS: a new 7″ by EggS will be released on Octobe 29 by Prefect Records from London! The 7″ EP titled “Greatest Hits” will include 3 tracks and so far we can preview one of them, “I Fell in Love”, which is really good!! I feel like I should a copy myself. Are the other 2 songs as good?

Semihelix: just a few days ago I was recommending a digital single by this Austin band. Today I am recommending their brand new album “Recoil” that is out now thanks to Mariel Recording Company on CD and vinyl LP. The album has 10 songs of super psych jangle pop!

Makthaverskan: and we end this with the superb news that the Gothenburg band is releasing a new album! It is going to be called “För Allting” and it is coming out on CD and vinyl on November 12! Great! Right now we can only preview one of the songs, “This Time” out of 12 that will be included in the record. Looking forward to this one for sure!

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Another band I tried to interview back in 2011 was Bunny Nightlight.

I was in touch with Marie Kare, vocalist and organ player in the band. The other member was Ben Barkley who played everything else. As far as I know they weren’t in any other bands.

They only released one record. A CDR on Shelflife Records back in 2003. It was an EP titled “Hail”. This EP was actually part of a CD-R series on Shelflife Records and this was the eight release in this series, hencee the catalog number CD-R Series #008. Now I am thinking it may be a good idea to research now many of the bands in these series.

This release was very limited, just 100 hand-numbered copies. It included four songs, “Mmm Hmm”, “Boo Hoo”, “So Bored” and “Stalking Song”. Their music was wonderful sweet bedroom-pop. Hard to come by to such pop perfection these days!

On this record Cynthia Ford sang backing vocals.

A few things I learned while researching for the interview:
– Ben had recorded a cassette full of songs for Marie to sing. That’s how the band started
– Marie hails from Borger, Texas. Where is that? It looks like in the middle of nowhere!
– Bunny Nightlife was born and was based in San Francisco, California
– Marie runs a cool blog called Marie the Bee. A lot about video gaming here!
– Their computer died and all of their Bunny Nightlife recordings, even unreleased tracks were lost

On the web there are a few mentions to the band, all of them raving their music. Erasing Clouds, an influential blog in the 2000s, recommended their EP. Indiepop.it, another legendary site, reviewed all CDR series on Shelflife. Here it mentions that the band hailed from Sacramento. Now I am confused! Also it mentions that the name of the band is taken from a Looney Tunes product, a lamp!

And lastly I find a Soudncloud that Marie Kare setup 6 months ago. This is a good find I think. After losing touch with them it is lovely to see that they still remember their music! They have uploaded a song not included in their EP. It is a cover of Frank & Nancy Sinatra’s duet “Something Stupid“.

And lastly, there is a song called “Song 3” that is on an EP called “We Love You, Jerry” that was put together in 2018 on Bandcamp. On this compilation EP that included The Rosebuds, Dusty Miller, Sad Numbers, Soul Brothers, and Rocketship. Bunny Nightlight appears with the aforementioned song. It seems it was only a digital release.

And that’s it. I am going back to many bands I tried to interview and for a reason or another I didn’t get answers back. I am just trying to write about them as I really liked them in the first place and deserved attention. An interview would have been better, more details, but this is not bad, is it?

Who remembers Bunny Nightlight?

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Listen
Bunny Nightlight – Mmm Hmm

04
Oct

Day 572

Rachel Love: I just preordered the album “Picture in Mind” by the ex-Dolly Mixture! I am so looking forward to this CD! Right now you can preview two of the songs that will be included in it, “Primrose Hill” and “The Long Way Round”. Both are truly something. I can’t wait to listen to the remaining 8. Very excited. Don’t miss this one out I’d say!

David Christian: the Comet Gain leader is back with an album worth of songs titled “Lullabies for Lives You Never Had”. This release is only digital but it is really good. This is the third volume of recordings done at home and other rare sounds. Definitely worth a listen for the fans and not fans (can that be possible?) of Comet Gain.

Les Yeux Mi-Clos: I wonder where Melotron Recordings from Greece found about this band! I have never heard them and they do sound fantastic. Jangly, chiming guitars. From what I understand it is the project of Correntin Cornieres. And here there is a limited CD of 6 songs that is being released on October 1st.

Humdrum: “Wave Goodbye” is the first song from the latest project of Loren Vanderbilt who used to be in the fantastic Star Tropics. This song is perfect janglepop. The guitars jingle jangle and the melodies work in a dreamy way. It is classic indiepop, well-crafted, and I really hope more songs appear on his Bandcamp soon!

Stomp Talk Modstone: the Japanese shoegazers have a new release on Bandcamp, a four song EP titled “Melissa/Keep on Mind”. As you might guess there are those two songs that give title to the EP plus an instrumental and a version of their song “Only Illusion”. Fuzzy and warm. Good stuff.

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I was in touch with Noel Attride of the fantastic Beyond the Blue. It was a fantastic opportunity and I asked to do an interview. I sent questions, and as it happens more often than not, I never received answers. So I can’t really tell the whole story of the band as I would have wanted. But I feel not having a write-up about this obscure but amazing band goes against the blog ideals.

I may be doing this a bit more often. There are many bands I’ve tried to interview but never got their answers. As this blog is a good resource for the history of indiepop, I feel at least a write-up of what I know, could be helpful.

From what I understand the band recorded only 6 songs. Only one of these songs, “Return of the Prodigals”, ended up being released. This song would end up on the compilation “Beyond the Fence Begins the Sky”, a vinyl comp released in 1987 by the Plastic Head Records Limited (PLAS LP 008). This label based in Oxon is still going to the surprise of many as a proper record store. On the record thee band appears as the 3rd song on the A side.

I have talked about this compilation in the past. Bands like The Jeremiahs or Home and Abroad appear on it. Also the Enamel Animals who would later be The Chalk Giants.

Beyond the Blue was formed by Noel Attride on guitar, Brendan O’Sullivan on vocals and guitar, James Field on bass and Nick Warren on drums.

The 6 songs the band recorded are on Soundcloud. They are “Time to Smile”, “Acid Rain”, “Beyond the Blue”, “Never Never Girl”, “Return of the Prodigals” and “Time in my Heart”.

Some info appear on the songs. We learn that the band was formed from two disbanded groups (which groups? it doesn’t say).

As you’ll notice the songs are quite something. They are amazing. Proper jangle pop. How come they didn’t release a record is a mystery to me.

I keep looking for any other details. I see a comment on a Firestation Records blog post by Nick Warren. He mentions that he was in a band called Sideways Laughing in 1985. In this band a member of Beyond the Blue was involved, Brendan O’Sullivan. His brother Kieran was also on Sideways Laughing. Nick and Brendan would start Beyond the Blue. He mentions that Brendan was in a band called The Tenderhooks. Would love to listen both of these bands, Sideways Laughing and The Tenderhooks.

Noel also comments on the post. He adds some more info. He says that he was more involved in the later stages of the band. He says that Nick, James and himself, before being in Sideways Laughing had been in a band called Breaking the Ice. Oh! Another band that would be great to listen to. He also mentions that Beyond the Blue played a few gigs in Reading and one in London, at the Hippodrome.

And that’s all the info I could find on the web. Would be fantastic to find out more. Maybe I can get in touch with the other band members and get an interview done. Would be great! Who remembers them?

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Listen
Beyond the Blue – Time to Smile

01
Oct

Day 569. A week since the release of our latest 7″ by Stars on Fire. Today is Bandcamp Friday too, if you happen to be around that site, please check it out here!

The Photocopies: who knows anything about this Michigan project? From what I understand they used to be called Aniseed Twist, but I had never heard of them either. They have some cool songs on their Bandcamp, all digital singles, clearly influenced by classic 80s and early 90s indiepop. Fun.

Moonlove: a really nice discovery, this Kent, Ohio, band from the 80s. Their sound is really good and you wonder how has this been in obscurity, they should be more known. The label Concentric Cirlces is releasing their recorded output as a 12″ LP on November 15. Pre-orders are up now for this record that includes 10 songs and a 12 page booklet. Would be fantastic to interview them.

Crystal Meadows: two songs from Greenfield, Massachusetts. project Crystal Meadows. That’s all I have been able to find about them. It has the feeling to be a solo project, but I cant say. The two lovely jingle jangly songs are “We Can’t Get Away From Here” and “Sophia”. Check them out!

The Lil’ Hospital: I always loved Kevin Alvir’s The Lil’ Hospital. The band used to make this perfect mix of lo-finess, quirkiness and tweeness. This was pop made with punk attitude. So it is great to see “I Wanna Be Well” on Bandcamp. These 11 recordings date from 2003 and they are essential to understand those early 2000s, when CDRs, Soulseek, mailing lists, and more were part of our lives.

Midsommar: and we end this week with a dreampop band and their latest digital single. Yup, hailing from Warsaw, Poland, Midsommar has just released the song “Summer’s Over” that will be part of their upcoming EP “The Dream We Had”. Nice.

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I went on to for a band called The Juniper Chute. I wanted to write some songs with a bit more balls to them so for the first time I wrote them all on an electric guitar. I then asked Hugh Whitaker, Eddie and a friend called Matty to form a band an we did a handful of gigs. The sad thing is that it was only intended as an experiment. I was sick of being in a band. I’d spent 2 years of my life trying to get the Penny Candles signed and got nowhere. Neil O’Brien offered us a gig at one of their venues. It was only our second show. In the next few months, after that show, I got rung up by every major record label in the country chasing me up. I was so disillusioned that I never returned the calls. The band members all had other commitments so it was never intended to be a permanent thing, so they drifted off and that was that.

Many years ago I interviewed Nick Langley about the fantastic band The Penny Candles. When I asked him what happened with him music-wise after the demise of The Penny Candles he told me that he was in the Juniper Chute.

A few weeks ago I reached Nick trying to see if he would be interested in doing an interview about The Juniper Chute. I emailed him but my email bounced. It seems the email I had for him doesn’t work anymore.

I don’t have any other contact information for him. I honestly thing The Penny Candles are one of my favourite bands that still doesn’t have a proper retrospective album. I wanted to do it, but I don’t think Nick was much interested. Maybe it can happen with another label. I don’t know. At that time I was in touch with him I hadn’t listened to The Juniper Chute. Now thanks to Chris Warkup’s Soundcloud page I discovered many songs by them. And I fell in love with yet another Hull band!

Thanks to this page, we know that the song “Me and Mrs Jones” appeared on a compilation tape called “Now That’s What We Call Hull” that came out in 1992. The band appears on the A side, it is the 4th song between two great tracks, one by Promise and another by Fog, both bands featured in the blog not too long ago.

I found another song by them on Youtube. It is called “God Knows” and from what the uploader says, it was a signature tune by the band. The sound sadly is not that great.

Looking for more info, as it is very rare to be honest, I find that the band played the Tower Ballroom, in Hull, on February 4, 1992. That day the bands on the lineup were Joyce Victoria, Fog, The Juniper Chute and Intricate White.

Sadly this is all I could find online for the band. Would be great to know more about them, how come they never released any records, and also, most importantly, find out how many more songs were recorded.

Anyone from Hull remembers them?

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Listen
The Juniper Chute – Mr & Mrs Jones