Thanks to Peter Stone, by way of Neil Edmunds, for telling me a bit about The Sweetest Ache. I guess it makes sense he didn’t know the answer to some of my most curious questions! I’ll have to bug Simon about them. For now please check Peter and Neil’s new band The Milestone Band.

++ Hi there! Thanks so much for doing this interview! It’s hard to keep it short for blog standards as there is so so so much to cover about The Sweetest Ache! I guess I’ll take the chance to ask what seems to be the most mysterious things about the band! Though I’d love to do a second interview. But let’s rewind. Let’s go to the 80s. The Sweetest Ache started as The Spirals. Why did you change names? Care to tell me a bit about those early days? Are there any recordings from The Spirals by the way?

You would have to ask Simon Court about the Spirals sorry.

++ How did you all knew each other? How did the band come together?

Simon, Dave and Stu were in school together. Jimmy (Geraint Morriss) came for an audition as a drummer and got the job, and Peter was jamming with another band when Stuart asked him to join The Sweetest Ache.

++ Who came up with such a good name: The Sweetest Ache? Where did the inspiration came?

You will have to ask Simon on that one, but there is some truth in it.

++ Most people remember your releases on Sarah Records, so that’s a must-do question. How did you end up signing to the Bristol label? How was your relationship with Matt and Clare?

We made a demo tape in the flat Stuart was living in and sent it to Sarah and they signed us, we then went down the beach to celebrate…

++ It’s said that Simon said once he was a former member of Inspiral Carpets, how true is this?

Sorry again… I will ask him as I see him sometimes around.

++ How was the Swansea scene back then? Did you like any other bands from town? What were your favourite spots there?

Swansea was ok, but not as cool as Cardiff. We had lots of metal and punk bands as i recall, the underground dance scene was kicking off and we came then and totally shocked everyone with our mellow sounds at first.

++ On “Briaris”, one of your fans’ favourite songs, there’s a girl singing. Who is she? And how did you decide female vocals for it? And what does “Briaris” mean?

The girl was called Louise and she was Stu’s friends Nathan’s girlfriend and she had a stunning voice so we asked her to sing…there are a few other songs with her on, but unreleased., and the title was named after Phil Briaris another friend of the band..

++ And now I do have to ask you about my favourite song: “If I Could Shine”. Any story behind it?

The best song of the 90s, Simon and Stu wrote it. We recorded it in Vons studio in London and were late as our van caught fire on the way up, but what a song…

++ Also I’m very curious about why you called one of your songs and first album as Jaguar, why was that?

Pass. Sorry there was a reason but it escapes me. I’m sure Simon or Stu would know…

++ You will later release on what was considered the American Sarah, Sunday Records. But on this single “A New Beginning”, your music had changed quite a lot! What had happened in between? Maybe it was really a new beginning? Where did the jangly guitars go?

We had done all these mellow songs and slowly started listening to Neil Young, Bob Dylan and harder rock. So we just evolved into a heavier direction.

++ And the album that came next, was Grass Roots on Vinyl Japan? How did you end up signing for the English-Japanese label? And is it true that this record sold 10 thousand copies?!

++ So why didn’t you get to be more popular?!

The new album came out very overproduced and polished and the raw sound we had started with in the recording studio was ruined. And i think it sounded too soft rockish and people lost interest. We then reformed under the name of Freedom and made about 7 songs with a great dirty rock sound and we went down well. We then go back together as The Sweetest Ache and started making a 3rd album, but we never finished it due to band commitments, oh well…

++ Looking back in time what was the biggest highlight of The Sweetest Ache?

Playing in the underworld in Camden, London. And playing in the Sarah events. We were a bit naughty but we loved going on tour.

++ Why and when did you call it a day? What do you all do nowadays aside from making music?

Simon, Stretch  and Stu are in Shooter. Jimmy and Dave are in France playing. I’m not sure about the others but me, Rob and Neil are in The Milestone Band.

++ So one final question for now, can you make laverbread? Do you have your own recipe maybe?

Get some seaweed, clean it, cook it with butter and eat up.

++ Thanks again! anything else you’d like to add?

One day I’m hoping to get the original band back together to tour.

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Listen
The Sweetest Ache – If I Could Shine

Thanks so much to Geoff Suggett for the great interview! It’s brilliant to at last know more about The Lavender Faction!

++ Hi Geoff! Thanks for the interview! So let’s start from the beginning, you were first involved with Bulldozer Clarts right? Was that your first band? And then you left and started the Lavender Faction? Why did you take this decision?

Well actually The Lavender Faction was the third band after “XeX” and Eating Crow.

XeX were post punk and sort of a bit like early Cure and Joy Division recorded demo’s for EMI whose A&R rep Tony O’Conner was trying at the time to sign an unknown Manchester band called” The Smiths”, the history of The Smiths is well documented, XeX were promptly dropped like a hot turd. On the upside though I got to hear The Smiths before they signed to Rough Trade, “bonus”.

Bulldozer Clarts was a side project (to the already up and running Lavender Faction) that me and Stephen ( of This Almighty Pop!) started, he had a four track portastudio and as I was into the DIY ethic and decided to record some stuff together, I think we only recorded one song (”She Walked Away”). I still love that version of “She Walked Away” that we did on the four track.after that steve moved up a notch and got Mark in the band i was kicked out and resigned to being a lavy for the rest of the 80’s +early 90’s.

++ How did The Lavender Faction come together? Who were the bandmembers and how was the recruiting process?

Me and Rick were in a band called Eating crow who were a sort of Orange juice meets Echo and the Bunnymen with a bit of the Fall thrown in for good measure, we did some half decent tunes and once at a gig in Coventry were introduced to Roddy Radiation and Linval from the Specials they took us to a nightclub where we were told to fuck off by the doormen,and everyone went home, so close to fame yet so far away again, “ah well”!

After our brush with infamy rick and me left the band and formed the Lavender Faction who were: Andy Lee (drums), Marc Patterson (bass), Rick (guitars + voc), Geoff suggett (guitars + voc). Marc Patterson left to work as a journalist he was replaced by Richard miyers (bass)

The recruiting process:

As far as I can remember Rick knocked at my door one night and said “I’m leaving the band (Eating Crow) to form a band (The Lavender Faction) I want you to come and play guitar in the band and sing and write with me, that was just what i wanted so now i was in another band, we telephoned our friend Andy who had never been in a band but was a good drummer so now he was in the band, then we contacted a bass player we all knew called Jeff Macallum who also joined the band he was not punctual for rehearsals so he was out of the band I was friends with Marc Patterson he was a great bass player and joined the band.

++ Where does the name The Lavender Faction comes from?

The name comes from the idea that if we had something with a softer feel as in Lavender and something more edgy like faction and put together it seemed to create the feel we wanted to come through our music.

We were originally called The Angel Asylum we played our first gig under this name and then deemed it to be a bit heavy metal so The Lavender Faction it was.

++ Your first single, “Ride”,  is said to have influenced some guys to later name their band “Ride”! Do you know how true or false is this rumour?

This is a falsehood perpetrated by an unscrupulous type for the benefit of self promotion, namely me, after a serious acid session at Stephen Maughan’s bedsit, “what a night that was man”! I was telling Steve about my trip that had somehow traveled through Oxford where I met four guys who had a band and after watching our gig and buying a copy of the single decided to call their band Ride, well Steve was still on the comedown from the acid and believed the story to be true and wrote it up for the fanzine.

++ This single, as well as the other ones, were released on Lust Recordings, the new project of Stephen Woosh. Were you a usual at his Woosh club? How did you end up being signing to his new label?

To be honest at the time I wasn’t aware of the Woosh club ,only the fanzine which was always on sale in my favourite record shop “volume records” in Newcastle and other indie record shops in the city . I never even bought a copy. Then by chance I met Stephen (This Almighty Pop!) who told Steve Woosh about us and sent him a demo tape, Steve liked the songs and came to one of our gigs in Newcastle ,that night he asked us if we would like to release the first single on his new “Lust label” and shortly after that Woosh club became Lust club to which we became regulars whether it was playing gigs at the club or going to see other bands like Feral, The Keatons, The Sunflowers, St James Infirmary and getting off our face, the venue was the legendary but sadly no more Broken Doll .

++ He seems to have disappeared from the face of Earth, do you know where on Earth is he? Any anecdotes you can share about him or the Newcastle scene in general, like who were those people that were always at gigs? Or like the biggest Lavender Faction fans?

I haven’t seen Steve for about 4 years, it was at a Penetration (70’s punk band) gig out of town but we chatted for a good while about what we were both up too, he hasn’t changed much , still a snappy dresser in his white denim jacket and hoopy T-shirt although like me he is a little folically challenged these days but at least the mop top has gone or he would have resembled a Trappist monk, I think he said he was living with his partner, the girl from out of the Sunflowers and they have a child or children, and he works as a full time guitar tech, touring, ect, with major acts although I know he used to roady for My Bloody Valentine. I don’t know if he toured with them when they recently reformed .

++ What about the city in general, do you still live there? If so, has it changed a lot? What were the best venues back in the day for pop music?

Actually none of the band were from Newcastle, we all live about twenty miles south nearer to Durham city but we nearly always went to Newcastle to see bands or buy records, its still a great place for music, art, food etc, there is still a great scene but the venues have all changed, we had The Riverside which got most of the best acts its now a shit rave club, then there was the Mayfair suite, The Broken Doll, the Dog and parrot, The Bunker in Sunderland, etc etc, now there’s “Head of Steam” the Cluny or the Other rooms, not much else really.

++ The sound of the Lavender Faction is a mix of indiepop and shoegaze, what were you listening at that time?

When the band started I would think it was bands like The Wedding Present, The Marychain, Sonic Youth, Public Enemy, M.B.V, Buffalo Tom, Mazzy Star, Pixies, House of Love, Dinosaur Jr, Band of Suzans, Cocteau Twins, Loop, Wire , The Fall, Yellow, Del la soul, Stone Roses, Nwa, Nirvana, Babes in Toyland , Blue Nile , Neil Young , Bob Mould, Grant Heart, Throwing Muses, Spacemen 3, Husker Du, The Sundays, R.E.M, Ride, The Pale Saints, Primal Scream, Red House Painters, Lush , The Edsel Auctioneer, Drive, Swervedriver, Teenage Fanclub, Julian Cope, The Woodentops, St Etienne, Blue Aeroplanes, Chapterhouse , Slowdive, Leatherface, Midway Still, Mercury Rev, Flaming Lips , Spiritualized , The Field Mice, The Pooh Sticks, Stereolab , Curve, Felt,  Sugar, the Lemonheads, Ministry,  Juliana Hatfield, PJ Harvey, Pavement, Belly ,etc, etc, etc, etc.

I think that about covers a lot of it .

++ Your last single was the “Four Riffs for Joe” 12″. What are those four riffs and who is Joe?

Really the “Four Riffs” are the four songs on the 12″ and Joe was Joe Girvan our roady, Rick wanted to call it this as a thank you for Joe’s help while we were on tour with” The Wedding Present” so that was how that came about. .

++ What are your memories of recording all these records? I bet there were also many songs that were left unreleased, will there be any sort of retrospective album some day?

My memories of the recording sessions are mixed ,it was always a laugh and a pain in the arse at the same time.

Although we saw the band as a bit of a democracy the final decisions always came down to me and Rick but many an argument would arise over levels of one instrument or another but in general it was good times and hearing something that was self produced played on John Peel was the best feeling in the world. As far as the band having more material there were a few tracks that never made vinyl but nothing I can remember being outstanding and I don’t own any masters if there actually is one, I haven’t spoken to the other guys in the band for a while but Rick and Andy work together they might be planning a comeback for all i know but don’t hold your breath. No there aren’t any plans for a retrospective .

++ You also released a couple of flexis, the one with Stephen Maughan’s This Almighty Pop Fanzine that included the track Harbour Me, but there is another flexi that is not very well known, one shared with St. James Infirmary. That one had the song “Take Down the Walls”. Care to tell me a bit more about it?

Yeah! The original “Take Down the Walls” was a lot more melodic and we had recorded the tune at one session or another but rick decided he wanted to change the music and made it a lot harder sounding , we used the original lyrics with the new music and the magazine “Paint it Red” which was a free “What’s On” mag for the Newcastle arts scene asked Stephen Lust to provide tracks from bands on the label to go on a Flexi to be given away free with the mag, they did a spread on us and we were on the cover, I think I’ve got a couple tucked away in the attic, funny enough it was one of our favourite recordings by the band although i still prefer the original tune, its on one of our early demos.

++ Did you gig a lot with the band? Any gigs you remember the most?

We toured all over the UK and supported some great bands ,The Wedding Present, Buffalo Tom, Swervedriver, Carter USM , but the best gig of all had to be Liverpool Uni. We were supporting the Wedding Present and they said we could go second on the bill for that gig much to the disgust of the solo acoustic performer and vocalist and bass player in the Chameleons Mark Burgess. He didn’t speak to us after that but we went down a storm with the crowd great memories.

++ Why did you call it a day? What did you all do after?

The Lavender Faction ‘as most bands of the time before the internet’ had to rely on the press (Sounds , N.M.E and Melody Maker) radio airplay, fanzines, and you had to be prepared to gig constantly Rick unfortunately had no stomach for this and decided to call it a day .

Andy and me decided to move on and we formed Montana Hood who released one single.

++ Are you still making music nowadays? What other hobbies does Geoff Suggett has?

I still record stuff at home on my 16 track, and recently got Together with my old friend Stephen Maughan and reformed Kosmonaut for one gig to support White Town in Newcastle . Steve has kindly offered to release a track of my solo stuff “Neon Man” with a future release of his fanzine.

I snowboard when I can ,I walk a lot in the lake district and still get out to see the odd band or two when I can, oh and Ive recently taken up oil painting .

++ Thanks again, anything else you’d like to add?

Yeah! I would like to take this chance to say thanks to anyone who was a fan of the Lavender Faction , Thanks to you Roque for your interest in the band and especially thanks to Stephen Maughan who’s good friendship gave us the chance to do what we did .
ps. keep off the Acid Steve.

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Listen
The Lavender Faction – Ride

Thanks so much to Karl Moseley and Carl Bedward for the great interview about Where Garden Falls and bit of their previous band Leopold Bloom! Please check more songs by both of their bands on their myspace!

++ The band started after Leopold Bloom -which maybe should be another interview! -was over. What happened? Why did you decide to continue under a different name?

Karl: LB was a band in the purest sense; it relied on the input of four individals to create the sound of the band. However, it became quite obvious as time progressed that the band were increasingly falling back on mine and Carl’s songwriting skills. It was also very apparent that Carl was also doing all the background work for the band such as publicising the band, getting gigs, even ensuring that band members brought their equipment to rehearsals etc. It was also at this point, when we recorded a song called ‘The Convert’. This song was solely penned by Carl and myself as a songwriting duo. I think that this song is very much a hybrid of the LB and WGF sound, and so, together with Carl having to do all the logistical stuff as well, it felt like a good time to wind the band up. There ended LB.
It was very easy to make the transition from LB to WGF. Myself and Carl just reverted to a song writing partnership; I did all the lyrics and he did all the music. We did everything in our way and avoided all the egos etc that go with so called ‘democratic’ bands.

++ I had a German friend who for years asked me and asked me if I knew anything else from your band aside from what we’ve read from the Leamington Spa booklet. Now out of the blue you are on myspace! How did you decide to come to the social network nightmare? And how did you all knew each other?

Karl: WGF are/were just Carl and I. We enlisted help and we had some great musicians and friends to help us. You can see who they are on our MySpace profile.
As to how we came together, that’s not hard to explain, as Carl and I are cousins.
In terms of MySpace etc…someone told us that  there was an in-depth blog about LB penned by Stephen Davies (The Cudgels) that described a gig we played in West Bromwich (just outside of Birmingham). He said some very complimentary things about us and told us we still had an audience of sorts twenty years on. Incredible.

++ Where does the name Where Gardens Fall comes from?

Karl: The name WGF was the title of one of the first LB songs we ever wrote. I can remember a bit of the chorus…
‘Gardens fall without a sound,

I think I was about 16 at the time of writing that lyric/poem!

Carl: I remember a bloke who did a bit of 4 track recording with us commenting that the song sounded a little ‘Rolling Stones’ I was offended and subsequently we never recorded with him again!!! 

++ Why did you decide to self-release your Postcard 12″? And what about the Freak Out label? Why the name? and was this the only release?

Karl: With regard to ‘Postcard’ we did not  see the point of signing to a “little indie label” etc and as all the distribution networks (The then ‘nine mile & the cartel’ took on the distribution) were already in place, we just decided to do it ourselves. The ‘Freak Out’ label, well that was ours. Carl resurrected the label in 1998 for a release by a  band he was managing at the time called ‘Shamefaced’ for their debut single ‘Stereo Sister’(Cat No Freak 2 Postcard by WGF having been Freak 1)

++ I love the song “Search” that you included in the Sound of Leamington Spa compilation! It’s just the perfect mix of guitars, keyboards and passionate vocals. Care to tell me a bit more about this song?

Karl: Yeah, this is a very interesting song and links LB with WGF. The lyrics to the song are very ironic in  type, especially the last verses…
‘Books and records piled on shelves,
Discarded scenes from films
over-spill into my head,
Into everything we did and said…
And all I do is laugh along to the last abstract pop song’
After this song everything was written about charecters and not myself

Carl: I remember just messing around on the guitar one day with the intention of trying to play ‘Cemetary Gates’ by The Smiths and coming up with ‘Search’

++ “The Property Guide to Humanity” is such an intriguing title for a song. What does it mean? And what about the fantastic song that is “A Horse on Fire”?

Karl: ‘The Property Guide to Humanity’ is a song about humility and integrity. Whether you live in an urban slum  or a palatial home you can still lead a honest life. Life is not all about owning things!
‘Horse on Fire’ is possible my favourite WGF song. I read a magazine  article about a guy who’s daughter was abducted in Iran(?). The song is full of anger and self reproach. I think the loss of a son or daughter and not knowing where they are, must be an unbearable burden to carry. Anger is the key to this song.

++ Where did the songwriting inspiration come for you guys?

Karl: I have to start with LB here, who were a post-punk band who were profoundly influenced by the music around them…New Order, James, Julian Cope, Siouxsie and the Banshees, The Cure…However, all that stopped with WGF.
I can honestly say that all I/we listened to was WGF. I sold all my records, except for a few Nick Cave and Microdisney albums, I enjoyed our music to the exclusion of all others. But I would say at that point I was more into books…James Joyce (see Postcard), Virginia Woolf, Martin Amis, Will Self, Graham Swift, Ian McEwan, Keats, Auden…too, too, many to mention!

Carl: For me when in LB it was early punk and some of those Karl mentions above..but when we formed  WGF like Karl says above it became the be all and end all and other bands music was of very little influence/importance to us.

++ Also I’m wondering, as you only had one release, and it seems you have a bunch of unreleased tunes, three quick questions: how many songs you recorded? how many demo tapes were there? and will there be any sort of retrospective compilation?

Karl: LB recorded 2 demos containing a total of 7 songs WGF recorded 4 demos containing 12 songs plus a session for the single in which ‘Postcard’ was re-recorded and a a song called ‘Big Night Noise’ which appeared on the single release.
A retrospective compilation has been mentioned on a number of occasions tho that’s a far as it has got so far… I think that we would do it if it was going to be done properly giving the songs a chance to reach a wide audience.

++ I’ve been having a hard time finding this record! From what I’ve listened on last.fm and myspace, it’s really fantastic! No wonder it’s so sought after! How many copies were pressed and how was it received by the music press?

Karl: There were a 1000 copies pressed (Some of which are in my attic!!!) the music press were indifferent as at the time the whole Madchester thing was starting to happen so there wasnt much interest to be honest but we did have a few major record/publishing companies sniffing around but it all came to nothing in the end.

++ The Birmingham scene from the late 80s seems to have been vibrant with some favourite bands of mine like Mighty Mighty, The Sea Urchins, or The Cudgels. How did you enjoy the city back then? What were your favourite venues?

Karl: Yes I remember these bands and others…. we only knew the Cudgels who were based near to ourselves and were very good at what they did..Birmingham itself was a very different city then but we loved it and the few venues that would let us play ..especially ‘Synatras’ where we became good friends with the DJ/Promoter Tony Reynolds who went on to help us quite a bit.

++ Did you gig a lot? Any particular gigs you remember?

Karl: We didn’t gig prolifically but tended to play college shows out of town good ones I can remember are ..Gloucester College of Art & Tech, Luton College of HE, Cheltenham College of St Paul & St Mary..Bath University, University of London Union..the electric brrom cupboard in Sherbourne Somerset

++ What was the highlight of being in Where Gardens Fall?

Karl: Really just seeing these songs being transformed from just acoustic guitar & vocals to being full blown band songs going down well at gigs and being released… and people who didn’t owe us a thing i.e. people we didnt know appreciating them.

++ If I was visiting Birmingham as a tourist, which places would you recommend me to visit? Maybe some of your favourite spots?

Karl: Birmingham today is so different to way back then and is really tourist friendly. a lot of the old band haunts we knew have gone…. maybe in band terms a place like JB’s in the nearby town of Dudley as that is still a place dedicated to live music without ever having  being sanitised by ‘progress’.

++ And what about your favourite balti house?

Karl: Really cant comment too much on this, as far from an expert on such matters more than to say I did spend many an evening in ‘Imrans’ on the Ladypool Rd in the Sparkbrook area of Birmingham.(B’hams balti mile)

++ When and why did you decide to split? Were you involved with bands after?

Karl: We split in April 1990 after a gig in Tamworth in Staffordshire….personnel probs really which should not have been a prob at all considering the way we wrote but we felt we needed a break from it and just never returned to take it further.
No there were no bands after this for either of us.

++ Thanks again so much! Anything else you’d like to add?

Karl: Just one again thank you for the interest that you have shown in LB & WGF and that over the 2 bands we had some great times and hopefully produced a few songs that people enjoyed.

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Listen
Where Gardens Fall – Search

Thanks so much to Nikki and Marty for the great interview! This was a dream interview as I absolutely LOVE the Splashdown EP! And on top of that, “The 18:10 To Yeovil Junction” is one of my favourite songs EVER. I’m terribly happy to publish this in the blog, hope you enjoy! You can always befriend the band on myspace too

++ Hi Nikki! Hi Marty! I’m so honoured to get the chance to interview you. Bubblegum Splash! symbolizes what indie pop was all about. One perfect 7″ and then the band splits. Do you agree with me on this?

Nikki: Hi Roque I am amazed and touched that after all this time and like you say, one 7”, that anyone (apart from friends and family) remembers Bubblegum Splash! Do I agree with you -yes and no!  Love the Pastels and they have released loads also BMX Bandits etc.

Marty: Yes and no plus the whole B.S thing was not premeditated.

++ So how did you all meet? How did the band start? Have any of you been involved in other bands before? Or maybe at the same time?

Nikki: Jim, Marty, Dave and Alan were all at school together and had written a fanzine so they were all friends. I was in the Star pub in Salisbury one night wearing a Jesus and Mary Chain t-shirt, Jim was impressed by the t-shirt so came up to me and asked if I wanted to be the singer in their band. As I was drunk I said yes. Had I been sober or wearing a different T-shirt……………..!?

No other bands before .Jim and Dave were in Jane From Occupied Europe after.

++ Why the name Bubblegum Splash?

Marty: Random names put together that didn’t mean anything. We didn’t want to be called “the” something or other……

++ You only released 7 songs in total, but did you have more songs? Maybe they are tapes or so?

Marty and Nikki: Yeah there were more on demo and some we did live that not sure were ever recorded. Honeycomb centre was a favourite and our 6 min wigout. We also did a few covers live Swell maps: H.S Art and The Undertones: True Confessions.

++ How did you end up releasing the split flexi (with The Darling Buds) on the So Naive fanzine?

Nikki: I can’t remember how that came about and Marty is laughing and has just informed me that it was because Mike Brunt who wrote the fanzine fancied me. HA! HA! First I’ve heard of it , not sure how true that is.

++ The name of the zine was taken from a Rosehips song… did you like them? What about this, The Darling Buds or The Primitives?

Nikki: Yeah we really liked the Rosehips did a gig with them in Stoke, stayed at Ants house after if I remember rightly,  slept on the dining room floor.

Primitives or Darling Buds? Hard one, cus of flexi and gigs with Darling Buds. Plus bad experience at a Primitives gig in London- vomiting in plastic bags all night as ill.

++ How did the contact from the Subway Organisation happen? How was the relationship with them?

Marty: Martin Whitehead phoned us up-after we had sent them a demo. Good people not really a business relationship.

++ When you got to know the Splashdown EP went to number 15 of the indie charts, what was your reaction?

Marty: I looked in the N.M.E and saw our name, first reaction was disbelief, then amazed and proud.

Nikki: I was amazed. Think I laughed and jumped around the kitchen where I was living at the time. (I didn’t know heard it about third hand after finishing work.)

++ Stephen Pastel once said: ““But on the minus there are groups like Bubblegum Splash! we played with them in Bristol, and they just summed up everything that was wrong in music just now. I mean they had one song that went la-la-la like Primal Scream and another with the bum-de-bum drumbeats a la Shop Assistants. It was just a joke.” What would you answer him?! Why do you think he said so?

Nikki: He has a point. I joined the band knowing I couldn’t really sing, it was good fun, never thought we would gig let alone release anything. I was very shy and nervous. In band practices I used to sing behind a curtain.

Marty: We were all nervous as buggery –not a joke.

++ What’s the story behind “The 18:10 to Yeovil Junction”? It’s such a beautiful song! And why did it was included twice on the Subway compilations?

Nikki: 18.10 is my favourite B.S track it is a lovely tune. Jim wrote it as he did all our songs.

Marty: It’s about “Love, longing and solitary train journeys”. It’s on two because it’s fab.

++ How do you remember the Bubblegum Splash recording sessions? Any anecdotes you could share? How was the creative process for you all?

Nikki: I remember recording sessions as being good fun, a laugh. I probably used to get over excited. Jim was the boss, wrote everything and had to help us all, so was probably stressful for him. We used to drink a hell of a lot of chocolate milk. Band practices were a hoot, we had to get our stuff to the rehearsal room (Britford Village Hall) in a wheelbarrow. Punk Rock!

Marty: I remember recording sessions as frustrating. Splashdown ep was recorded the day Andy Warhol died- led to our 15 mins of fame!

++ What about gigs? Any gigs you remember the most? What were your favourite?

Nikki: My favourite gig was the one with the Pastels, Tallulah Gosh and the Vaselines in Bristol (even though Stephen hated us). It was so exciting playing a gig with bands we loved and admired. Loads of our friends came from Salisbury to see us. FUN! FUN! FUN! Although I also have fond memories of the Tropic Club in Bristol too with the Darling Buds and Flatmates.

Worst one was the one in Stoke the sound was crap ,Alan the drummer stormed off stage through the drum kit then later on me and Alan had a fight, we didn’t like each other very much. I think it actually ended up being our last ever gig.

Marty: Alan crashed the car on the way back from Stoke.

++ Why and when did you call it a day?

Marty: Shortly after the Stoke gig- 13 months as a band 13 gigs and probably 13 songs!

++ Looking back, what was the best moment of being part of the band?

Nikki: I had a great time despite being very shy and nervous. I did quite often sing with my back towards the audience holding my lyrics as I was so scared, also had to have Jim nod me in as I would freeze. Travelling to and from gigs was a riot a great laugh. Obviously hearing us on John Peel was amazing.

Marty: Best moment for me was hearing us being played on John Peel on the car radio  on way back from band practice.

++ Do you follow any indiepop bands now? If so, which ones you like?

Marty: Not really although I still have a soft spot for Scottish bands. At the moment I like Frightened Rabbit and We Were Promised Jetpacks.

Nikki: I still like all the old stuff but I really like The Pains Of Being Pure At Heart.

++ Do you mind some random questions? I was wondering, what secret skills does Nikki Barr has? What’s your favourite dish? who was the coolest personality in those C86 days?

Nikki Barr has no skills secret or not, apart from I am known as the Queen of Burps/Belching in my house!!

Marty and Nikki: Favourite dish: Mussels

Marty: Coolest personality: Harvey from the Darling Buds and Debbie Flatmate.

Nikki: Aggi Pastel.

Nikki: ME.  HA! HA!HA!

++ Thanks again for the interview! Anything else you’d like to add?

Thanks hope this has been helpful xxxxx

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Listen
Bubblegum Splash – The 18:10 To Yeovil Junction

Have you ever had pop dreams?

I barely remember my dreams. I would have to jump out of bed after waking up, run, find a pen, find a sheet of paper, and write whatever I remember down, that if I don’t trip with my clumsy self. I wish it was easier. Easier as it is for anyone else. After a minute or so after I’m awake I can’t remember anything. I try and try to remember while having my glass of diet coke for breakfast and going through emails, but no luck. Not that I believe they have a meaning but they are always great stories to tell. On the bright side I never have nightmares, so I shouldn’t complain much, right?

Have you ever had pop dreams?

The Sparklers once wrote a song called Pop Dreams, which is the B-side of their Secret Snow 7″ on Fantastic Records. A beautiful song, a cross between The Softies and The Magnetic Fields. Sadly there’s not much information about this band, but as a good private eye that I am, I did some research today to find out:

– The band was formed by Risa Buburniak (keyboards, vocals), Brooke Rossi (vocals, farfisa organ), Ian (violin), and Jonathan (keyboards, beats). Oddly enough, on the record insert the band photo only shows three people, 2 girls, 1 boy. Who was left out? Ian or Jonathan?

– Risa and Rossi helped with vocals on the first eponymous album by Saturday Looks Good to Me. That’s in 2000.

– There was a song called “Paintings” included on the compilation CD that came together with the Japanese magazine Beikoku Ongaku.

– There are at least 2 more songs recorded: “Little Prince” and “Cyclical”. Both are demos and were once played at the University of Michigan radio.

Any more information about this fantastic band would be greatly appreciated! And I would die to listen to those demo songs or to Paintings! Please dream of me this time and give me a hand

Have you ever had pop dreams?

Close your eyes say goodnight
When you sleep… do you dream?
When you dream… do you think of me?

Be the Peter to my Wendy
Grab my hand we’ll fly away
Think good thoughts… it will be so easy

Take my hand, we’ll kiss this place goodbye
You said I won’t even follow
I’ll chase you through to the clouds
I said I won’t even follow

Close your eyes say goodnight
Do you dream in colors bright?
Do you dream in black and white?

Be the Truman to my Andy
Go on now, go to the city
Write a book, we’ll make a movie

Come on now, let’s go, we’ll glamourize
go go glamourize
(I will wait for you my love
Say you’ll say for me sweetheart)

Have you ever had pop dreams?

Why don’t we do this, tell me about a pop dream you’ve had? Maybe you once dreamed about having a huge banquet with the likes of Amelia or Dugly? Or maybe you dreamed about throwing Aggi from the bridge? Or giving back a Pastels’ badge to Cornelius? Don’t be shy! Should be fun!

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The Sparklers – Pop Dreams

Like a rat up a drainpipe a month has gone fast! It’s been a month already from my last day in Europe and the hangover is almost gone. Now it’s mostly memories that have been through the blow-drier and have stripped out the intensity of those days. Which I think is not a bad thing, now I’ll be able to write about them and treasure them forever. They were just too lively for the past month, that even thinking about them, comparing them to everyday life, was putting me down. But I made a decision in the meantime to keep me sane. I bought tickets to London. For February. You know why? Because of London Popfest! Of course! I know it’s still like 3 months away, but time flies. When you least expect it: it’s already February 25th and some fantastic band is playing in front of you! And hopefully you are singing along!

The bands haven’t been announced yet, though it seems there are like 3 Swedish bands and 1 American band playing. Plus the UK contingent, that will be the biggest one, but that’s pretty obvious. Only one band has been announced though: Shrag. But, I also secretly know a couple more; believe me, it will be worthy to go! So worthy that I won’t mind the headache of applying for a visa to get into the UK. Oh yes, here we go again, dealing with bureaucrats and the stupid border control of “first world countries”.

Something that I never understood was why first world countries don’t have to pay to get into another fellow country, being rich and well off, but third world countries do need to pay for some damn visa. Aren’t third world countries poor? Why get our money? In any case, makes more sense to get it from the well off? Right? Isn’t this a bit ridiculous? It doesn’t make sense at all! Where’s the common sense here?

But all of these procedures won’t beat me. I’m so looking forward to see familiar faces again. My dearest gossip girl Kajsa, Jennifer who colours me pop, Emmita raring, Remi and Delphine (hope you are playing), Matthew and his Big Pink Cake!, Christos the gossip boy, Ian the playboy, Pete-B from the mighty Horowitz (hint!, hint!), the terrible Anastasia, and master organizer of it all: Marianthi. And Joe too! We are making those lamb hamburgers right? With some Peroni?

Probably more people will travel from Europe all the way for the Popfest (please Nana, Kat, Luise, Sandra, Laura, get the Germans all over to the British isles!), and if that happens this list will get really short! On top of that, there’s all these people I’m dying to meet in UK! People I’ve emailed, or chatted, for years or months. People whose blogs I’ve read, people whose bands I loved. I can’t wait to grab some beers with you. Are these any indicators and proofs that pop keeps me alive?

I don’t know how ‘confirmed’ it is, but I’ve been asked to DJ there. I answered with a big huge YES! So hopefully I’ll play Second-Hand Furniture’s “There’s Nothing to Celebrate” or Airport Girl’s “The Foolishness That We Create”, or any other footstomper that makes me go nuts behind the decks while the crowd gets possessed!! And yes, I’ll throw in some classics for the sake of it too. I know some people are lazy to dance to not-so-popular stuff! Shame on them! Just dance!

And dance! That’s what I do today in my room while writing these lines. Best therapy ever. I feel better as I can look to something exciting in the near future. It’s been a while since I am on my own, away from the great friends I have an ocean apart. It’s been long enough since I saw them that now I finally enjoy myself with other friends here in Florida. But I still feel a bit lonely, it’s just not the same. And this fantastic Hepburns song, which I’ve been listening on repeat today, sums up what I feel right now. Yes, It’s been a while, a month seems like ages, but now I’m coming home. And home is Popfest. See you there.

The Hepburns – Devil Up a Drainpipe

It’s been a while since you left me on my own,
Long enough for new love to have grown.
Haven’t you seen? They tore the old house down,
You may need some assistance finding your way around.

A garland marks the spot where I checked out,
It was a memorable exit, of that there is no doubt.
Now I’m so sorry to be messing up your head
But it’s so lonely oh so lonely being dead.

I would have waited for you to come back
You were my devil up a drainpipe, my fiery jack
But times have changed and the bitter truth be told
I need somebody, yeah, somebody to hold

They tried to stop me but I broke through
All the angels in heaven could not keep me from you
It’s been a while since I left you on your own
It’s been a while but now I’m coming home

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Listen
The Hepburns – Devil Up a Drainpipe

During the past months I’ve been compiling the 3 volumes of The Sound of Starke Adolf. Of course, I still have to finish volume 2 and 3, but volume 1 is almost ready. These are the bands that introduced me to indiepop during those early days of soulseek. Do you remember those? The “picknick” room, or the “twisterella” room? It was early 2003 when we were inspired by the Funday Mornings with my roomates to start a band, when The Javelins were making the soundtrack of my life. And now, these seminal bands to the real Swedish underground, won’t be forgotten, at least, I won’t allow it. This compilation is a testament of a scene that flourished out of nothing, that never got the recognition that it deserved. 7″s, tapes, CD-Rs, everything done the DIY way, small labels popping up everywhere, fanzines, and maybe the pinnacle of it all, the Starke Adolf club, shaped the indiepop scene and inspired many. Me included. Cloudberry or Plastilina wouldn’t exist if I would have never been aware of what this beautiful bunch of kids were doing.

Expect the Vol.1 to be released by Plastilina Records by January 2010. Needless to say, it will be released on a lush digipack and full colour booklet. I share with you the tracklist, don’t tell me it’s not a killer! It includes many should-have-been-hits and also many unreleased songs!!

Tracklist:

1. Action Biker – Sandy Edwards
2. Florian – From Florian with Hope
3. The Set Designers – Looking
4. Strawberry Fair – Where’s Alex Taylor Now
5. The Camera Casanovas! – You Looked Like a Portrait
6. The Javelins – Pale Average Look
7. Giraff På Engelska – Need to Be Cheated
8. Girl Alliance – Best of Seasons
9. Milkman – What it Once Was
10. Dorotea – My Guilty Conscience
11. Twig – The Return of the Sensitive Guys
12. The Busy Band – The Sign Says Walk
13. The Fermats – Ode to the Code
14. The Danny Says – The Boy Formerly Known as Me vs. The Girl Formerly Known as You
15. The Gentle Smiles – Mando Diao
16. Eisenhower – Cuddly Teddy Bear
17. Nixon – Hospital
18. The Dear Diaries – I Can’t Be Happy Without You
19. The Never Invited to Parties – Bicycle Ride

+ Liner notes by Blåpojken.

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Listen
The Javelins – Nosebleeders on the Track

Thanks so much to Andy Milton and Jon Fagg for the interview! Please be sure to get the new retrospective album “Hellish Mad Rush” from Firestation Records, I really recommend it! And also be friends with The Ogdens in their myspace!

++ There was an early incarnation of the Ogdens with Vince in singing duties. What happened to him? What was the name of the band? Was it easy to continue after?

Jon: Pretty soon, Vince decided that he didn’t want to sing in that band, so he concentrated on playing guitar and I played bass. We started looking around for a singer and were lucky enough to find John, who I thought was great the very first time I heard him sing. At this stage we didn’t have a name for the band.

Vince then got married. His wife was American and they went off to live in the States (where Vince is now something big in the financial world). The only time we ever played live with that line-up (which also featured Karen on trumpet) was at Vince’s leaving party. We played Leaving on a Jet Plane for him, among other things.

Because we knew that Vince was leaving and that I was going to take over guitar playing duties, we had already recruited Jay D as bassist. He was in the audience at that first gig.

It was never in doubt that we would continue.

Andy: No doubt at all. We moved to London to form a band, and so it was just a case of managing the transition from one line up to another. Saying that, it was an uncertain point, as only Jon knew JD. We needn’t have worried, having an experienced bass player tightened the whole thing and allowed us to explore what the Ogdens could be.

++ How did you all knew each other? Where had you met?

Jon: Andy, Vince and I were students in Coventry (Andy: near Leamington Spa) together. John was a friend of my girlfriend at the time. Karen was my cousin and Jay D worked with me.

Andy: Jon and I had played together in three bands before the Ogdens. Jon had heard me practising drums in my room one day and came to ask me to join the first band. He’d had his reservations after being told that all the people in the house were hippies. I wasn’t, so we played together then on and off for twenty years.

++ Where does the name The Ogdens come from? Why didn’t the name Fuck Puffin get chosen?

Jon: Jay D suggested the name. It comes from the name of a family in the British soap opera, Coronation Street. I seem to recall that we all liked the idea straight away.

We had considered the name The Fuck Puffins and liked it. However, we didn’t think we’d get played on the radio much with a name like that, or else they would shorten the name to The Puffins. The Fuck Puffins sounds great; The Puffins sounds rubbish, so we decided against it.

Andy: I don’t know how much difference it would have made had we chosen The Fuck Puffins. We faced a lot of stick over choosing “The Ogdens” but if you’ve ever had to choose a band name you’d know the relief when you finally find one that everybody is happy with. I suggested “Vegetable Terrorists” but it didn’t find any support, which in hindsight was probably a good thing.

++ You release three fantastic singles, all of them getting fantastic reviews on the press, but which one is your favourite among them all and why?

Jon: I’m glad you liked them! My favourite, as a song, is Rachel Put Your Arms About Me. The one I think sounds the best is She Made Everything Groovy and it was the most enjoyable to record too. I don’t like It’s A Beautiful Day at all and was not very keen on the idea of it being our first single, even at the time.

Andy: Groovy was the best for me as well. It was a great experience working with the producer Overend Watts from Mott the Hoople. We put everything into it, financially and physically, and I loved the song. Had we done a fourth single, for me it should have been I Want to Know Everything as I think that’s even better.

++ Why did you decide go the “self-release” way? Was it easy to set up the Casca label? Did you ever consider releasing anyone else other than The Ogdens?

Jon: If anyone had offered to release the singles for us we would have been delighted. They didn’t, so we did it ourselves. It did have the unintended consequence of giving us complete artistic control, though.

I don’t recall there being too much involved in setting up the label, but I might have that wrong.

We nearly bankrupted ourselves making She Made Everything Groovy. The idea of spending our money on releasing other people’s records would have been unimaginable at the time.

Andy: There isn’t too much involved in setting up a label apart from handling the registration with the bodies that collect the royalties and the packaging of records and posting them to radio stations. So there was some effort but it was just an extension of what you do as a small band to promote yourselves anyway. We did a postering campaign in parts of London, going out with a bucket of paste, posters and a brush late at night. We almost got caught sometimes and it could be freezing, with paste congealing up your right arm it was not what you could describe as fun. We usually ended the evening in the pub which made up for it.

++ Talking about others… who were your favourite bands back then? Would you see Ogdens members at different gigs in London enjoying their favourite bands? What were your favourite venues in town?

Jon: Some of my favourites would have been The House of Love, Ride (who we played with in Aldershot), My Bloody Valentine, The Corn Dollies (who we also played with). There were some bands who were friends of ours too: No Corridor (who are reforming to play at Andy’s 50th birthday party), The Baby Boys and The Onan Brothers.

John and I used to go out to a lot of gigs together; checking out venues, checking out bands, trying to meet all the right people. Some of my favourite venues would have been Dingwalls, Drummonds in Euston, The Bull and Gate. I liked The Jericho Tavern in Oxford too. The Town and Country Club was probably my favourite of the bigger venues.

Andy: One of our friends Andrew Cunningham used to run a club, God’s Little Joke, he’s an amazing songwriter and I loved some of the acoustic acts that used to play at the club. Many never made any records but it was the closest thing to a “scene” I’ve ever been involved with.

++ Right now you’ve just released a fantastic retrospective compilation called “Hellish Mad Rush” that everyone that loves guitar pop should definitely get it! How did this release came up to life? And what can someone that has never heard the Ogdens before expect?

Jon: I’ll leave Andy to tell the story of how the album came about, since it was largely down to him.

If you’ve never heard The Ogdens before: prepare for a Hellish Mad Rush!

In reality, of course, this is not the album we would have made had we ever been in a position to make one. These songs cover a period of four or more years. It’s really nice that the singles are available for people this way though. It will stop people selling them on eBay for ridiculous prices!

Andy: It’s very odd really, as although it might have happened anyway at some point because we were on Firestation Records’ hit list, the reason it’s happened now was because Jon was looking at MySpace and came across another band with the same name. I was outraged, I set up our own page and emailed them saying we had the name first. In the end they were very good about it and changed their name but within two weeks of our page going up Firestation had contacted us about appearing on The Sound of Leamington Spa No.8 and it just went from there. BTW we will be on The Sound of Leamington Spa No.8 with another version of Patricia.

++ How do you remember your last gig at The Plough? Were there any tears?

Jon: No tears. We didn’t know at the time that it would certainly be the last gig, although I think we were pretty sure. Our final gigs were some of the best we ever did, but John wanted to move on and it wouldn’t have been The Ogdens without him.

Andy: I remember we played really well and had a great time, packed the place out, and made a profit. The review was pretty good as well.

++ Is it too much to ask what’s the story behind the Rachel from “Rachel Put Your Arms About Me? It’s such a beautiful song… I have to ask this question!

Jon: The idea for the song came from an interview I read with Guy Chadwick, from The House Of Love. He said that he wanted to write a song simply called I Love You, which put the lyrical idea in my head. The idea for the coda was also taken from a House Of Love song (I forget which one just at the moment).

I used to share a flat with a guy called Robin. One day I answered the phone and it was a girl asking for him. I asked her name and she said, “It’s Rachel, Rachel Jones,” (maybe it wasn’t Jones, but you get the idea). That’s where Rachel Rachel came from.

It’s a song about male neediness and how us men look for women to be everything; sister, mother, lover. That and the reassurance and comfort that can come from being enfolded in someone’s arms. Oh yes, and the male ability to screw everything up by going off with someone else. I was really good at that in those days, I’m sorry to say. The ensuing torment gave me lots of ideas for songs, though. I’m much more contented these days, which is why I now play in an instrumental band: I have nothing left to say.

Andy: You seem to be doing alright tonight.

++ You also made a video for this song! Tell me a bit about it!

Jon: To be honest, I don’t think the video is all that great, although it was fun to do and I did get to smash up a guitar, which I’d wanted to do since I saw John Perry of The Only Ones do it at a gig at Bristol University in 1979. Some guys we met offered to make the video for nothing, as a favour. Of course, we agreed.

Andy: It was great to do and seeing the guys put it together in their spare time and given the facilities available I think it’s fine. It does show though how much work it takes to make a truly great video.

++ What about “The Prettiest Girl in Carmathenshire”? Was it Miss Carmathenshire? What’s the connection with that county in Wales if you were a London based band?

Jon: We were based in London, but Andy and I were from Bristol originally, Jay D was from Northern Ireland and John was from Wales. The Prettiest Girl in Carmarthenshire is a reference to a poem by Welsh poet Dylan Thomas, I believe.

++ I really think you penned so many magical songs, from “Yeah Yeah Yeah” to “She Made Everything Groovy”! how did you come up with all of these songs? with the melodies? with the lyrics? Why do you think you never made it bigger?

Jon: All four of us wrote songs. We’d work on them together and they were equally credited, but they always originated as one person’s idea. If you knew the four members of the band well enough, you’d be able to tell who wrote which songs. Where did they come from? The heart.

While some people in the music press were quite supportive of The Ogdens, others seemed to take against us. Maybe they didn’t like the name. I guess that It’s A Beautiful Day would have put some people off as well, since it creates the impression of a band really very different from the band we actually were.

It’s nice to finally be getting some of the recognition which we obviously felt we deserved at the time; even if we have had to wait twenty years for it!

Andy: Most of my songs came from walking down the street. Some came in one lump but others in bits and pieces. I had a beaten up old car which took us to gigs and became part of The Ogdens’ mythology. A girlfriend gave me a rose which I placed on the dashboard where it dried and was preserved. It was a nice contrast to the fierce look of the vehicle and on a journey to a gig someone came up with the line “There’s a dead rose on the dashboard” sung in a country style. From then on several of us had a go at incorporating it into a song. It eventually became part of Boeing Boeing Bomb! a comic song about terrorism.

++ After splitting up, you formed a band called Sunburst. I’ve never heard anything about it! Did you release anything? Was it in the same vein of The Ogdens? What’s the story behind it?

Jon: Not many people have heard about Sunburst, which is actually a bit of a shame, because we were a great band. After John decided to leave The Ogdens, we got in a mate of Jay D’s as a vocalist. Gatt was a really brilliant singer and we went off in a much rockier direction (although, to be honest, The Ogdens were headed in a similar direction towards the end). We never released anything, but there is a whole album’s worth of pretty decent demos. We also recorded a version of America’s A Horse With No Name with the intention of maybe releasing it as a single. Unfortunately, this never actually happened. You should hear it, though, it’s truly epic.

Andy: We were great but unlike The Ogdens I think we lacked the belief that we would conquer the world.

++ What are some other favourite hobbies of yours aside from playing music?

Jon: I like football. I support Bristol Rovers, which is pretty sad really.

Andy: Even though I support Bristol City (we come from opposite sides of the city) I don’t think it’s sad. Football is about having a connection with a team. I know people who support Chelsea or Manchester United and have never seen them live. They’ve only chosen them because the teams are successful and have shirts the right colour or they fancy a particular player. That’s sad. You’ll be with Rovers in better times Jon.

++ Anything else you’d like to say to Ogdens fans out there?

Jon: It’s been truly humbling to discover that, even after all these years, there are people who still really care about the Ogdens’ music. So thanks. I only wish we’d known about you all at the time.

Andy: I echo Jon’s words. Thanks for the support. It’s the audience that makes it happen.

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Listen
The Ogdens – Rachel Put Your Hands About Me

Thanks so much to Phil Suggars for another fantastic interview! Before being in CC Baxter Phil was in The Candie Maids and we already talked extensively about it many months ago. On the next Cloudberry fanzine CD compilation the song Camden Lockout will be included so don’t miss it! Oh! and here’s one and another pic from the band!

++ After The Candie Maids you became the Archangels and then CC Baxter. So tell me what happened in between the bands? Were there major lineup changes? Why the change of names?

I think Warren (bass) and I had the idea that we wanted to change names each time personnel changed or we took a different tack musically. The Candie Maids were Warren, Vicki (guitar, keyboards and b-vox) and myself (guitar and drums) and a drum machine. I don’t think we were every really happy with the name ‘cos it was achingly twee. Musically we started to get into sequencing things and when Dom (drums) and Hayley from the Doris Days got involved and we settled on the name Archangels which if anything was a bit too much the other way. A friend of mine said it made us sound like a hair-metal outfit.

++ Were does the name CC Baxter comes from?

After we’d played a few gigs in London our manager told us that there was a US band called Archangels who were threatening to sue us so we thought “fair enough it’s a crap name anyway” and changed ours to CC Baxter which comes from the character Jack Lemmon plays in Billy Wilder’s “The Apartment”.

++ Was it any different composing songs now compared to the Candie Maids? How did the CC Baxter songs shape up? Did you practice often?

With the Candie Maids we’d just play together till something sprouted out of the mess. The main difference with CCBaxter was that because we’d moved to a more sequenced/sampled sound (and back then we didn’t use a computer just a shed load of metal with flashing lights and buttons on it) the composition process was this:

1. I’d get the rough basis for a song down in the equipment. Hayley would embellish stuff at this stage because she actually knew the difference between the black notes and the white ones. Often we’d have a rough bass and drum track on the song just for writing purposes.
2. We’d drag all the kit down to our weekly rehearsal, wire it all together and stare at the flashing LEDs for a bit and then play around with the basic structure to see what we came up with. Usually, we’d switch the sampled drums and bass off so Warren and Dom could write something original and make things a bit more ‘live’.

++ So where did you practice? How was a usual CC Baxter practice? Was there lots of alcohol? Perhaps a couple of pizzas? For sure it was lots of fun, right?

Yes, it was loads of fun. We used to rehearse every Saturday at a place called Bloomsbury studios which I think is now called Mockin’ Bird. It was run by a guy called Terry Popple who used to drum for Van Morrison. Terry was nice fellow though he always jokingly referred to us as “The Fab Hunk” trio since we all young and a bit slight of frame. Generally speaking we didn’t get too drunk, but there was always a break for a beer and (veggie) burger halfway through. Being a drummer Dom always favoured a kebab.

++ On the 1993 demo you worked with Tim Freeman from Frazier Chorus! How did that go? How did you meet and what did he bring into the studio? Any anecdotes you can share?

I met Tim through Adrian Sherwood’s manager Bobby Marshall who used to manage an indie-dance outfit called Eusebio (who Warren played bass for). We sort of talked Bobby into managing us though in reality he wasn’t that enthusiastic and was just too nice to tell us f*ck off. In any case he suggested that Tim work with us. At the time Tim was writing material for a publishing deal and so he’d come over to our place and we’d swap material and then he’d help out with our arrangements. I’d seen him on TV performing “Cloud 8″ so when he came round I remember thinking “bloody hell! This bloke is a proper pop-star and he’s in our house drinking tea!”

++ Was this demo the only recordings by CC Baxter? Why didn’t such great songs get properly released?

Thanks, I’m glad you liked the songs. Yes, this was the only demo that we did as CC Baxter. As to why they didn’t get picked up, it’s hard to say. Live we were always a bit of shambles and working with hardware sequencers and samplers that weren’t reliable was sometimes a sphincter clenching experience.

A couple of labels told us we needed to go away and “practice more”, but I wonder how much of that was to do with the fact that we were quite “anti-rock”. In any case one thing that definitely didn’t help us was that we didn’t have strong management. When the demo came out we were doing it all ourselves which unless you know a few people I wouldn’t recommend.

++ One of the songs is called “Ry Cooder”? Was him a big influence on you? why did you dedicate a song to him?

He’s a brilliant musician and he wrote the soundtrack for Paris-Texas which is some of my favourite film music. The reason for the homage in the title is (don’t tell your lawyer) that there’s a sample of that soundtrack in the instrumental break and the outro as well as some of the dialogue from the film in the song.

++ Through my not so great research skills I found out about The Lockout: “… is a monthly music event held in Camden, which prides itself on showcasing the best new musical talent the UK music scene has to offer.” Is this what the song “Camden’s Lockout” is about? Did you participate or something?

Now that’s just weird. I had no idea there was anything called the Camden Lockout. I thought I’d just come up with the title after we’d been recording a demo at Falconer studios in London. Maybe I saw a poster for the event while we were up there and it seeped into my tiny brain.

++ And the other song I know by you is “Flake Girl a Go-Go” which I guess it’s about the Cadbury Flake Girl? Are you a big fan of chocolate? What are your favourite ones? And what about the flake girl, do you have a favourite? :p

You’re correct it is about the women in Cadbury’s Flake adverts. And yes I do like chocolate and Flake’s in particular ;). At the time we wrote this there were a whole series of Cadbury’s Flake advertisements that were sexualized in really over the top way and the song just uses them as a throwaway example of the silly media images of the perfect woman. (More importantly I just liked coming up with daft song titles to see if I could make our drummer, Dom, laugh).

++ The change from The Candie Maids to CC Baxter is almost one of 180 degrees! What were you listening at this time? Why did you went for a more synth driven band than a guitar band as before?

I think we were just excited by the sonic possibilities of early samplers. We actually never had a synthesizer as such, all the electronic side of things was sample based. I just loved the idea of lifting sounds off of records and then mangling them up to own them.

At the time we were listening to stuff like the Beloved, New Order, Wire, Wolfgang Press, Paul Haig, Weekend, Section 25, the Pale Fountains, quite a lot of early house stuff. Oh, and Kylie Minogue back when it wasn’t okay to like her. (I seem to remember writing a love note to her under her coat hook backstage when we played one of her haunts in London. Needless to say she never wrote back.)

++ Your final gig was in 1995, right? How was it? Any particular gigs you remember?

The final gig was ok, (flier attached) though I think at the time if we’d known it was our last we probably would have drunk a lot more and broken our manifesto by indulging in a few stage dives.

I do remember one horrible moment during a gig at Sussex University where the sequencer somehow became disconnected from the drum machine, but both continued playing merrily away while drifting hopelessly out of time with each other till everything ended in a completely horrible clattering mess. Luckily enough it was happy hour and so our audience were too drunk to care too much.

The flip side to that was one gig we played at the Brighton Dome where a pro engineer came in to mix us (we were pretty dense and unbalanced live). I remember we started the first song and I felt like Marty McFly at the beginning of Back to the Future. This shimmering wall of sound shook the whole venue. “Jesus!” I thought, “so that’s what we sound like on a good day.”

++ You went through the late 80s and the early 90s… music had changed a lot, especially for us pop fans. It wasn’t that common to see the bands we liked on the NME or getting many gigs. Did you notice this change? Do you think it was the natural course of things or were you pissed? Did it affect at all your bands you think?

A few of the A&R people we met seemed to be looking for the next Nirvana and I used to get frustrated with being told that we needed to put guitar solos over everything, but pop music by definition is a cultural process that’s driven by the tastes of its consumers. Things go in and out of favour all the time and that feeds renewal which seems about right to me.

On a personal note, I felt a bit outmatched when I heard Bjork’s first solo album. “Crap,” I thought, “there’s no way I could write anything as good as that.”

++ Waz moved to London and you weren’t happy with britpop so the band called it a day. It’s been a while now, are you still in touch with the band? What do the band members do nowadays?

Yes, we are all still in touch and all doing various things though we haven’t physically met up for a few years now (I was out of the country and Dom’s not in Brighton). I do think we will be having a get together soon though. If nothing else just so we can buy Dom a Donner Kebab for old time’s sake.

++ Anything else you’d like to add?

Nothing other than to thank you for your enthusiasm and for putting our track on your CD. We were laughing the other day, wishing you and your fanzine had been around when we’d recorded the demo back in 1993.

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Listen
CC Baxter – Ry Cooder

It’s time for me to get back to blogging even though most of my energies, at the moment, are being focused on a new Cloudberry fanzine. A printed one, of course. It will include interviews to The Mai 68s, The Andersen Tapes, Socialist Leisure Party among others, and of course a 5 song compilation 3″ CD. I hope I finish it by the end of the month. Anyways, this doesn’t mean I haven’t prepared any interviews for the blog since coming back from Europe. I have! So I hope some of those will appear on the blog sometime soon. I also want to write and document about my fantastic trip to Europe because it was filled with indiepop stories. As soon as my memories are less fresh and vivid, I’ll get into that. At the moment it is still a bit too intense to think about it! I know what I’m saying as last week I had to write an article about my time in Berlin for the Japanese magazine Cookie Scene. It was such a bittersweet feeling to type my memories in the computer, I wish I was still there. I feel like having a whirlpool in my heart. Lots of memories sinking in the spiral.

So no wonder I’ve been very curious about Whirlpool Heart as of late. I had to send some MP3s to Firestation Records headquarters for Uwe to check run how unknown these songs are. It’s like doing the Carbon 14 test. He is the specialist. What did we get from the results? Well, he didn’t have a clue about who this band was. As far as I know there were only 3 songs released, all of them on tape compilations. Two of them, “Walls Spin Around” and “Too Late”, appear on the  Turquoise Trees tape, while “Flights of Fancy” appears on the Seahorses tape. Both tapes came along the Red Roses for Me fanzine. Does that ring a bell? The three Whirlpool Heart songs are haunting, with heavy guitars, dreamy melodies, boy/girl vocals, dark atmospheres. I really enjoy them. I usually like more upbeat, happier, sunnier songs, but Whirlpool Heart bewitches me somehow. Then it’s an easy guess that they took the name from the great Wild Swans song. What a song that is! By the way, have you bought the new Wild Swans 7″? It’s really good!

It’s been now a little over a year since I started this page, and during this past calendar, I’ve gotten tons of emails and blog comments with KNOWLEDGE about this music we like so much. I really want to thank all of you, including all the bands that came and got in touch with me. I never expected the blog to be popular, I don’t think it is, but having people pop up decades after their bands split is really heartwarming. And that’s what makes me happy to continue.

One last thing, I have a little clue that might help. On the Turquoise Trees sleeve it says:

“Thanks to… Carol Samways, Andy Ford, Neal Carr, Johnny Septic, Jon E.Hardy, Stephen Maughan, Stewie Anderson”

If the names are in the same order as in the bands that appear on the tape, which looks like it, Carol Samways was part of Whirlpool Heart. Maybe she was in bands before? Maybe in bands after? No idea. But, would you like to help me solve this mystery?

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Listen
Whirlpool Heart – Walls Spin Around