20
Oct

D’Estrellitas Power was a short lived band from Zaragoza, Spain, that was active just between 1999 and 2000. It was formed by Raquel Palacio, David Sanz and Luis Javier Velilla and released a superb EP called “En el Año 2000” on Jabalina Música (JAB-016) in, needless to say, the year 2000.

Raquel and David were also members of the band Cassino. Actually it seems D’Estrellitas Power short life has to do with Cassino, as them two wanted to focus more on that band and their releases.

After the demise of the band Luis Javier formed the band Alice. He was also on Solo Va, Jafi Marvel and Winter Note.

In any case, we got more than a handful of songs by D’Estrellitas Power, terrific songs to be honest, punchy and fun. The songs on the record were “Siempre en Jueves”, “Estamos en Verano”, “Empanados Fritos”, “Todo da Vueltas”, “Maquillaje” and En el Año 2000″. It is worth mentioning that “Maquillaje” is a cover of the classic song by Mecano.

The song “En el Año 2000” would also appear on a double CD compilation called “Don Diablo Disco I” that was released by El Diablo! Discos (EDD002) in 2000.

That same year the band had the song “Un Día Más” in a compilation called “El Sol Sale Para Todos” that Jabalina (JAN-2017) put out. This song is perhaps my favourite, so good!

As mentioned the band was short-lived but they did get quite a lot of attention by the Spanish radio and press at the time. I believe they also played the Lemon Pop festival in Murcia.

The only other interesting bit I have found is that there is an extended version of the song “Siempre en Jueves” that is about 8 minutes long. David Sanz has uploaded that track to Youtube.

Very little written about them, just the same bio over and over online. Wonder if they had more songs. And yeah, would love to hear of any memories people may have of them!

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
D’Estrellitas Power – Un Día Más

13
Oct

I’m going back to some classics. Classics in my book. Classics that I haven’t got around in the blog. Have to be fair to all that great music I remember from the early 2000s. That’s when I got involved for real with music. And I have a terrible sense of nostalgia of that period especially of the Swedish indiepop scene then.

My Enemy is a band that was formed in 2004 and had 3 releases in 2005. And then disappeared. Their tracks were great, and you wonder what they did after. Maybe I’ll find out.

The band was formed in the great town of Gothenburg, a town I want to go back of course. They line-up of the band featured Helena Jäderberg on vocals and guitar, Samira Englund on bass, keyboard and vocals and Leonel Jäderberg on keyboars, guitars and vocals. Were Leonel and Helena siblings?

The band first release came out on a label called Vapen & Godis. I have forgotten about it! This label released also Tokyo Eye and Otur. The label, whose name translates to “weapon and candies”, released the “Elil EP” as their first ever release, having catalog number V&G001. It had 5 songs, “Can’t Blame You”, “Gullvivas Koloni”, “Don’t Need!”, “Add Some Spiders” and “Grönland”. The artwork was done by Veronica Stenberg and the songs were mastered and mixed by Peter Åhrberg from the bands THe Solar Lodge and Whippet.

Shortly after the band releases the “Roo EP”. This one came out on the fantastic Yellow Mica Recordings of our friend Martin Cannert of The Faintest Ideas. The EP was a CDR and had four songs, “My Time Coming”, “Khreis”, “Catch One Word” and “Bothers Me”.

Then came “Khreis” a new CDR single on Vapen & Godis (V*G003). This one had “Khreis (Original Mix)”, “Khreis (Tommy Eld Remix)”, “My Time Coming (Johan Fotmeijer Remix)”, “My Time Coming (Claudia’s Shoe-gazer Remix)”, “My Time Coming (Mein Feind Remix)” and a cover of Kim Wilde’s “Cambodia”.

The band covered “What is Love”, Haddaway’s big hit of the 90s, for a 2006 ompilation called “This is Love” that was released by Dig Your Own Grave (DIG003) that incldued other familiar bands like Komon, The Mexicos or Bare Knees.

Last but not least the band did a video for the song “Khreis” which I uploaded to Youtube 19 years ago. It is still there gladly and sounding brilliant.

I look for other music projects from the band members on Dicogs. I see that Helena had contributed backing vocals to an album by Nicke Lurig. There is a Soundcloud account by someone with her name with some nice music. Could it be her?

Now Leonel looks to have a website. Here he shows his projects as he is a composer, producer and mixer. There is a bit of a history about him here. It mentions that he was originally from Hälsingland in the north of Sweden but moved to Gothenburg in 2000. He was in a band called Den and toured Germany with the band Incognito Pop. Here he confirms Helena was his sister and that he founded the label Vapen & Godis. Then he started recording under the name Tommy Eld. Wow! Great info!

Samira Englund looks like a painter these days. Her art looks amazing I must say. She was from Stockholm and ended in Gothenburg to study at the Gothenburg Art School.

It looks like My Enemy continued being cool after the band split. That’s really brilliant.

I do wonder one thing, I didn’t find much information about the band playing live, did they play much? And of course, as always I am curious if there are still unreleased songs by them out there…

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
My Enemy – Khreis

10
Oct

I had written about the great Sheffield band The Seaside who back in the day released the “Idolise” EP. Stan Jeffries got in touch, he played guitar. That was 2021. For some reason or another the interview didn’t happen then. Good news is that now it has happened, and what is even better is that the band is releasing an album, a mix of old and new songs. Really amazing! Learn more in this interview!

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

Hey Roque. I’m very good, thanks. I’m still involved in music insomuch as I’m writing and recording with The Seaside. I spent over 15 years as a guitar tech. and tour manager for many different bands, but I stopped doing that a few years ago.

++ Definitely the news is that you are releasing an album this October! It is called “Coastal Walks” and the first thing I wonder is if these are new songs? Or these are older songs that have been finally recorded? Can you tell me a bit about the record?

It’s a mixture of both old and new. When we decided to reform The Seaside we had a bunch of old songs we thought were very good, and confident they had stood the test of time. But, thinking that an album needed about 10 tracks, we were a few short so wrote some new songs, which we’re very happy with. Clix’s wife, Kaye, heard the first new song and said it ‘sounds like The Seaside’, and we were very happy with that too.

++ Tell me where people can find it. I’ve seen it on Bandcamp. Will it be available in any other formats?

Yeah, it’s on Bandcamp so people can listen to it for free and, if they decide it’s worth the money, can buy it. We’ve had some vinyl cut, but only a few. If people keep asking us for a vinyl copy, we can print up some more. We’ve yet to have the discussion about Spotify or Apple Music, so it might end up on those platforms in the future.

++ Where was it recorded? Did you work with a producer?

Clix and Steve did their parts at Granny Annex Studios in Sheffield, England, I added my parts at Honey Creek Studios which is near Málaga in Spain because that’s where I live these days. We didn’t have a producer because we didn’t think we needed one. A producer’s main job is to shape the song, and we’ve all spent decades listening to songs and writing our own songs. We felt we didn’t need anyone to tell us how to write and arrange a song. And I’ve learned how to record and mix, so we did the album pretty much ourselves.

++ And how did the album come together? What made you get back and make music again? Are you planning to play live perhaps? 

The album came together because we felt we had unfinished business. In 2023, a mutual friend organised an afternoon in the pub with me and Clix and it was the first time we’d spoken for over 20 years. We hadn’t fallen out, it just happened that way. As we got more and more drunk the plan came together to reform the band and finally get those songs we loved so much into shape, record them and release them.

We’ve actually already done a show at a pub in Sheffield. It was a very low-key affair and we didn’t do ourselves justice for one reason and another. So, yes, we’ve organised another for the 16th January 2026, again in Sheffield,. This time we’ll do it properly, and show people how good we still are as a live band.

++ 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 first music memories were Sunday mornings with my mum, helping her cook Sunday dinner. She listened to a lot of easy listening stuff like Andy Williams, Jack Jones and Vicki Carr. I think that gave me a taste for classic songwriting. Verse, chorius, verse, chorus type songs.

My first instrument was a Rickenbacker 4001 bass copy. By then, I was about 13 years old, I was heavily into a band called The Jam, and they played Rickenbacker guitars. I thought, stupidly, that the bass would be easier than the guitar so I asked for a bass for Christmas. I learned how to play The Jam’s third album, ‘All Mod Cons’, just by listening to it and working it out. I spent a lot of time in my bedroom.

++ Had you been in other bands before The Seaside? What about the other band members? If so, how did all of these bands sound? Are there any recordings?

I had been in four or five bands prior to The Seaside. By this time I’d switched to guitar and it was the 80s. It’s important to say the bands I played in didn’t play Duran Duran 80s, it was Orange Juice, Smiths 80s. Very indie. I’m pretty sure that none of the original members of The Seaside had played in bands before. But I’m two or three years older than the rest, so I had a head start. I have a lot of recordings from my old bands. I listen to them occasionally and steal from myself for riffs for The Seaside.

++ Where were you from originally?

I was born and bred in Sheffield. All The Seaside were.

++ How was Sheffield at the time of The Seaside? 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?

Sheffield was pretty cool at the time. Warp records was the coolest record shop in town and Steve, our bass player, worked there, which is how we met. There were also some good second hand shops like Jack’s, Forever Changes and Record Collector. As for venues, there was the Hallamshire Hotel (actually a pub, not a hotel) which is where The Seaside played their first gig. The Leadmill was the big gig though. It had ‘proper’ bands every Saturday, and every Sheffield band’s ambition was to play the Leadmill on Saturday night. We finally made it, and headlined on the 5th January 1991. We thought, ‘This is it, we’re on our way.’

Were there any bands I liked? The Subterraneans were good. A three-piece who played some cracking songs, and didn’t take themselves as seriously as everyone else did.

++ During those early 90s there were many great indiepop bands from the UK. Would you recommend some obscure bands I might have missed?

Hhmm, difficult to say. There was a band called 5:30, who me and Steve loved. They only released a few singles and an album. We supported them in Liverpool and played to very few people. But me and Steve didn’t care because we loved them. The rest, you’ve probably heard of. Bands like Teenage Fanclub and The Boo Radleys.
++ How was the band put together? How was the recruiting process?

As I’ve mentioned, me and Steve met at Warp Records. We talked about being in a band and we were guitar and bass, which left us needing another guitarist, a drummer and a singer. Clix, Mark B. and Danny were looking for a bass player and a second guitar player. I seem to remember that at some point there was an ad in the paper for ‘the next JOhnny Marr’, but I don’t know who wrote it, nor who it was intended for. I lived in a flat opposite Clix, and he’d seen one of the band’s I was in, Johnny Seven, a few times and we became nodding acquaintances as all the Sheffield band people went to the same pubs. I’m pretty sure it was Mark B. who was the catalyst for us to join forces. Steve used to get dropped off at rehearsals by his mate Mark M., who used to hang around listening to us rehearse for a couple of hours. It didn’t seem right that he just sat there so we invited him to join the band. He couldn’t play anything particularly, so he went and bought some congas and other percussion instruments and became the sixth member. There was no ‘process’, it was very organic.

++ What instruments did each of you play in the band?

Danny sang, Clix played guitar and sang backing vocals, Steve was on bass and Mark B. was the drummer. Mark M. was on percussion and I played guitar.

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

Me and Clix quickly became the songwriters. He would bring in fully formed songs, I would have a bunch of words and chords and we would shape them into a song before presenting it to the band at rehearsals. Me and Clix were ‘straight’ songwriters being big Beatles fans and, as I’ve said, I grew up with ‘traditional’ songwriting, But Steve and the two Marks were into 70s funky stuff, hip-hop and a bit of rave. Somehow, between the six of us, it worked. Later, Steve started writing songs too. One of his, ‘Mrs. Clean’, is on the album.

We practised in all sorts of terrible places. There were no rehearsal spaces like there are these days; all soundproofed with backline you can hire and snacks sold at the reception desk. They were just ramshackle empty rooms in run down factories.

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

We were all Sheffield lads, and Sheffield is an industrial city in the north, miles away from the sea. It seemed obvious to us that a band from Sheffield should be called The Seaside.

++ You only released the “Idolise” single back in 1991. It came out on Vlaw Records. Who were they? Was it yourselves doing a self-release?

Vlaw records was created by our managers. It stands for ‘Very Like A Whale’, which is a quote from Shakespeare’s ‘Hamlet’. None of us knew that at the time. We didn’t care, we were going to release a record, who cared what the label was?

++ I am curious if the three songs on this record were your first ever recordings or you had previous experience at recording studios?

This was the first time The Seaside had been in ‘proper’ studio, as opposed to tiny studios that had been put together by enthusiastic amateurs.

++ The record was recorded at Axis Studios with John Avery. How was this experience? How long did it take to put together the songs?

The experience I remember as being very good. We were a tight band, and it didn’t take long to record. But the production team were used to doing theatre soundtracks, which tend to be smooth and have few rough edges. The recording lacks the rough edges that we had as a live band. In that respect, it’s not very representative of what we were like.

++ I have always been curious about the title “Wild C. Wilder”. What does it mean?

When we rehearsed we’d write the order of a song down on giant pieces of paper (no idea where they came from) so it might run, V1 (verse), V2, C (chorus) solo, V3, Cx2, end. For Wild C. Wilder there was an instrumental bit that was supposed to be a bit rough, then into another chorus, then another instrumental bit which was rougher than the first instrumental bit. So, ‘Wild C. Wilder’.

++ Was there any interest from labels to sign you, to release your music?

A bit of interest. A&M had a sniff at one point after seeing us play at ULU (University of London Union) but obviously nothing came of it. There was another offer where the label manager joined us in the studio and did handclaps on a track, then we went to the pub with him and everything looked very positive. The label was started by Alex Patterson of the Orb and Youth from Killing Joke. The way I remember it was the label had a singer called Zöe, and she had a massive hit with a track called ‘Sunshine On A Rainy Day’, so the label poured all their money and attention into her and that was it for us.

++ And were there demo tapes put together by the band? If so, how many were they? Do you remember what songs were on them?

There are a few songs recorded by The Seaside out there. In fact, there are tapes with three different singers. Danny, a chap called Chris, and finally Clix become the lead singer. I remember ‘Chocolate Accident’ and ‘Ambulance Man’, which are pretty good songs, you might even call them groovy. There was a song called ‘Sail’, which Chris sang originally, and that’s made it onto ‘Coastal Walks’.

++ The only other song I know by you is “Begging Bowl” that appeared on an American compilation in 1995. Was this a late recording of the band? And how did you end up working with spinART Records?

I think the story is that we had a fan in America who found us after she bought the ‘Idolise’ single in a record shop in Greece where she was on holiday. She started writing to the band and I sent her ‘Begging Bowl’ for no real reason. She sent it to the label, they liked it and put it on their compilation album, ‘Lemon Lime’.

++ Then there was a blog that mentions that you may have released a track on a single alongside March to the Grave. But it seems the blogger is just speculating. Is this something real?

Pure speculation. I don’t even know who March to the Grave are. Or is. Or were.

++ So why were there no more releases by the band at the time. What happened? 

I think the fact that we had an outside chance of achieving something, and then lost that chance, was a body blow to us. We carried on, still writing what we thought were good songs, but the spark has gone.

++ My favourite song of yours is “Idolise”, wondering if you could tell me what inspired this song? What’s the story behind it?

This is one of mine and honestly, Roque, I can’t remember. Normally, I know where the songs come from, but this is lost in the mists of time. It’s a cracking riff though.

++ If you were to choose your favorite The Seaside song, which one would that be and why?

Oh, what a question! I really like ‘I Don’t Have The Time’, which is on the album, ‘Coastal Walks’. It starts very gently, a nice jangly guitar riff played by Clix, Steve plays a lovely, mellow insistent bass line that pushes the song along, and I do what I usually do, which is put overdriven guitar riffs on it. When we were recording the song I thought that Clix, great singer though he is, wasn’t doing what I had in my mind in the second verse. I sort of knew a singer in the US, Molli3, and sent her an email asking if she’d be interested in collaborating with us. She said yes, I sent her the song, and she sent back her version of the second verse. And it blew us all away. A completely different version of the verse than we expected, but it’s great. Then Clix added some mouth harp, I put a glockenspiel on it and more overdriven guitar. What starts as a mellow ballad ends as a full on noise attack. Just my sort of thing.

++ What about gigs? Did you play many?

We played a lot more than I remember. When we were recording the album I’d stay at Clix’s house and he was reeling off all the shows we’d done and I was saying, ‘Really? We played there, and there, and there?’

++ And what were the best gigs you remember? Any anecdotes you can share?

The best gig was the first Leadmill headliner. We had a stage invasion at the end. I was bent over trying to protect my pedal board from people jumping on it. It was chaos. The security didn’t know what to do, so they just left everyone on stage.

I remember one show in London. We had nowhere to stay so Danny announced from the stage that if anyone could put us up for the night, we’d be most grateful. Some students said they could put a couple of us up so me and Danny jumped in. We got back to their house and there was one very small sofa and one chair. I jumped on the sofa thinking it was the best option, even though my legs were dangling over the edge. Then Danny pulled a handle on the chair and it slid out into a full size single bed. I remember waking up the next morning with a cat sitting on my head.

++ And were there any bad ones?

Oh yeah. There were bad ones.

++ When and why did The Seaside stop making music? Were you involved in any other bands afterwards?

As I’ve said, The Seaside just sort of petered out. I think when we made the decision to call it a day it was a bit of a relief. The thing is, me and Clix thought we could still write really good songs so we decided to stay  together and put another band together. By this time, Steve had left The Seaside, but he came back, we found another drummer, Craig, and singer, Paul, and called ourselves Six Stone Six. We released a three song CD called ‘Baby’s First Wind’, which I think is better than ‘Idolise’ from a recording and production point of view.

++ Prior to the reunion to make the album, had there been any other The Seaside reunions?

No. As I said, I hadn’t seen Clix, or Steve, for more than two decades.

++ Was there any interest from the radio? TV?

Local radio played us a lot. And I’m a member of PRS, and I used to get royalty cheques fairly regularly, so someone somewhere was playing us. No TV though.

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

Again, the local press were pretty kind to us and featured us a few times with interviews and photos. ‘Idolise’ was reviewed in the NME, which was an influential paper back then. The writer, David Quantick, ended his review with ‘talent present’. Which I’m proud of to this day. We were also featured on the ‘On’ page of the NME. Every week they’d pick three bands that they thought had something; that was satisfying. And we had very good live reviews in the NME and Melody Maker.

++ What about fanzines?

There was one fanzine who loved us, Epicurean’s Answer. Thomas, the bloke who wrote it, saw us play in London supporting a Sheffield band called The Dylans. He prefered us to them and wrote about us. He lived in the south, but would come up to Sheffield to watch us play. He, and his sister, Susannah, became friends of the band. We lost touch but the release of ‘Coastal Walks’ has brought us together again. That in itself is reason enough for us to have made the album.

++ Looking back in retrospect, what would you say has been the biggest highlight for the band?

I think just making friends, writing songs, recording songs and playing a few shows. And picking some fans up along the way. It doesn’t sound like a lot, but it’s actually a very big thing. For us, at least.

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

My hobbies are pretty mundane. I like reading (is that a hobby?) and doing crosswords. Anything that keeps my brain from stagnating.. I recorded and mixed the album which was challenging. I used to have a four-track recorder back in the 80s, but new technology is far more complicated. And, of course, far better. That was quite engaging. I’m also a pretty good cook. Oh, and TV, but that’s rarely engaging.

++ Do you follow football? What’s your team? Sheffield United? Sheffield Wednesday?

Sheffield Wednesday. Me and Clix are Wednesday fans. Steve’s not really interested in football, which is probably a good thing because being a Wednesday fan is 10% joy and 90% heartache.

++ Never been to Sheffield, would love to visit some day. So I’d love to ask you what would you suggest checking out in your town, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

I’ve not lived in Sheffield for 25 years. I moved to Newcastle in the north-east to look after the gigs for Newcastle University. That’s when I became a backline tech. and tour manager, which kept me travelling, then to Leeds to live with my girlfriend and now I’m in Spain. But I worked at Sheffield City Hall for five years from 2015, and of course recording ‘Coastal Walks’ has taken me back a lot recently. Sheffield’s had its rough times, but it’s on its way back now, and the independent live music scene is as strong as it ever was.

I don’t think Sheffield has ‘sights’, it’s just a nice place. Henderson’s Relish, or ‘Hendoes’, is a Sheffield institution. It’s been made in the city since 1885. It’s a secret recipe that only two or three of the Henderson family know. I love the stuff, it’s in my blood. And Yorkshire puddings. Sheffield’s in the county of Yorkshire, and Yorkshire puddings are a staple of Sunday dinners. Not just in Yorkshire, but the whole country.

++ Anything else you’d like to add?

Buy ‘Coastal Walks’. It’s really good.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
The Seaside – Idolise

06
Oct

I miss so much to release records, to do label stuff, be in touch with bands. Sadly this seems like a dream now. Is anyone buying records still? Who is paying $40 for an LP? I feel the good old days are gone. One of my dream projects was to do a compilation of Australian indiepop bands from the late 80s, early 90s and when I discover a band that could have fitted the bill I just have this sense of excitement mixed with impotence that is hard to describe.

Batswing Saloon was a late 80s band from Brisbane, Australia. They released just one record, in 1988, a 7″ single titled “Harold and Maude”.

The record included the title song “Harold and Maude” on the A side and “Split Level World” on the B side. It came out on Cosmic Records (BSW01) which probably was the band’s own label. The band’s logo is on the front sleeve, a logo taken from Batman clearly. On the back of the sleeve a band photo with some information about themselves. This sleeve was designed by Michelle.

So we learn the band was formed by Jenny May on bass, Sue Holman on drums, Leanne Holman and Michelle Bowden on guitar and Liza McDonald on vocals. The band co-produced the record with Ian Wadley who had been in many bands including Dragster or Small World Experience. The single was recorded on a 4-track at the band’s practice room in the old Target building in Fortitude Valley.

One thing that does surprises one is that the band was all female. We know that some of the girls had been involved in bands like Michelle Bowden was afterwards on Chopper Division, Gravelrash, The Worm Turns and Koko Uzi or Sue Holman who also played in Cut.

The Brisbane Music Graveyard Bandcamp account has uploaded the two tracks of the single. Here there is more information about them. We learn that the band was formed in 1986 and it mentions that the single sold well in Sydney, Melbourne, London, Germany and New York. The title song reached number 12 on the 4ZZZ Hot 100 radio programme, and the band was voted the 4th best new independent band in the RAM readers poll in 1988.

It seems that originally the vocalist was Anne Deller but she left in 1987 and that’s when Liza joined.

About gigs we see that the band played especially around Brisbane and South East Queensland where they supported Hunters and Collectors, TISM and the Hoodoo Gurus.

The band would split up in 1990.

Then I find a Soundcloud account for Sue Mikkelsen. Could it be Sue Holman? Maybe married name? Here there is the single too. But there is another little treasure, a beautiful Batswing Saloon song called “Secret Mile”. Wonder where that one came from? A demo? An outtake from the single recordings? Or a future single that never happened?

I continue searching. I find a post on a blog called Striped Sunlight dating from 2011. Here I look at the comments sections. I learn that the band played at the Brisbane Uni Rec Club in 1988. Someone also mentions that he has a live video of the band. I wonder if it made it to Youtube… don’t think so.

The only other thing worth knowing is that their song “Harold and Maude” appeared on the compilation “Behind the Banana Curtain 1975-2000”  that was released as a double CD by Valve Records and East West in 2000. In this comp they appear alongside so many important Aussie bands including the Go-Betweens, The Apartments and more.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Batswing Saloon – Secret Mile

29
Sep

There are a couple of tracks from the US based band Paris Working on Soundcloud. They are on an account by someone under the alias of whoopingkafka. What can we find out about this band?

The tracks are “Faith” and “Baby Camille“. Both are good tracks, but I must say that my favourite is the latter, it is more poppy. The songs also date from early in the 80s, before indiepop was even born, so keep that in mind.

“Faith” was recorded in 1982 at Tom Mallon Studios. Where is that? According to Discogs it was located in San Francisco. We know that the song was produced by Peter Woods and Michael Belfer. On top of it all we also have the names of the people that were part of the recording.

Gregory Griffith was on vocals and guitar, Paul Ramont on vocals and guitar, Dan Magazin on backing vocals and keys, Steve Winkle on bass, Richard Doty on drums, Benjami Bossi and Norman Salant both on sax. Safe to assume the band was formed by Gregory, Paul, Dan, Steve and Richard?

I look for more info. I find that the name Paris Working is most probably named after a period of intense ritual involving strong drug use in which the gods Mercury and Jupiter are invoked. Is that so?

Discogs has a 12″ vinyl listed dating from 1983. It is a self-titled release and is listed as a goth rock, synth-pop, minimal EP. It came out on Fatal Marble Records (FM 001). This is the only release on this label, could it be a self-release?

The tracks on it are “Movies of You”, “Everything is Coming After” and “Pieces of Heaven” on the A side and “Sleep” and “The Film of Breakdown” on the B side. Now the band members include Ken Weller on bass. We also see two new drummers listed, Phil Hertz and Dave Carothers (who is credited as a guest, thanking his other band Mutants). The producer for the record was Steve Fisk. The engineers were Dr Bob and Gary Clayton. the songs were recorded at the Tom Mallon Studios again.

Some of these songs are on Youtube as well as some other that are unreleased and they are good. Here are “Pieces of Heaven“, “Everything is Coming After“, “Sleep“, “It’s a Wonderful Life“, “Staples“, “Movies of You“.

I look if the band members had been in other bands. Dan Magazin had been in Surface Music, Gregory Griffith on Martian Lamps, Ken Weller on Seven Day Diary and Voice Farm, Phil Hertz on Scientists.

The band also appeared on compilations. Their song “Sleep” was on the tape compilation “Sub Pop 9” released by Sub Pop(S/Pop 9) in 1983. Then “Downtown” was on “On-Slaught No. 6” a 1985 cassette comp released by Idiosyncratics. This was a tape that came accompanying the 6th issue of On-Slaught magazine. Lastly the track “I Won’t be Dancing” appeared on the German vinyl compilation “Voices from North America” that was released by Temporary Music (TM001) in 1986.

I learn too that the band hailed from Berkeley, close to San Francisco, in California.

There seems to be another band of the same name hailing from the UK. So it is a bit difficult not to confuse some of the info online. But I am confident what I shared is correct.

So I wonder, what other information we can find about them? They had some very good songs, and you wonder why their name is not more known. Did they play live much? Did they play outside of California? Anyone remembers them?

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Paris Working – Pieces of Heaven

22
Sep

Benton is a city in and the county seat of Franklin County, Illinois. The population was 6,709 at the 2020 census. In 1839, Franklin County was split roughly in half and the county seat was permanently fixed “at a hill at the south end of Rowling’s Prairie”, the site of the future city of Benton. Benton’s namesake is Missouri senator Thomas Hart Benton. The village of Benton was organized in 1841 on 20 acres (8.1 ha) of property donated by John Ewing and Walter S. Akin. In 1902, the village became a city, and incorporated under the mayor/commissioner form of government.

Benton, today with a population of 6,709 people, that’s where we are heading today.

The band Cruces, formed by Derek Cook on vocals, Christopher Fouke on guitars, Danny Wilson on bass and Matt Arms on drums, was around in the early 90s it. They released a tape album in 1991 called “Painted Grey”.

The name of the band seems to be in Spanish and would translate to Crosses. I do a little bit of digging and find a Youtube channel for Chris Fouke were he has uploaded tracks from the album as well of many of his own videos showing his own guitars. It looks like he makes industrial guitars and here in this channel he demoes lap steel playing in different styles.

The songs in the album are “Tapestry of Change“, “A Summer Afternoon“, “The Cabin Song”, “Shade Me Grey“, “Dear Harriet” and “To Touch so Fine” on the A side and “Remember Me”, “The Forbidden“, “Skin“, “So There“, “Peaceful Rock”, “I Tell Myself”, “Thirteen Hours” on the B side. I have linked the ones that are on Youtube. It is important to mention too that “Dear Harriet” is a tribute song to Harriet Wheeler of The Sundays.

The songs from the album were recorded at different periods. So “Thirteen Hours” is from October 1990, “Shade My Grey” and “The Cabin Song” from November 1990, “To Touch So Fire” from December 1990, “Peaceful Rock” from January 1991, “Remember Me” from February 1991, “Skin”, “The Forbidden”, “Dear Harriet” and “So There” from March 1991, “Tapestry of Change” and “A Summer Afternoon” from April 1991 and “I Tell Myself” from June 1991.

The other bit of information we have is that the album was produced by the band and Scott Munson. Scott also is credited as the engineer. The songs were recorded and mixed at Soundcore Studio in Carbondale, Illinois.

The design of the cassette sleeve was done by Todd Freeman and Derek Cook with art by Derek Cook and Christopher Fouke.

On Discogs I looked if any of the band members were listed in other bands, but no, no other bands show up.

And that’s all I could find about them. Anyone remembers them? Did they play much live? Are there any other recordings by the band?

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Cruces – Dear Harriet

15
Sep

Years ago I interviewed Simon Parker about the band he had been in while in Chichester, The Violet Trade. On this interviewed he told me when asking him about other bands he had been involved with:

This is always a good video to share: Colourburst (with me singing a punked up version of Wham’s ‘Last Christmas’) which got shown on late night ITV twice over the yuletide of 1995. We never did get permission to cover this, but I reckon George and Andrew would have liked it!).

Colourburst put out 2 vinyl singles (one good one bad) and then fragmented into Fruit Machine, fronted by Jennie Cruse (Fisher-Z) and Rachel Bor (Dolly Mixture).

Gary left Fruit Machine who were then signed to producer Steve Lovell (Blur, Julian Cope) . The remnants of this band then morphed into Lumina but bad luck and industry dogma thwarted these projects and eventually saw me take a break from music before returning a year or so later with Villareal.

It took me quite a while then to share here the music of the Brighton band Fruit Machine. Simon was the bassist, guitarist and keyboardist on the band. Maybe I should reach out and ask for a new interview about  Fruit Machine. I really enjoyed all the songs on their Bandcamp.

Indeed, on Bandcamp they have uploaded a trove of recordings, 18 in total, that include demos but also an unfinished album the band recorded between 1998 and 1999. The songs from this album remain in rough mix format but still worth listening for sure.

All these recordings date from 1995 to 1999. I’m going to break the tracks in a few categories, if they are from the album, demos or remixes.
From the album: “Monte Carlo”, “Oxygen”, “Would You do the Same”, “The World is Upside Down”, “Sickly Blue”, “Electric”, “C-Drift”, “(This Had Better Not Be a) Dream” and “Everybody Needs a Reason.”
Demos: “Ariel”, “In Colour”, “All Fall Down”, “Sickly Blue”, “Monte Carlo” and “Frog.”
Remixes: “Electric (Nathan Ben 240 Volt Mix)”, “Mote Carlo (Remix)” and “Monte Carlo (Chaos Remix).”

The band was formed by Simon as mentioned but also featured Jennie Cruse on vocals, backing vocals and keyboards, Rachel Bor on guitars, keyboards and backing vocals and Nick Hopkin on drums and loops.

On the recordings we also see Gary Capelin who played drums on the demo tracks and James Portinari who played guitar on the demos.

The producer of the songs were Steve Lovell and Pete Jones.

I saw a piece written by Simon on Vinyl Revolution, mentioning that the German label Marina was a big fan of Fruit Machine. Why didn’t they release it then?! Also we learn that at the point the band was going him and Jennie were together as boyfriend/girlfriend.  And what’s Vinyl Revolution? Simon explained to me last time:

Vinyl Revolution is at the heart of everything we do! It was actually the name of the two record shops that my partner and I set up and ran between 2016-2019. It was a dream come true for me to own my own record store and we had locations in Tunbridge Wells and Brighton. But running a shop is very difficult these days due to dodgy landlords and extortionate business rates and the rise of Amazon etc.  But despite this, Vinyl Revolution was very popular and got a lot of great press, including a brilliant feature in The Independent which said we were the best record shop in Brighton!

But when Brexit came along, Rachel and I headed for France and started looking into ways to make vinyl records more sustainable. The product of this all work is NAKED Record Club and we are out there doing it right now!

Now I would suggest listening to Fruit Machine, rediscover this lost band which has some ace tracks,
“All Fall Down” is a corker, but do check all of them out. If I could suggest checking out the demos first, please do. I find them punchier and poppier than the album tracks, but that’s just me.

Many questions are still to be asked. Why didnt their songs got released properly? Did they play live much? Any Brighton friends remember them?

Enjoy!

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Fruit Machine – All Fall Down (demo)

08
Sep

 

Holger Fath-Tati is the man behind the Berlin-based project Graf Tati. I found out about their music many years ago thanks to Martin from Brideshead who also co-runs the great Apricot Records. It is this label that released the project’s first album “Lind” back in 2007.

As mentioned “Lind” came in 2007 on Apricot (APRICD 039) as a CD album of ten songs. These were “Der Tag Beginnt”, “Zurück Zu Mir”, “Sommerregen”, “Teenage Walhalla”, “Bilbao”, “Trübseligkeit”, “Glücklich Mit Der Bachmann”, “Glaubst Du an Die Liebe” and “Neopren”. The whole album is available to listen to on Soundcloud. As you’ll notice it is a very nice indiepop album with influences from bossa especially.

On digital platforms there is also a compilation called “Cinema Romantics” from 2023 which includes some new Graf Tati songs as well as some by other artists like Zero Solaris, Miss Django and Cécile Dupaquier, which is worth checking out. There is a story about this record where it says that it all started in a Berlin bar when Zero Solaris and Graf Tati were having some beers. While chatting and drinking they figured out they wanted to write about their favourite actress, make a record about them, actresses like Romy Schneider, Jeanne Moreau, Charlotte Rampling and more. The songs by Graf Tati are “J.M.”, “The Look”, “Natürlich Ich”, “Romy Schneider – Cinema Romantics – Version”, “Foxy” and “Love Streams”. This album was released on vinyl as far as I know.

I also find another album called “Graf Tati & Les Alles”. Maybe a collaboration? This one dates from 2019 and includes 10 songs. 5 on each side of the record. “Beginner”, “Heroin Topmodel”, “Schuft DS”, “Apropos Pop” and “Le Slow” on the A side and “Romy Schneider”, “Wenn Es So Was Gibt”, “Madchen Hinter Glas”, “Leben Konnte” and “Dos a Dos” on the B side.

The only other thing I could find is that a collaboration between Graf Tati and Cécile Dupaquier was included in the compilation double CD “10 Jahre Club 49 – Ihr Seid Solche Fucker”. This collaboration was the song “Gilles” and was included in this double CD from 2015 released by the club itself, Club 49 Berlin.

Berlin friends probably are familiar with this artist. I do wonder too if he had been involved in bands prior to Graf Tati. I have the inkling that he might have. Who would know?

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Graf Tati – Glaubst Du an die Liebe

01
Sep

Dreamtime released a very nice 7″ with two tracks back in 1989. I am late in discovering it.

The tracks are “Cold and Lonely Place” as the A side of the single and “I Know” on the flipside. It was released by the Pure Recording Company (PURE 89/1) which might have been the band’s own label. A self-release probably.

We know the band hailed from the UK. But not much more. Let’s see what we can find.

I am very confident the band hailed from Southall in West London. The area that is often called Little Punjab or Little India. A South Asian hub.

I’ve seen a photo of the band, as they have shared a photo to a Soundcloud account that has the A side uploaded. It looks like it was a four piece. Three guys, and a female vocalist. There is also an interesting bit of info here, it seems the A side, “Cold and Lonely Place”, is actually. a recording that was done during a Janice Long Radio 1 Evening Session in 1987.

Then I find a review of the band on a Record Mirror issue from May 27, 1989. In there it mentions that the band had won the Janice Long session (how did they win it?) and that the band had supported The Darling Buds and The Lilac Time in 1988.

The truth is, the song is really nice. The A side. I haven’t heard yet the B side. So I wonder why they didn’t get more attention.

45CAT lists another 7″ record by Dreamtime. One from 1992 with the tracks “Drive” and In the Dream” on the A side and “Ragamuffin” and “Sand” on the B side. A record released by Refugee Records and produced by Andy Povall. I am not convinced that it is the same band. One thing is that there is no female vocalist listed anymore. Here the address on the back of the sleeve is from Liecester. The design of the sleeve is very very different too. But it may be the same band. The sound of the record is still very indie. The band here is credited as Henry Munroe on bass guitar and vocals, Nick Murphy on drums and vocals, Pete Sargent on guitar and Mark Harriman on vocals, guitar. It also says that the songs on this record are going to be part of the forthcoming album “Woke Up This Morning”. that is going to be released on CD and cassette. I haven’t seen a copy of it.

I keep digging, and then I find a 1991 tape, released on Extremely Nice Records (ENR 004C) from Ireland (is that right?). It dates from 1991 and has the same look as the 1992 single. This is a self-titled tape, with five tracks, “In the Dream”, “Drive”, “Sand”, “Ring the Changes” and “New York”. I am sure it is the same Dreamtime as the “Drive” single, Pete Sargent name appears here.

That’s what I could find. Would be good to find confirmation that it is the same band the one that released the 1989 single and the 1991 tape and 1992 single. If not, there are two indiepop bands with the same name? And where did they hail from? Southall? Leicester? it is a good mystery to me. Anyone has more information about them?

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Dreamtime – Cold and Lonely Place

25
Aug

 

Mary’s 9th Cut. Do you remember this band? They were a good Japanese indiepop duo from the late 90s/early 2000s. They released two albums and an EP worth searching for.

We heard of the band for the first time in 1998 when their songs started to appear on compilations. That year three tracks were contributed to different CD comps in Japan. “Snowfall” appeared on “Sunshine Pop Show!! Vol. 1” that was released by Sunshine Pop (SP-001), “Good Friend” on “Sunshine’s Girl” by “Sunshine Pop (SP-003) and the song “Gold” on “Sunshine Pop!! Vol. 2” on Sunshine Pop again (SP-008).

Sunshine Pop was a sub-label of Smile Records and then it only made sense for the band to release their first album on this label. The self-titled album “Mary’s 9th Cut” came out on Smile Records in 1999 (SP-009). It included 9 lovely sweet songs, “Cherry Red Coke”, “Good Friend”, “Mon Cher Fairy” “Brand New Day”, “Today is the Day”, “Cheek Fellow”, “Orange”, “Hello Goodbye” and “Snowfall (Theme)”.

In 1999 the band also had some compilation appearances, “Hello Goodbye” was to appear on “Sniegowe Rytmy” a tape compilation released in Poland by Arnold Records (AD01). It is an interesting release for sure as it includes many bands from the Elefant label. The other song released in 1999 was “Mary’s Baby” on the “Smile Demo” comp released by Smile Records (SR-010).

But that wasn’t all, Smile Records releases that year the EP “Marin’s Band Parade 1/2” (SP-011). This EP had 6 songs and these were “Theme 1 – Marin’s Band Parade”, “Mary’s Baby (Is Falling into a Dream)”, “Marin”, “Gold”, “A Girl’s Pray” and “Theme 2 – Summer of ’99”.

Two years later the band releases their 2nd album, “Swan Song”. This time on a different label, Dogprint Records from the US. This New Jersey label was known at the time for releasing great Japanese bands.

The album had just 8 songs, “Mother Likes Pop!”, “Winter Song”, “Sonnets”, “A Piece of Diamonds and Quicksilver Moon”, “Winterslide”, “Treasurely”, “Dream is Over…” and “Swan Song”.

The last time we hear from the band is with the song “Space Boy Wish” that came out on the Bluebadge Label first compilation “Send my Badge! – Bluebadge Compilation Vol. 1” (BBCD-001).

I search for more information. I find that they played a gig called Blue Shirts Afternoon Vol. 1 on April 30th of 2001 with other bands like Slight Return, Snow Sheep and Pastrasche. There is a flyer for this and thanks to it I find out that the band hailed from Kyoto. Another gig I know of is one from April 30, 2002 where they played the Blue Shirts Afternoon Vol. 4 – Send My Badge gig with Shelter, Spaghetti Vabune!, Plus-Tech Squeeze Box and エレキベース. There’s a flyer for this gig too. Also worth mentioning that these gigs were organized by the Bluebadge Label.

I keep looking. I find out the band’s members names. I knew there was a boy and a girl because of the back of one of the CDs. But now I know the band was formed by Tomoko Nagano on vocals and Masahiro Kamiuchi on guitar and other instruments. Then I find some names that have contributed to the band. Megumi (vocals), Masahiro (guitar, bass, keyboards, vocals), Naoshi (bass) and Takeshi (drums, keys). Was it in every album? Just on the first one? What are their last names?

I believe after this band Masahiro was in a band called Shiba in a Car. But about Mary’s 9th Cut I can’t seem to find much more information. Hopefully my Japanese friends remember them. I’d love to learn more about them, I love the band’s music!

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Mary’s 9th Cut – Today is the Day