15
Jan

Never heard of a guitar pop band from Kentucky.

I don’t know much about this U.S. state to be honest. Sure you can joke and say everyone knows KFC. But I am talking about music. Especially the type of music that interests me.

So I was surprised when I found that sometime in the 80s there was a four-piece called The Side that released a 7″ by themselves. An EP of four songs: “Jimmy” and “Burnt Pages” on the A side and “Watching the World” and “The Forgotten” on the B side.

Thanks to Youtube I have listened to just one of the tracks, “Watching the World”, which sounds great.

The uploader mentions that he thinks the band hailed from a town called Bowling Green. It looks like a very nice town. The biggest city, closer to it, is Nashville in Tennessee.

About the band we know a few details thanks to the back of the record sleeve.

It tells us that they were formed by Christian Breeding on bass and backing vocals, Scott Stewart on drums and backing vocals, Tommy Shriver on lead guitar and backing vocals and Robert Allen on guitar and lead vocals.

All of the songs were recorded and mixed at Midsouth Recording Studio in Woodburn, Kentucky. They were engineered by Stephen Webber and were mastered at Nashville Record Productions.

That’s all there is. Anyone can help me with more info about them? Anyone seen a copy of this record at all? Seems rare!

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

Listen
The Side – Watching the World

08
Jan

December 1991. The Pop Club at the Bull & Gate.

It is Saturday the 14th and the bill has The Prime Movers with Disneyhood supporting. I have never heard any of these bands. 6 days later the club is hosting the Sarah Records Xmas Party and I would love to travel back in time to attend that.

But yes, I know Heavenly and all Sarah bands. I saw Heavenly last year. And it seems I will see them again this year now in New York City.

But what about these other bands playing the week before. Disneyhood? Strange name?

I do find on Soundcloud a bunch of recordings. They are of various quality. They had been uploaded 12 years ago by Steve Brooks who I assume was part of the band. There are no details about any of the songs or about the band. The sound of the band sounds like the early 90s though, so they must be the same band that played at The Pop Club.

Steve Brooks seems to be based in Seaford, UK. I’ve never heard of this place. Seems it is by the sea, in East Sussex. Close to Eastbourne and Newhaven. The Seven Sisters cliffs and Beachy Head are close by too.

Among the songs uploaded, there are five that are numbered, they may have come from the same demo tape? These are “Slight Return”, “Hitch Hiker”, “Amazing”, “Do it Again” and “Bonedive”.

Aside from those tracks, there are two more: “Turnaround” and “Unreal.”

The only other thing I find about them is that the band played at the North Wembley East Lane Flag in London on Friday February 8th of 1991 alongside The Lampards. This according to Sounds.

Who remembers this band? Did any well-known indiepop bands share gigs with them? Did they put out any records? Let me know on the comment box.

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

Listen
Disneyhood – Turnaround

03
Jan

Thanks so much to Andy Bennette for the interview! I wrote about this great 80s Bedford band some time ago on the blog. Late last year Andy got in touch and was keen to fill in the blanks, tell more details about C-Saim. And I was not going to let that opportunity pass. Now time for you to enjoy this great interview!
Also check out the band’s Facebook page and Instagram account!

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

Hi, it’s always a pleasure.   The last couple of years I have been more musically active but before that I had been exercising my creativity in other ways away from the music industry.

++ Tell me a bit more about your current project Bennette! Where can one listen to the music? And how different or similar would you say is is to C-Saim?

Bennette is a recent project to release a few new songs as well as some older material re-recorded.  Ii’s on the usual streaming platforms for anyone who’s interested and I am hoping to get more content on there later in the year.  In terms of style, I suppose it has similarities to C-Saim but as it’s been written years later and recorded with my added experience in studio production the end result is more dynamic and full.

I always felt the recordings we did as C-Saim were never produced or mixed the way we wanted but as we were young and lacking those skills ourselves we relied on other people to handle that side of the process.  In hindsight perhaps we should have been more argumentative and pushed more for what we wanted.

++ 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?

Wow there’s a lot there to pick out.  So for myself, my inspiration growing up as a teen was a lot of British rock but I also loved the ‘glam’ stuff that was going on.  I liked things to be theatrical and a bit escapist.  I wasn’t really into the original punk or new wave music but I think that did influence some of the songwriting with C-Saim.  Bryn and Steve both had different tastes to me but that meant the pushing and pulling kept us from drifting too far in one direction.

My first instrument was a cheap, second hand electric guitar.  My brother was the first to start playing and I picked up a few little starters from him and then learned the rest by playing along with my favorite songs at the time.  Later I got hold of a keyboard and used that a bit for writing although we never used any keys or piano in our recordings except for ‘Night Air’ where we messed about with a piano and it seemed to fit.

++ Had you been in other bands before C-Saim? What about the other band members? Are there any songs recorded?

Before C-Saim I spent a white in a ‘school’ rock band that was more a fun thing than anything serious and there was never anything recorded. But it was a good experience.  It’s been many years since I spoke to any of those guys.

++ Where were you from originally?

We were all Bedford boys. All drifted off to different places over the years but I am now back in my home town.

++ How was Bedford at the time of C-Saim? 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?

Hmm my memory isn’t brilliant but yes I can remember a big live music scene back then in Bedford.  We had a few good venues and some great bands – healthy competition.  The record store then was ‘HMV’ and Andy’s Records – now long gone.

So the good places to see bands would have been ‘The Angel’, also long gone.  A club by the name of Esquires started up not long after C-Saim had dissolved and that is still going now with some great new bands and a few from the past and it has a great vibe.

++ Were there any other good bands in your area?

Too many to recall but yes we had a great thing going and a large network of musicians who worked and played together.

++ How was the band put together? How was the recruiting process? You were brothers? related?

How long have you got?   It was really a case of being introduced by friends of friends. Initially we were a 4 piece playing hard rock covers but eventually Bryn, Steve and myself decided we wanted to start writing original material and moving in a different direction. We sacked the bass player and Brun, who was just singing at that point, took up the job of bass player and we became a trio and good friends.

++ Was there any lineup changes?

The three of us worked together without any changes for a few years until the time I left the band to do other things.  Steve and Bryn carried on for a while and added a brass section and keyboards but that version of the band didn’t last very long.

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

Steve Brown was a fab drummer and wrote some great lyrics.  He was tutored by John Shearer who was drummer with Steve Hackett after his Genesis days.

Bryn Daniels played bass and shared lead vocals.

Andy Bennette was guitar and shared lead vocals.

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

There was a well known place in Bedford – the Brickhill Scout Hut – where a lot of local bands would rehearse.  There was no facilities there but it was tucked out of the way and easy to get to – and cheap.  We did have police dropping in now and then about the noise levels.

Most often we would come up with lyrics or music individually and then get together to see what we could do with them.  That meant a lot of diversity in ideas and it kept things fresh and evolving.  I do think quite often, we rushed into finishing songs when they really needed more time and honing but that’s the way it worked. We liked to keep adding new stuff.

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

Not a very deep or complicated meaning there. I think someone spotted a sesame snack in a shop once and we simply took the mispronunciation and turned it into C-Saim. So really its a meaningless name – but distinctive.

++ You only released a 7″ record during your time as a band, the double A sided record that had “Night Air” and “Give and Take”. This record was put out by Summit Records. I was wondering who were they and how did you end up working with them? Did you have a good relationship?

Steve’s brother. Bob, lived down in Brighton and knew the studio – I’m pretty sure that’s how it happened.  Our relationship with the label was fairly  short lived but they were great guys – we had a lot of fun down there.

++ The record was recorded at Wilbury Sound Studios in Hove. You worked with Mike Partridge. How was that experience?

It was a great studio in a cool location.  Hove is pretty much part of Brighton and it’s always been a creative kind of place, even today.  Mike was a nice guy – easy to work with and open to trying things.  When we needed a sax player and a female singer he had the contacts and called them in.

++ Tell me a bit about the artwork of the 7″. Who made it? Was it yourself? What did you wanted to express with it?

Pete Griffiths was a friend of the band and just went off and did the sketches for us.  I had written the lyrics for the songs but hadn’t talked to Pete about the meaning behind them. So he simply listened to the songs and put his own interpretation into the artwork.

++ Before doing this record, you already had experience at recording. Your first demo was recorded at Crypt Studios in Stevenage in 1980. Do you remember what songs were on this tape?

Yes the Crypt was litterelly that – in the basement of an old church. Dark, cold and full of atmosphere.  We were young and naive but enthusiastic.  The first demo was ‘Ever Been Had’ and ‘Caribbean Beach’.

++ The 2nd demo was also recorded at the same place. Again, there is no information online about what songs were recorded. Do you know?

‘Turn Tail and Run’ was one of the tracks but I cant remember what else we did.  These were in the early days where we were writing rather heavy rock tunes.

++ You also recorded at Leyland Farm Studios and Rocksnake Studios. What demos were recorded at these locations?

My memory of these is a bit vague.  I remember we did record ‘Johnny’s Stripey Jumper and ‘Night Air’.  The rest – I need to see if Bryn can remember!

++ Which was your preferred place to record then?

Of all these studios I guess Wilbury Sound in Hove was the best. They had plenty of kit there and knew how to use it.  But it was also a great town to hang out in – and there was a beach to chill when we weren’t working.

++ And speaking of demo tapes. I read that there are more songs like “Johny’s Stripey Jumper” and “Last Time”. How many more songs were recorded by the band? How many demos did the band put together?

Along with the studios previously mentioned, we did a few demo tracks in Watford when we were working with another label but I have no recollection of tracks we recorded there.

++ Is it true though that you have lost the original DAT tapes for your recordings? Are they available in any other format though?

Hmm I’m not sure where the idea of DAT tapes came from as they hadn’t been invented when we were doing our recordings.  I have the original master from the Crypt recordings but that wouldn’t survive being put on a tape machine.  The last time I talked to Bryn he told me he had copies on a tape of everything we ever recorded but I very much doubt anything there would be suitable for public consumption!  It will in interesting to go through the recordings though just to see if there are any songs we can re-work.

++ The band appeared on a couple of compilations. One is called “Lend an Ear 1992” from 1982 and released by Vroom Records. I haven’t been able to find myself a copy, but I know you had two songs on it, “Only Yesterday” and “General Custer”. Wondering what you can tell me about this record. Who were behind this label? Were you familiar with the other bands on it? Why did you contribute those two songs? Were they from your demos?

That was an interesting time where we had entered a ‘battle of bands’ thing and the LP was a compilation of tracks from the finalists – we didn’t win by the way.  But we were never happy with the result.  The comp was run by the record label and we always felt the recording of the LP was rushed.

None of the bands had time to record tracks to the standard we would have liked and we had no hand at all in the production or mixing.  I think the whole project is lacking – the sound is thin and the energy of the bands that was in the live performances was completely lost in the studio.  I have digitised the two tracks we recorded but I’m not sure I want to stream them unless I can somehow do some work on them to ‘beef’ them up a little.  Too much of the original excitement in the songs was lost – totally killed by people who missed the point of what we were doing.

Although it was a useful experience for us, the involvement with that record label caused a lot of friction in the band and things got quite nasty until we decided to walk away from it.

++ The other compilation is “Disco Mix Club – July 1983 – Tape 2”. On this tape you had “Night Air”. I read that this tape was exclusive for the Disco Club members. I don’t know who Disco Club were… so wondering if you can tell me about it?

I know absolutely nothing about that one.  That might be another gap in my memory but I’m afraid I can’t tell you anything about it!

++ I read too that there was a live session recorded at MK Radio in Milton Keynes. Is that available anywhere? What songs did you play for that session?

Again, very early days and it would have been our heavier songs. I can’t recall which ones though.

++ Aside from the demos we’ve mentioned, the compilations and the 7″, are there more songs recorded by the band? Unreleased ones?

There’s nothing out there that would be suitable for release. Plenty of demo songs but the masters wouldn’t exist any more and I suspect we would feel the songs needed more work in anycase.  That might still happen. I have spoken to Bryn recently and we talked about maybe getting together to write new material as C-Saim or rework some of the ‘unfinished’ songs from the past. So there may be new recordings released at some point.

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

Ah ha!  Well now some songs are complete fiction and others might be based on experiences or by watching other people.  The lyrics for that one were my observations of a relationship of someone I knew. I can’t say any more than that!

++ If you were to choose your favorite C-Saim song, which one would that be and why?

That’s a tricky one, there are different songs I could pick for different reasons.  I think ‘Night Air’ is probably my favorite in terms of song writing even though the recorded single, in my view, could have been done better.  But C-Saim was always about the live energy so songs like ‘General Custer’ were a lot of fun to play – it’s just a shame Vroom couldn’t capture that raw energy in the studio.

++ What about gigs? Did you play many?

We were a very busy band.  We were all holding down day jobs but still went out and gigged a few times a week.

++ There’s this long list I found of places you played. It includes places like Luton, Leicester, London, and more. There are towns that I have never heard before though like Rushdan, Olney, Bicester, Old Warden and so on… I wonder how big or small were some of these gigs and how were you booked to play in these places?

These venues would have been everything from small bars to bigger clubs and halls.  Most of the time we would chase these gigs ourselves. Having failed to settle with a manager we felt we could work with, we decided to do it all ourselves where we could. So we became quite good as self promotion.

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

Personally, I loved playing places that didn’t require a lot of travel. One of these was a local college (Now Bedford University).  We had started working with some other local bands and we got a bit cheeky with this gig.  I think we had 2 support bands and when it was our turn we only had to play about 20 minutes – but it did go down well.

We played a well known venue in London called the Moonlight Club.  That was an interesting one. A couple of guys came in and were up front fiddling with our cables and mic stands and basically trying to get us wound up.  We found out later they were only in the club hiding from the police. They were a couple of crack heads and one was packing!  

++ And were there any bad ones?

Probably a lot but one tends to block those from memory!

++ When and why did C-Saim stop making music? Were any of you involved in any other projects afterwards?

Just as we put the single out I was starting to feel the music wasn’t going the way I wanted it to. When I was writing songs I generally had an idea in my head of how it should sound but it never ended up there.  I felt I wanted time out to do other things so I walked away (and felt bad for it).  C-Saim carried on for a while but eventually folded.

We all worked with other musicians on different projects but nothing really came close to the energy and fun that I think we all got from C-Saim.

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

I don’t think we were together long enough to generate much interest there – we probably would have pushed into that if the band had stayed together longer.

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

Quite a bit. We did a few interviews but the interesting thing was, we did a hell of a lot of self promotion which included writing our own articles and reviews under different names. That generated a bit of interest from other places.

++ What about fanzines?

Only a local now but I can’t tell you what that was called now.

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

In retrospect I can honestly say that the whole time together was a highlight, a real blast.  We enjoyed working together. What we really needed was management and record labels that would have got behind us and understood what we were trying to do but that just didn’t happen when we needed it. But I don’t think I could pick out a single event that was better than the whole.

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

Me?  I have done freelance photography, a bit of art work but I still write music even if I don’t actually have a plan for it.

++ I’ve never been to Bedford so I’d love to ask a local. What do 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?

Bedford no longer has much of a reputation for anything particularly exciting these days.  It really depends on what you are looking for. We are an arty bunch but you got to look hard to find things worth coming for. We do have a good music store here that is owned by a lovely guy called Bruce Murray who was a school friend of Freddie Mercury’   And a good, organic music venue called Esquires where you can catch all kind of bands in an old style rock and roll environment.

++ Anything else you’d like to add?

It’s great to know there is still a bit of interest in the music C-Saim produced all those years ago.  There may be things happening this year and a new version of C-Saim might materialize  – who knows.  Meantime, ‘Give and Take’ and ‘Night Air’ are now available for streaming in the usual places.

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

Listen
C-Saim – Give and Take

02
Jan

Happy New Year!

Hope this year is a good one for everyone. With lots of great music to discover!

When I saw a flyer of The Cube Club at the Bull & Gate club showing the gigs for the month of November in 1990 I started looking for some of the bands that I had never heard before.

Dan Dares Dog was the first band I was able to find some music of theirs. But they were too punkish for my taste. The next band I found music was The Waiting Sound, and it was a very good shoegaze track!

On this flyer it shows The Waiting Sound supported Life With Patrick and The Cherry Blades on November 13 of 1990. But did you know they actually released a record?

I didn’t!

It came out in 1990 on a label called Energy-Vent (EV001). Was this their own label? It probably was. It is the only release listed for this label on Discogs.

The record included just two songs, “Give Her Tomorrow” on the A side and “Astounding” on the B side.

We know that the band was formed by Wayne Kennedy on vocals, Chris Conklin on guitar and backing vocals, Dean Lewis on guitar, Karl Mault on bass and Pete Martin on drums, backing vocals and sitar.

The engineer for the record was Gavin Bearsby-Lewis while the songs were produced by the band and Adrian Borland of The Sound. Wow, really cool!

Looking at what the band members had done after or before I find out that Chris Conklin was on 8 Storey Window, Axiom and Radiation. There is a Pete Martin that is a well known house/trance music producer, but I am not sure if it is the same Pete Martin.

Other than that release I know there was a demo which I believe was called “Where’s Sharon Tate”.

On Youtube I find that Wayne Kennedy had uploaded some songs, a year ago. He is going solo these days and has recorded 5 songs.

The last thing I find is an issue of January 26, 1991 of Music Week. On it there is a mention of the band where it confirms that the label was their own. They compare Wayne’s vocals to Julian Cope and the sound of the band to Ride and My Bloody Valentine.

And that’s all my friends. Now, who can let me listen to their demo tape? Very curious!

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

Listen
The Waiting Sound – Give Her Tomorrow

11
Dec

In 2021 there was a retrospective album by The Telephone Boxes on Detour Records (DRLP088) that I missed. I feel bad about it. My record buying habits have decreased considerably since becoming a dad.

It is hard to keep up. But I think this record is one I would definitely want to have. I should keep my eyes peeled. Maybe I’ll be lucky sometimes.

The first time I heard about this band was thanks to an interview I did with Pete Brickley of the wonderful band The Wallflowers. Before being in The Wallflowers he had been in The Telephone Boxes. This is what he told me:

I left The Telephone Boxes, shortly after our support slot on the first Smiths tour to start a solo career but was persuaded by Warner Chapell to take a band name (from page 1 issue 1 of Spiderman).

Telephone Boxes were utterly amazing (the Smiths invited us on their first tour and paid our expenses and a modest wage)we sounded like a cross between The Fall & an ice cream van. We recorded four demos for various record companies,every Smiths gig, and lots of home tapes. Maybe we can release some of it one day.

The Telephone Boxes was formed in 1982 by Pete Brickley (vocals, guitar), Charlie Allen (bass, backing vocals), Adam Wood (guitar, backing vocals) and Patrick Hunt (drums, and he would continue working with Pete on The Wallflowers). The band would be active until 1985. Also worth noting that on the song “Theme from Interpol” the drummer was Mark “Sparky” Davies.

Previously Patrick had been in Aztec Camera. Pete Brickley was on The Mystery Girls and The Xtensions. Adam Wood had also been in The Mystery Girls as well as in Frankenstein’s Baby, The Company and The Famous Men.

The record that Detour released in 2021 included a plethora of songs. It was an LP and CD combo. The songs on the LP are repeated on the CD, but the compact disc includes 12 more songs. These are: “Lazy Time”, “Language of the Land”, “Little White Lies”, “You’re the One”, “I Don’t Like to Repeat Myself (Live)”, “Thank You”, “Theme from Interpol”, “Please Yourself”, “Hallelujah I Was Born”, “One Day”, “Now That We’re Friends”, “A Twist of Fate”, “Love Was Here (Live)”, “STYLE”, “Affection”, “I Read a Book”, “Good Fortune”, “Boomerang Jack”, “Camouflage”, “A Great Big River”, “Down and Out”, “Everybody’s Fool”, “Broken Up”, “Living in Trees”, “Deadbeat (Live)” and “Relatively Speaking”. The songs were written sometimes by Pete and others by Adam.

This record was very limited sadly. 150 copies in black vinyl and 100 on red. The album includes their demos as well as live tracks from their Smiths tour.

On my blog I find another mention about the Telephone Boxes. It is on the post about the band Ala Pana Fuzo. There I wrote: “There’s an interesting bio on last.fm written by Ian Miller himself. Among the many interesting facts written, he mentions that they often played on the same bill with Peter Brickley, from the Telephone Boxes and the more known Wallflowers as he was also from Slough. They were also very close to signing to a major label but it didn’t happen.”

A post on The Guardian tells us a little bit more about Peter and The Telephone Boxes: “The Wallflowers were the creation of Peter Brickley (who always styled himself Peter d Brickley). He’d come to the attention of Marr via his previous band, the Telephone Boxes, who had supported the Smiths. It’s possible he didn’t have the Stakhanovite work ethic required to make a success of a music career: his RIckenbacker guitar was backed with a large sticker with the word “acid” written in block capitals; he played more often with Slough’s jokey country band the Company than he did with his own group.”

I start to wonder why did I miss this. I haven’t heard all the songs on the record. Just a few and they are fantastic. I’m pissed. Only now, 2 years after the fact I am seeing my mistake. And happily all the songs are on Soundcloud. Sure, not the same as playing the real thing, but this is nice too!

What else is there to say about them? Well yes, they played at many places including, at the Nelson Mandela Hall  and London King’s College (both with Hurrah! and Felt), at the Leicester De Montfort Hall, the Warwick University Arts Centre and Reading University (with The Smiths), at Dingwalls (with The Smiths and The Daintees), at the Lyceum in the Strand (with The Smiths, Billy Bragg and The Redskins), at Libertys (with Death Pop), at the ICA (with The Room and The Red Guitars), at the Windsor Arts Centre (with The Smashing and Death Pop), Mothers Wardrobe in Slough, Studio One and at The Rock Garden among others.

Lastly on Youtube there are two videos, titled “The Last Twist Part #1” and “The Last Twist Part #2“. Check them out!

I lost touch with Pete Brickley since I interviewed him ages ago. So yeah, would love to reconnect, maybe find out more about this wonderful band. Also hoping for a reissue someday! Anyone remember them?

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

Listen
The Telephone Boxes – Language of the Land

07
Dec

Just a heads up that the last day to order records from Cloudberry will be on Sunday. After that I won’t be able to mail any orders until mid January.

I’ll continue blogging during this time though, I will have the computer with me.

Also keep an eye for an early release early next year by the label, our first 10″! By a beloved Swedish band! Very exciting!

I’m going back in time. Down memory lane as they say. Remember NYC Popfest 2007. That was my first Popfest. Seems like a long time. But I have vivid memories. I can still recall the Bunnygrunt gig in Coney Island. Or chatting with Duglas before the BMX Bandits played. Good times.

There are gigs I dont remember. I am sure I saw Affair D’Coeur but I can’t recall the gig. I remember their name very well though, and now and then it crosses my mind. I should have written about them before. I know I want to remember. Was it a full-fledged band? For some reason I think it was a duo. It is hazy.

They were from NYC. I think that’s right. And I remember they played at The Delancey. That night when I first saw The Baskervilles who at the time were among my favourite bands. I was impressed. The Secret History played that night too. I didn’t know Mike Grace yet. I was impressed by his band and giddy to see ex-My Favourite people on stage.

One detail I remember clearly about Affair D’Coeur was the photo/avatar they had on Myspace. A cartoon pigeon. That doesn’t show up anymore. There is still a Myspace but of course that doesn’t work.

There should be some songs in there. At least their names. “Don’t Tell Me”, “Heart on Demand” and “Oh No December” appear to me. Can you find anymore? They don’t play for sure. Click on music and you get a broken page.

A brief bio I find says they were from Brooklyn. That they recorded their tracks either on or using a Tascam 414 MK II. That they were a bedroom pop band. A lo-fi indiepop band.

Discogs only lists a compilation appearance. It is on CDR I have never heard about, “Loose Sips Sink Ships” released by Indieskys Records (ISY 001). Not sure what year it was. Four songs were included: “Long Drive AKA To My Friends”, “Do You Wanna Go With Me?”, “Heart on Demand” and “Port of Call”. I’m not familiar with the other bands on it.

Other than this I know the band played a gig on March 24 of 2007, before the Popfest. It was at 29 Wythe St. in Williamsburg along The Manhattan Love Suicides, Titus Andronicus, Fellows and The Pains of Being Pure at Heart. Just two months before the Popfest.

Perhaps the best find is that there was a video made for the song “What I Need“. Other videos on this account has songs by a band called MiamiBeachNY… maybe one of the members was involved in this band.

I can’t find names. I can’t find other songs. But clearly they made an impression on me. I remember them and have been wondering what happened to this band. It’s been about 15 years since I heard them. It’s been fun to at least listen to one of their tracks again.

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

Listen
Affair D’Coeur – What I Need

04
Dec

Today we travel to Brisbane, Australia. Home of The Go-Betweens. But also many other good bands. Here is one I didn’t know about, that I just discovered, Modern Poets.

In 1989 they were making their debut with the release of a 7″ on Big Noise Records (M.P-1230NIT) which probably was their own label. This record had two songs, “Understanding Mary” on the A side and “Redsun” on the B side. It was recorded at Vibrafeel Studios in their hometown and was co-produced by the band and Michael Borkowski.

In 1991 the band would release a cassette album titled “Politics, Poetry and…”. It was put out by Big Noise Records (MP 223740) and was again recorded at Vibrafeel Studios and mastered by Jim Baker at Willowtree Studios.

The album had the following songs, “She Says”, “Ethic of Love”, “Rock Strength”, “Crushed”, “Understanding Mary” and “Driving” on the A side and “Big Slide”, “Planet Go to Rest”, “Fall from Grace”, “Forest Fire”, “Everything is Fine”, “Epiphany” and “This Burning Town” on the flipside.

We learn too that the band was formed by Jonathon Sargeant on vocals, Ben Thomson on bass, Timothy Hills on strings and Philip Neil on drums. Timothy was the one who wrote the music.

Other than these two releases we know that their song “Red Sun” appeared on “Triple M FM 104 Homegrown” LP compilation released by Wheatley Records (TWOHG 004) in 1990.

Then I find a Facebook page for the band. Here I learn that the band started in 1983.

I find there a video of the band playing the song “Feel the Light“. On that same account by Timothy Hills, there are more videos of them, for example the band practicing at Oxley Hall in the Gap in 1985. Recording at Star Sound after Winning the Triple MM Homegrown in 1988. Or live on Channel Seven on a Saturday morning. And what about a fun short video after an interview?

There’s a video for “Everything is Fine” too.

Then I find that the band reunited for a gig on October 4th, 2014.

And lastly on Yotube I find the band’s song “Fear of the Fall” being played live at the Festival Hall in Brisbane in 1985. There is no live footage though. But can check the song.

Another little detail I find is that these days Tim, Jonathon and Phil  make music with a project called Dolby System.

Good stuff, right?

What do you all remember about the Modern Poets? Did they play live much? Did they release any other records?

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

Listen
Modern Poets – Understanding Mary

27
Nov

Have you heard of a Bristol 80s band called Hope Springs?

I didn’t know about them. Quite surprised. They had a good sound, and quality songs.

9 of their songs were published as a digital album by Bristol Archive Records in 2020. These are available on different streaming platforms. I found Youtube the best to listen to them.

The songs are “Nat Kat”, “Perfect Day”, “Take”, “Higher than Love”, “Song & Dance”, “The Love Mine”, “Tears Disappear”, “Wild Weird Climes” and “Confetti”.

The songs seem to date from 1989 and we know that the band was formed by Andrew Garrett on vocals, Pat Lewington on guitar and backing vocals, David Crossland on bass, Cindy Baldwin on keyboards and backing vocals and Dave Jones on drums.

I search a little bit and find a Facebook page for them that was set up in 2017.

There I find that the band came from the ashes of another band called Under the Orange. How did that band sound like? Which members were on that band? It seems it was the same band with the aaddition of Pat Lewington.

There are two scans of reviews they got. Both are from a magazine called Rhythm, on the April 1989 edition they praise the band a lot and then on March 1990 edition there is a mention that Hope Springs was selected as the best demo band for that month.

We also know that the band played the usual venues in Bristol including The Fleece, The Bridge and The Tropic. In London they played at the Rock Garden and the Mean Fiddler.

In total the band recorded 3 demo sessions. Cindy left after the second one and the band split after the third.

Anyone know anything else about them?

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

Listen
Hope Springs – Wild Weird Climes

20
Nov

Here is a great Bandcamp find. The self-released tape album by French band Tous Les Cactus!

This self-titled album came out 30 years ago, in 1994. And from what I understand the band may be preparing a vinyl version of it. For that I guess we’ll need to be checking now and then their Bandcamp.

The album, made of 8 studio songs and 4 live tracks at Le Plan, is an interesting record for sure. It was recorded in the UK actually, at Swamp Studio in July of 1993. At this studio in Great Ellingham, Norfolk, the band worked with Howard Turner s sound engineer and Michel Belan as producer.

The songs on the record are “HP”, “Sur ta Bouche”, “Allons Voir”, “Happy Hour”, “Jardin Fantastique”, “Flic Flac”, “La Lune”, “A La Dérive”, “Dans l’Air (Live, Le Plan, Ris Orangis, 1994):”, “Sur les Quais (Live le Plan 1994)”, “Démons et Merveilles (Live le Plan 1994) and “Derrière la porte (Live Le Plan 1994)”.

The band was formed by  Jean Daniel Domenech on vocals, acoustic guitar, harmonica and accordion, Yann Bailay on electric guitar and keyboards, Jean-Philippe Bailay on bass and André ‘Dedé’ Domenech on drums. Was it then, two set of brothers? Would be good to know.

Also on this record Dominic Hopkins and Jack Matthew played strings.

Other than this tape album the band appeared on a couple of compilation tapes. In 1993 they had the song “Dans l’Air” on “Simple as Them”, a tape released by Ora Pro Nobis (OPN 9303) in France.

The next year, 1994, their song “Au Hasard” was on “Quality Sweet” released by Pâte A Modeler (001) in France and the song “Sur Ta Bouche” on “Des Gens Simples” tape released by Ora Pro Nobis (OPN 9402).

Back to the album. On their Bandcamp there are a few reviews including two at Les Inrockuptibles, one at Charivari! and another at Les Jolies Mélodies.

Very cool sounding band for sure. A very good discovery. I knew them by name as I had looked into the “Quality Sweet” compilation as I have featured a few bands that have appeared on it, but never heard Tous les Cactus until today.

I definitely want to hear more. And learn more about them! French friends, please share any details you might have! Where in France were they from? Did they play much live? Why no more records?!

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

Listen
Tous les Cactus – La Lune

13
Nov

Some time ago I interviewed Mark Turrell from the band Evergreen Dazed. This was a duo formed by Mark and Elizabeth that was active in the early 90s in London. They released a few records during their time.

I had asked Mark about previous bands he had been in. He mentioned that he had been in many since 1984 but he didn’t share any names. This is what he told me:

I’ve been in bands since I started at university in 1984. The first one was with my housemates. None of us could play very well so we used to improvise in the basement and record it on a boom box. It’s terrible, but I still have the tapes. There was student band night in May 1986, so we learned 6 obscure indie covers and played them in front of 800 students. We weren’t very good, but that was my first gig! After university I was in a slew of bands with my friends back where I grew up in Leicester UK. I had an electric guitar and a Boss drum machine, another friend had drums, another had a bass and bought a 4 track  recorder, and  that’s where I  learned my songwriting and recording chops. That would be 1987-91. I played gigs and there are loads of 4 track recordings, one or two are on youtube/soundcloud but none of them will ever be officially released. One of my oldest friends from this time is Neil Carlill who went on to be in Delicatessen and have brief UK chart success in indie supergroup Lodger. We grew up in the same village and I was in the same school year as his brother for a while until  their parents sent them off to Catholic school. We were in bands together on and off for 5 years until we went our respective ways.

Well that is true, some of these recordings are in Soundcloud/Youtube. And as I am quite slow at going through these, it was only today that I heard of his project The Burton Diaries.

In this band he was with Neil Carlill who he mentions. Also on the band was Kevin Carlill. Were they brothers? In any case I’ve found one song they recorded, “Crying Eyes“, which is ace. On this song, recorded in 1989/1990 as an 8 track demo, we find Kevin doing vocals, Neil guitar and Mark bass.

From what I understand, in this period Mark lived in East Goscote in Leicestershire. Leicester is the closest city. Maybe that’s where this band was based?

I don’t have much more info on this project. Did they play live? Are there any other recordings? Maybe I should ask Mark…

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

Listen
The Burton Diaries – Crying Eyes