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Pepper (Slight Return)

June 13, 2017

The previous post (on Elliott Smith, below) was written on the back of the Sgt Pepper anniversary/reissue jamboree. By coincidence, so is this one.

Sgt Pepper turned the world on its axis. The day it was released, the 60s went from the monochromed mundanity of a smog-filled Britain with wee men in bowler hats running the country to a cosmic technicolour planet where anything was possible. And anything was possible. On the 4th June 1967, just two days after Pepper came out, Paul and George found themselves at The Saville Theatre for a Jimi Hendrix Experience show. Hendrix, perfectly aware that half of The Beatles were in attendance had the mother of all aces up his silken batwinged sleeve.

Hendrix had appeared from nowhere, brought to Britain by The Animals’ Chas Chandler, immediately establishing himself as a top fixture in all the right clubs in swinging London. He was a top-heavy hippy in military garb, supported by sparrow-narrow legs with hair as wild and electric as the upside-down Strat he toted. Jaw-dropping in both sound and ability, Jimi could play lead and rhythm concurrently, his big right thumb working the bass notes the way a conventional guitarist might use his first finger. With black-as-coal hamster eyes permanently sparkling he sent multicoloured notes of amplified electric greatness out into the ether. He was untouchable.

To open The Saville Theatre show, Jimi and his Experience worked up a version of Sgt Peppers‘ lead track, slow and sludgy, loose and on the edge of falling apart, unmistakeably Hendrix and super-thrilling. Jimi replicated the whole thing, even playing the brass section as guitar riffs. A guitar-heavy track to begin with, Hendrix made it his own. A thrilled Paul and George watched from the balcony as Jimi caught their eye and smiled his knowing, lopsided, stoned grin.

Jimi opened, the curtains flew back and he came walking forward, playing ‘Sgt. Pepper’, and it had only been released on the Thursday so that was like the ultimate compliment. It’s still obviously a shining memory for me, because I admired him so much anyway, he was so accomplished. To think that that album had meant so much to him as to actually do it by the Sunday night, three days after the release. He must have been so into it, because normally it might take a day for rehearsal and then you might wonder whether you’d put it in, but he just opened with it. It’s a pretty major compliment in anyone’s book. I put that down as one of the great honours of my career. I mean, I’m sure he wouldn’t have thought of it as an honour, I’m sure he thought it was the other way round, but to me that was like a great boost. (Paul McCartney)
Jimi Hendrix ExperienceSgt Peppers Lonely Hearts Club Band (Saville Theatre, London, 4.6.67)

One of the best Beatles’ covers? Quite possibly. You’ll have your own ideas, no doubt. Beatles’ covers are ten-a-penny. We all know that. The Sgt Pepper album was treated to the full monty in 1987 when the NME, back in the days when it was still a barometer of hip opinion, released the whole album in cover form. It’s a fairly stinking album, all truth be told. It did raise money for charity, getting Wet Wet Wet’s version of ‘With A Little Help From My Friends‘ to number one in the process, and it did give Billy Bragg a back-door entry to the top of the charts (the barking bard from Barking’s version of ‘She’s Leaving Home’ was on the b-side) but, 30 years on, it’s best forgotten about.

In contrast to Jimi’s spectacular take on the title track, Three Wize Men (Google won’t help) bravely attempted a none-more-80s hip hop version of the same track. Perhaps at the time it was a radical thrill (I doubt it) but nowadays it sounds about as edgy as something Age Of Chance might’ve left lying unloved on the studio floor.

Three Wize MenSgt Pepper

 

The album closer, by that most NME of bands The Fall, is a bit better, this album’s saving grace, even, even if Mark E Smith sounds totally bored by the whole concept. He probably was.

The FallA Day In The Life

She’s Leaving Home…..

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Just A Shooting Star

June 4, 2017

There’s a wee bit of a media-fixated Beatles renaissance going just now, what with Sgt Pepper turning 50 and fortnightly reissues of their back catalogue racked up in the Spar alongside Tank Commander Monthly and Build Your Own Millenium Falcon Weekly. It’s a great time to be discovering them for the first time. Who cares if someone’s first exposure to Hey Bulldog is via De Agostini publishing?

Fast track back to the mid 90s and arguably the first flourish of serious Beatles reappraisal since the demise of the band. With their self-proclaimed monobrowed monopoly on all things Fab you could be forgiven for thinking that Oasis had cornered the market in Beatles-influenced music. Just because they shouted louder and played louder and just were louder in every sense didn’t mean they were the only ones with a fevered fascination for the Fab Four. The louder the gob, the bigger the knob ‘n all that. If you listen closely to their music these days, is it even possible to spot The Beatles’ references? Is it? Well, aye, it is. A wee bit. Some of their less-ballsy records have the ‘feel’ of late-era Beatles – All Around The World‘s universal message sounds like the sort of song a lazy advertiser might come up with if tasked with creating a Beatley tune in an afternoon, and Liam is awfully fond of doing his best Lennon sneer atop a grandly played piano. Many of their harmonies are quite clearly direct second cousins of the real deal, but after that, I’m stumped. There are far better bands who’ve dipped deep into the best back catalogue in popular music and pulled out their own skewed version of Fabness. You’ll have your own favourites.

 

And so to Elliott Smith. If you’ve been visiting Plain Or Pan since the glory days of 2007, you’ll know he’s a big favourite round here. He still is. Indeed, his 4th album, 1998’s XO is currently spinning for ther umpteenth time this week. After years of being out of print on vinyl, it finally made it back onto wax a couple of weeks ago. My eye was off the ball when initial copies went on sale and I missed out on the very limited (500 copies, I think) marbled vinyl version, so I had to settle for the standard black 180 gram edition instead. No big deal really. Really. No, really! I’ve lived with the CD since the day of release, discovered when I was working on the counter of Our Price where it was a ‘Recommended Release‘ that week. I played it three times straight through that afternoon in a fairly empty shop, each subsequent play making my jaw drop a notch closer to the sticky carpet. His voice! Gossamer-light and as fragile as fuck. His playing! Beautifully picked arpeggios one moment, brightly ringing fancy chords the next, no solos but lead breaks that aped the vocal melody – just like Paul McCartney. His arrangements! Double-tracked and beautifully harmonised vocal effects, weird ‘n wonkily off-key pianos, little melodic runs up and down the fretboards and keys….. total Beatles! While the Mancunian magpies were belching loudly about their love for The Beatles, here was Elliott Smith very quietly and unassumingly wearing his obvious love for them, not only on his sleeve, but in the grooves inside the sleeve.

XO is a fantastic album. It was Elliott’s major label debut and followed hot on the heels of Either/Or, the undisputed ace in his back catalogue up until then. Either/Or is also packed full of introspective, whispered songs. Alameda. The Ballad Of Big Nothing. Say Yes. Between The Bars. Angeles. All are what you might loosely call ‘Greatest Hits’, had Elliott been fortunate enough to have had such things. All feature the signature double-tracked vocal (like Lennon), the melody-chasing guitar (like McCartney) and the unassuming resignation of George Harrison; always the bridesmaid, never the bride. Even at the Oscars, when a crumpled and bemused Elliott performed after the Good Will Hunting soundtrack received a nomination, he was the outsider. Celine Dion might’ve beat him to the gong, but who in their right mind would want to play that Titanic song 20 years later? Conversely, Elliott’s music endures.

What Either/Or lacks is clarity and sheen. It’s very lo-fi and indie. Coffee house music for misfits who’ve fallen on hard times and hard drugs. XO has a bright and shiny polish to it, reflected (gettit?) in the fact that much of it was recorded in California and LA.

Opener Sweet Adeline was the clincher for me. Just Elliott and his guitar, with descending riff and wonky chord included, the clouds part at the first chorus and sunlight bursts in in the form of glorious harmonies and barrelhouse piano, the drum sound not a million miles away from something Ringo might’ve strived for around 1967.

Elliott SmithSweet Adeline

I knew there and then that this was an album I was going to love. By the breakdown at the end, the whole thing sounds a wee bit like the breakdown from Sgt Pepper’s Lovely Rita. This is immediately followed by Tomorrow Tomorrow, Elliott singing counter melodies to himself while he plays the most amazing ringing guitar – a 12 string with 4 strings missing, closely miked and double-tracked (again) to sound like a whole orchestra of guitars. The songs that follow on are stellar. Waltz #2 was the album’s near hit; a piano and acoustic guitar fighting for top billing, lilting and waltzing (aye) to a cinematic end with sweeping, swooping strings. And did he really sing about ‘Cathy’s Clown‘ in the first verse? Yes! This was confirmed on the 2nd listen.

Elliott SmithWaltz #2

The only Everly’s reference I’d ever heard in song was McCartney’s ‘Let ‘Em In‘ and here was another. It was a sign. Three songs in and I had discovered an album that remains to this day an essential album, one of my very own Recommended Releases. To paraphrase Brian Clough, I wouldn’t say XO is the best album ever written, but it’s in the top one.

There’s plenty more Beatleisms throughout; Bottle Up And Explode has an ending that George Martin would’ve loved putting together, layer upon layer of vocals and guitars and strings and weird effects and kitchen sinks. It’s very Fab.

Elliott SmithBottle Up And Explode

As is Everybody Cares, Everybody Understands, a song that sounds as if it’s going nowhere until Elliott drops a clanger of a swear word and the whole thing ramps up a gear on the back of it. The ending has a great clash of sighing cellos, sighing backing vocals and a crescendo half-way between The Smiths’ Death Of  A Disco Dancer and a DIY Day In The Life.

Elliott SmithEverybody Cares, Everybody Understands

Bled White is another. Ringing guitars, electric organ and a fantastic (fabstastic?) call and response vocal. This is music made in the studio, deliberately written to sound as good as possible in recorded form.

Elliott SmithBled White

Many acts go for the feel of the music, the spontaneity that a live performance brings. Elliott live was by all accounts a very hit and miss live act, and going by the numerous bootlegs I’ve listened to over the years, this would seem true. No stranger to stopping songs midway through if he wasn’t feeling it, he’d half-heartedly and quite possibly deliberately lead his band through a lumpen car crash of a song one night then play a spellbinding acoustic version the next. Tracks like Bled White could never sound great live. But recorded for posterity on XO, they sparkle immortally.

 

Elsewhere, you’ll find the bedsit Beach Boys harmonies on Oh Well, Okay have the potential to induce real tears. The wee cello swell after a minute or so is your starter for ten.

Elliott SmithOh Well, Okay

Album closer I Didn’t Understand wafts in on a raft of a-cappella vocals, just like Because on Abbey Road – a track Elliott would go on to cover on the aforementioned Good Will Hunting soundtrack, funnily enough.  I could go on and on. Suffice to say, XO is well worth investing in if you’ve never had the pleasure.

To finish, here‘s Elliott doing The Beatles. Reverential and respectful.

Elliott SmithIf I Fell

 

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How Does Bob Marley Like His Doughnuts?

May 26, 2017

Wi’ jam in, obviously.

But everyone knows that.

With an extreme burst of lethargy I managed to stretch for the laptop, determined to commit this week’s musical musings to virtual print, despite my flagging limbs and sweaty heid telling me otherwise. Outside, balls bounce-bounce-bounce to the point of major annoyance. Kids scream with excitement as water is scooshed from someplace unknown. Lawnmowers with engines in various states of poor health noisily scalp my neighbours’ front and back gardens. Not quite what Joni Mitchell had in mind when she was titling one of her albums ‘The Hissing Of Summer Lawns‘ but then, this is (nearly) Irvine, Ayrshire, and not Irvine, California.

This heat! Melting minds, slowing the pace, turning everyone wabbit. Good Scottish word, wabbit. It means extreme tiredness, unable to function, total exhaustion. Everyone though is smiling. Everyone. The good, the bad and the ugly. Out in shirt sleeves and last year’s shorts. Ill-fitting Old Firm tops, freshly inked limbs turning a pinker shade of transparent white in the Ayrshire sun. Taps aff on the building sites and sunburnt shoulders on the hard shoulders on the drive home from work. Big bellies oot and we don’t care. Summers here and the time is right for prancin’ in the street. To quote Van Morrison, wouldn’t it be great if it was like this all the time?

 

Exodus was Bob Marley‘s 9th album. The previous 8 are a fine mixture of occasionally Perry-produced bluebeat ska and herbal-infused political riddims, but album number nine was the big international breakthrough. Recorded in London following an attempt on Marley’s life in Jamaica, it’s the first truly mass-market appeal reggae album. Purists might rightly argue that it’s almost reggae lite, but the tunes therein still pack a filling-loosening bassy punch. The subtle emphasis on the Mayfieldish wah-wah pedal and the decision to push the brass section to the fore lends the album a more soulful feel. The whole thing is very laidback – there’s not a single ‘fast’ track amongst any of the ten – and it makes for a brilliant soundtrack to this heatwave we’re currently experiencing.

Side 2 is where all the big hitters are; Jammin’, Waiting In Vain, Three Little Birds and One Love/People Get Ready were all hit singles on both sides of the Atlantic. The track that gets my vote every time though is Turn Your Lights Down Low, the only track on the second side not to be released as a 45 and along with album opener Natural Mystic, the track most likely to top my non-existent list of favourite Bob Marley tunes.

Bob Marley & The WailersTurn Your Lights Down Low

It’s a cracker, isn’t it?

Bob Marley & The Wailers – Natural Mystic

If you listen carefully to this, you might just hear the scrape-scrape-scraping of Sting’s pencil as he writes out his blueprint for The Police. But don’t let that put you off.

Here’s Lauryn Hill doing one of those ghost duets that was all the rage a few years ago. Soulful, respectful and with added hip-hop flavourings. Lauryn would later go on to partner Rohan Marley, one of Bob’s sons. Broke my heart that did. I had high hopes for me ‘n Lauryn.

Bob Marley & The Wailers with Lauryn HillTurn Your Lights Down Low

To finish off, d’you know how The Wailers like their doughnuts?

 

I’m not sure, but, aye, I hope they like jam in too.

Jah like it? as Bob often said after one pun too many.

 

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Sticky Fingers

May 16, 2017

DERRR DAAANG!!!

Woof! Woof! Woof! Woof!

And off we go on the most thrilling song about shoplifting you’re ever going to hear. Stealing to live. Stealing to give. Stealing just because. “I enjoy stealing things, it’s a simple fact.” sings Perry Farrell in that helium nasal whine of his.

Janes AddictionBeen Caught Stealing

Janes Addiction rock. And not in a (gads) Red Hot Chili Peppers way. That word ‘rock’ brings to mind images of middle-aged men in designer ripped jeans. Accountants in band t-shirts and Rocha John Rocha leather jackets. The weekend bikers at Largs seafront. Those kinda guys. Livin’ the dream, safely, soundtracked by Def Leppard, Bon Jovi and all that rubbish.

Janes Addiction were (are?) skinny, itchy, disease-ridden junkies. Lowlife ne’er do wells. Manky jeans. Mankier hair. Battered, slept-in leather jackets. Damaged livers and syphilis givers. With a healthy Led Zep obsession, they re-booted riff rock for the pre-grunge generation. Been Caught Stealing is arguably their masterstroke. Certainly, it’s their best-known track. Anyone who tells you they don’t like Janes Addiction still likes Been Caught Stealing. It’s just a simple fact, to coin a phrase.

The bit in the middle is, crucially, when Janes not only rock, but roll. The drums, fantastic-sounding and grooving, the handclaps on the second beat, the rolling bassline, it’s a head-nodding breakdown that’ll never be bettered. Truly, it swings like Sinatra with a 7 iron.

Here they are on the Late Show, the precursor to the long-past-its-best Later….With Jools Holland.

Perfect! If The Muppet Show had been briefed with creating a gonzoid, disfunctional, rockin’ band with a penchant for PVC ‘n leopard print, they’d have created exactly this. The anti rock star at the front – check those less-than-perfect mercury-filled teeth during the close ups, his voice drenched in echoey delay for added whine….a bass player and guitarist, both lost in their own worlds, all hair ‘n sunglasses ‘n bangles ‘n beads ‘n casually fired-off lightning bolts of alt rock….a bare-chested drummer who out-Animals The Animal….Perfect!

Here’s a terrific studio outtake of the same track, acoustic-ish with added sc-sc-sc-sc-sc-scatting for free.

Janes AddictionBeen Caught Stealing (Studio Out-Take, 1989)

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In-Between Go-Betweens

May 13, 2017

No writing recently as I’ve spent the past week away on a school residential trip. Well, 4 schools’ trips to be exact. It’s the final hurrah before the P7s leave their lofty position as top dogs of their respective primary schools and enter the local secondary as the smallest fish in a much bigger pond. The trip is organised as a bonding session, as a way of getting to know the chancers and cheek merchants who’ll form your peer group for the next 4 years at least. It was a great trip, all be told, my 6th tour of duty at the same place and, as before, a trip like none of the previous ones. I sat last night like a burst baw, beer in hand and hardly bothering to drink it.

Despite the fact that you’re most definitely very responsible for these children 24 hrs a day, every day for a school week, and you’re in their company from the moment the first early riser surfaces (6.00am was this week’s record, though it was no later than 7 on the others), until the last laugh has echoed down the dormitory corridor at 11.30pm, it is a very enjoyable week. My personal highlight was yesterday morning when we went out as a school group and sped across the Firth Of Clyde on a handful of speedboats. A pod of dolphins had followed our procession and at one point, one of the dolphins swam alongside one of the boats. The kids were able to lean overboard and touch it, much to their delight (and the disappointment of the others who’d found themselves on the ‘wrong’ boat).

The instructor driving the boat asked me if we’d prefer to go and see the seals next or head further round and push the vessel to the limits of its speed. “Can’t we do both?” I was thinking, although I replied, “Whatever you think’ll be best….the kids’ll enjoy either.”

Easy come, easy go,” came the reply.

And with that, an earworm was born. And it’s been my earworm ever since.

As it turned out, we did do both; we zipped across the top of a blustery channel before thrillingly and somewhat dangerously sharply turning 270 degrees to head for the rocks where the seal colony lived. My knuckles were white but I had GW McLennan’s tune spinning in my head as we headed for the seals. “I see my friends on fire….I might even have struck the match,” And there they were, playing up to the nautical tourists like well-trained zoo animals, the wee ones appearing and disappearing from the water, heads like black Labradors, the big fat one seemingly slobbed on the highest rock until we floated closer and it belly flopped into the oily sea. “You gotta take the moon from the trees, you gotta hide it in your room…

We then turned again and our skipper edged forward into full throttle. There was an audible gasp for breath as the speedboat hit light speed, children gripping just that wee bit tighter than before. And still that tune played in my head. Weird! “You gotta hold it til it burns, you gotta make it easy come, easy go…” Even a sudden, unexpected mouthful of salt water couldn’t stop it.

When I got home last night, and the children and missus had been kissed and hugged and the dust had settled on the stories to tell and the washing had been put on and the case returned to the loft and the beer was in hand, the next thing I did was reach for Teenage Fanclub’s recent version. It was spun to within an inch of its life for about 40 minutes, one play after another, until my mind was rested. It’s a great version; faithful to the original, delivered by Gerry and wrapped in honeyed harmonies from Norman.

Sadly, no studio version remains available in mp3 format. You’ll need to have a copy of the fairly limited ‘I’m In Love’ 7″ if you want to hear it in all its warmly-produced glory. There is however, a rather good live version doing the rounds, recorded at last December’s Barrowlands show.

Teenage FanclubEasy Come, Easy Go (Live at Barrowlands, 3.12.16)

As a studio version, it could sit very easily on any of TFC’s stellar albums, especially last year’s ace ‘Here‘ LP. It could also sit nicely on a Lightships release, should Gerry decide once again to step away from Fanclub duties and go solo for a bit. He’d certainly be made very welcome to do so.

Indeed, Easy Come, Easy Go was the product of a solo record to begin with. Grant McLennan’s first output since the split of The Go Betweens (they’d reform briefly a decade or so later, before McLennan’s untimely death) was the Watershed album. It’s a record I’d never heard until I backtracked from Teenage Fanclub’s b-side and heard the original for the first time. In all honesty, The Go Betweens, as pleasant and melodic and literate as they are, didn’t really do that much for me. I appreciate them ‘n all, I just wasn’t crazy about them. For this, see also Belle & Sebastian. But I digress…. A solo record by someone from a band who I thought were just OK was never going to be high on my list of ‘must hears’. More fool me.

GW McLennanEasy Come, Easy Go

I dare say it’s a terrific LP, packed full of Antipodean jangling pop, although as I’ve reasoned above, it needs proper investigating before I’m fully qualified to really say so. In its original form, Easy Come, Easy Go sounds exactly like a Teenage Fanclub track even if, when it was written in 1991, the Fannies were still favouring Marshall stacks over Fender Twin Reverbs and were more akin to fuzzy Ravenscraig rockers than the Bellshill Beach Boys they were still to become. Certainly, Watershed as a whole and Easy Come, Easy Go in particular are clear influences on the TFC sound. And for that I really should sit up and take more notice.

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EverLa’s-ing Love

April 26, 2017

There’s a scene in Roddy Doyle’s Commitments when Joey ‘The Lips’ Fagan is talking to band manager Jimmy Rabbitte’s dad about his time spent working with Elvis. A picture of Mr Rabbitte’s favourite singer hangs above the mantlepiece, noticeably just above a picture of the Pope.

Tell me Joey,” Jimmy’s dad asks with pleading eyes. “Did ye ever see him take drugs?

No, Mr Rabbitte. Never.” As he fixes him in the eye, Joey replies with a genuine plausibility, but given that most of his stories are taller than the quiff atop The King’s head, even Mr Rabbitte must’ve taken it with more than a little pinch of salt.

Likewise The La’s. To clarify, Lee Mavers grinning, gurning, mop-topped Mersey head doesn’t take pride of place on my living room wall, nor do any leaders of world religion, but in this house he holds God-like status. A nutty, 60’s dust-covered, guitar-tuned-to-the-humming-of-the-fridge God-like status, up there with all the greats. One album in and then nothing. The odd low-key comeback where he was hellbent on sabotaging affairs should be quietly forgotten about. But not the tunes. They live on, immortal. The one bona fide rhyming, chiming hit on his hands allows him to live in relative luxury forever. If you want to hear Lee singing live, these days you’re more likely to do so on the terraces of Goodison Park.

  

See that song There She Goes? It’s about mainlining heroin, so it is….

That’s a common concensus and it fair pisses me off.

Now, I once spent a week on Minorca with Lee Mavers and AT NO TIME did I see him mainline heroin. No, Mr Rabbitte. Never. This is a true story – I was on holiday with my missus, so was he. We were holiday pals. One night in his company chatting about The Who and The Kinks and The Beatles – favourite Beatles song? “She Loves You, man!“, said as if it was the most obvious answer in the world, was good enough for me. ‘I’ll leave him in peace,’ I told the future Mrs Pan. ‘I can’t be pestering him for the next week.’ Unbelievably, thrillingly, it was he who pestered me for the next week. ‘Don’t look now,’ said the missus over a midday breakfast the following day, ‘but your pal’s coming over.’ With an ‘Alright kiddo?!?‘ and a punch on the arm, he sat down to join us and we were new best friends.

Over the next few nights he’d beat me at pool, introduce me to gin pommades and sing, SING! La’s songs across the table to me.

I love ‘Man, I’m Only Human’ I told him one night. “D’you know all the words?” he asked, and before I could reply that I didn’t, he sang them to me, right there at the table, with the same high, floaty voice he’d used a few months before in the Mayfair in Glasgow. Putting extra emphasis on the ‘Man, I’m only wo-man‘ line, he sat back, arms folded as if to say, ‘What d’you make of that, then la?‘ The bar was full of folk oblivious to who was in their presence and it was magic.

He told me about the 2nd La’s album, due for release in “one nine nine four“. It’d be called Cocktail and would be the defining album of the era. It would knock ‘the Stoned Poses‘ off their perch and restore The La’s in their rightful position at the top of the musical tree. Lee envisaged a mountain with the sides littered with all the bands of the day climbing to the top (but not quite getting all the way there), drawn by a flashing blue light. “Callin’ All, la. Callin’ All. And who’s at the top, above them all?” he asked rhetorically.

Now, at no time did I see my new best pal mainline heroin. No, Mr Rabbitte. Never. But he did have a fondness for disappearing into the trees and returning a short while later with a certain sparkle. If Jimmy ‘The Lips’ Fagan told tall stories, Lee’s stories were perhaps taller. Higher, even.

The La’s.

A band with more line ups than Lulu roon’ the back o’ the Barras

Here’s The La’s when they were a skiffly, Beatlish, band from the Merseyssippi, full of promise, mysticism and tunes to die for. April 1987 – 3 whole decades ago! – found them working with Mick Moss on one (just one) of the sessions for their ill-fated, beatifully flawed one and only LP.

The La’sCallin’ All

The La’s were seemingly never happy with any recordings of Callin All’, ever. It’s one of the few La’s tracks not to have seen an official studio release. La’s trainspotters have multiple versions, of course, from the rootsy, acoustic version above to full on sultry Stones We Love You-era inspired takes. Each one a classic, every one a lost gem in the small but perfect La’s back catalogue.

The La’sCome In, Come Out

Come In, Come Out exists in better form, on the b-side of There She Goes and on ‘Lost Tapes‘, a long-forgotten download-only release from the embryonic days of the first legal downloads. The Mick Moss version is missing the percussive back beat on those two versions, but skips along with frantically scrubbed acoustics and a full-on ‘n funky bassline. Not for nothing did The La’s tag ‘Rattle ‘n Roll’ onto their record label. I know someone who knows someone who knows John Leckie quite well and he told me (so it must be true) that Mavers often strapped a box of Swan Vestas round his strumming hand for this one in order to achieve a more rhythmical effect. Can’t hear it on this version, but I believe it to be fact, Mr Rabbitte. Fact.

The La’sWay Out

The debut single. A brilliant lilting, waltzing introduction to the band. Some weak vocals on this take, possibly as the band run through it for the first (or hundred and first) time. Who knows? Lee’s vocals provide the blueprint from which all future versions are hatched, John Power listening with a keen ear to appropriate the backing vocals.

The La’sDoledrum

Unlike the previous track, here’s a fully-formed take; skiffly guitars, walking bass, harmonising backing vocals, the whole shebang. Really great rhythm playing. It swings with a certain confidence, knowing it’s a great song.

Mavers can fair pluck the melodies and the tunes out of the air with ease. If only he’d done so a bit more regularly.

 

*all pictures used are in black & white for authentic analogue retro appeal

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I’m Backin’ The Kane Gang

April 18, 2017

A few weeks ago I was involved in putting on a fantastic gig in the tiny but perfect Harbour Arts Centre in Irvine, half an hour from Glasgow on the west coast of Scotland. The main act for the night was BMX Bandits, an act who last graced my hometown a mere quarter of a century ago at one of our Tennent’s Live-sponsored ‘Rock On The Watter’ events. The beginning of the 90s saw Tennent’s dip a corporate toe into the world of live music and Rock On The Watter, which ran annually from 1990-1994 was, in a way, the precursor to T In The Park. Indeed, if our town fathers had had any ounce of rock and roll in their brittle, backwards-thinking bones, TITP might’ve been staged at Irvine’s Beach Park rather than Strathclyde Park in Hamilton. But that’s another story for another day.

As it transpired, Duglas T Stewart had fond memories of playing in Irvine and took great pleasure in eating a banana during the opening song Cast A Shadow – just as they’d done 25 years previously. The gig would unravel to be something of a classic, with a heady mix of Bandits’ greatest ‘hits’ getting a good airing alongside debut live performances from their very imminent BMX Bandits Forever LP. I’ve since heard a couple of these same tracks played on Marc Riley’s 6 Music show, which I suppose gives the whole gig some extra gravitas. The last band to debut new material in Irvine was young upstarts Oasis, who chose the Beach Park in 1995 as the venue in which to float Don’t Look Back In Anger out into the ether, Noel playing his barely-disguised, ham-fisted version of All The Young Dudes with yer actual George Harrison’s actual plectrum. Again, another story for another day.

The whole point of this post though was to highlight the undeniable talents of Joe Kane, the artist who provided support to BMX Bandits in the HAC.

Joe is one of Scotland’s best-kept secrets. He spends most of the year being Paul McCartney in Them Beatles, regarded as one of the most authentic Beatles tributes around. Squint hard enough and he has an undeniable, two thumbs aloft, McCartney look about him. Add a pair of pointy boots, a perma-surprised mouth agape and crucially, a Beatles’ wig, and the look is complete.

For months on end he can be found playing Beatles conventions all over the world. Them Beatles have a trainspotterish approach to authenticity, so going to a show is quite possibly as close as you might get to the real thing. A fantastic array of period guitars – the Hofner bass, George’s Rickenbacker, John’s Let It Be-era Gibson – played through a backline of vintage Vox valve amps, coupled with the studied mannerisms and learned lines of each Beatle – “Rattle yer jewellery,” “Opportunity knocks,” etc etc, all add up to the real deal. Fab, even.

Joe’s ‘hobby job’, if you like, is playing his own music; wonky pop, looney tunes and merry melodies, all swimming in nutty effects with a rich Beatleish undercurrent. It’s a job that’s found him playing sessions on BBC 6 Music, performing alongside the cream of Scotland’s indie elite and co-writing with big hitters (in a parallel universe) such as Norman Blake and the aforementioned Duglas. You may be aware of some of his nom de plumes; The Owsley Sunshine, Dr Cosmo’s Tape Lab, as part of Ette…..

Here’s Joe in his Owsley Sunshine incarnation, clattering along like Supergrass doing Badfinger by way of an XTC Bond theme, all compressed vocals, ringing and lightly toasted guitars, stop/start riffs and a brilliant rhythm section – which may be all his own work. (*Update – it’s not, but Joe is happy for you to think that – not for nothing does he have a track called Don’t Pump My Ego, Baby!

The Owsley SunshinePowered By An Electric Shepherd

For the Irvine show, his 4-piece Radiophonic Tuck Shop sounded extraordinary; slightly psychedelic and Super Furry super-tuneful. Amazingly, this was their first ever gig. Not for them though the usual sweat of jittering first-night nerves; Joe surrounds himself with tip-top, top-chops musicians, and the Radiophonic Tuck Shop comprised of seasoned pros (I’m sure that was ‘George Harrison’ stage left) that brought out the best in his songs.

Their set of skewed power-pop went down extremely well, the short, sharp blasts of Nuggety pop from Joe’s back catalogue given an urgent, insistent makeover in the live setting. Intentional or not, each song was counted in with a none-more-Macca “1234!” to great applause, which you could be forgiven for thinking was a smart sample from any one of those early 60’s Beatles’ BBC sessions. As first gigs go, it was a brilliantly explosive cherry-popping and an exciting portent of things to come.

Only Joe KaneAs Hard As I Feel

Only Joe KaneDisnae Time


This coming Saturday (22nd April) will see Joe and his Radiophonic Tuck Shop support Teen Canteen at the launch of their also-endorsed-by-Riley ‘Sirens‘ EP, which is pretty much the perfect double bill if y’ask me. It may well be sold out by now, so if you can’t get to it, keep an eye on the gig listings pages. Joe’s out and about regularly and definitely worth catching. Indeed, the following weekend will see Joe wig out in his Beatles guise, for two shows at Oran Mor, on the 28th and 29th April on Glasgow’s Byres Road. Yeah, yeah, yeah!

Tickets can be bought here.

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