The crumpled gumshoe Columbo would utter that phrase in the closing scenes of nearly every show, usually when snaring the perpetrator with undeniable evidence, his cleverly chosen way with words that followed, spoken smilingly and friendly, almost incidentally, triggering the draining of the colour from the face of the criminal as the realisation dawns that they’ve been caught.
The Trashcan Sinatras are all big Columbo fans and, in the spirit of Peter Falk and the weekend I’ve just had, it would be remis if I didn’t utter that famous phrase in relation to its own closing scenes. So, if I may…
…just one more thing.
Where to begin?!
I met Gideon Coe off his train in Glasgow and we walked across the city to Mono, a vegan cafe/bar/venue, attached to Stephen Pastel’s record shop. Gid (as I can now call him) was familiar with Glasgow, but I enjoyed my unofficial role as tour guide while we walked. “That’s the spot where Bob Dylan watches the pipe band in ‘Eat The Document’. This is the decaying yet still functional Panopticon theatre where, in the early 1900s, Stan Laurel performed for the first time. Over there by the Clyde was where Michael Stipe and Natalie Merchant performed a surprise show at Glasgow’s Big Day in 1990. Naturally, being oblivious to the Stipe show taking place, my pals and I went to see Wet Wet Wet and Sheena Easton instead.” And so on and so forth.
Gid is on first-name terms with all the Mono staff and happily shoots the breeze while I mooch about the racks and wish I had £500 to spend on records. We eat in the cafe. Grab a drink from the bar. “Are you having a drink drink?” Gideon asks conspiratorially, and the scene is set for the rest of the day and night ahead.
More unofficial tour guiding takes place on the walk to the hotel – it’s impossible to snag a taxi in Glasgow these days, especially when the cup final at Hampden has just reached its conclusion a couple of miles across the river – so we take in the sights. “That’s the BBC over there,” I point. “Yes, I’ve been known to work there,” replies Gideon with a knowing smile. Oh, aye. Duh.
We check in, change our shirts and are quickly back out again, walking now to the Mitchell Theatre for our Aye Write slot. We chat about the order of the show, the questions he’ll ask, the parts of the book that will make for good conversation… and it all starts to get very real. Stephanie, Ian from Last Night From Glasgow and assorted Trashcans are already there. Pre-match nerves are de-jangled through red wine and whisky. Bob the promoter has allowed the show to overrun, and wonderfully, the band now has a half-hour set to play. The figure of 300 tickets sold is banded about as we walk the long walk through the Mitchell’s marble and deco-rich halls and suddenly we’re backstage, the thrum of the expectant audience wafting through the curtains as we’re fitted up with those wee Howard Jones-type head mics. The seating plan is shared and agreed, Bob goes out to introduce us and we walk out into the void.
First thoughts? Folk are clapping. It’s roasting hot. This seat is comfy. The carpet is springy. I didn’t need to bring water. Is my shirt wrunkled at the waistband? I can’t see anyone in the audience, not even a silhouette. It’s dark out there, but there’re folk out there all right. They laugh at the right parts, clap Stephanie’s photos as if she’s just declared that petrol is now a pound a litre and fail to heckle at any opportune moment when one of us pauses to gather our thoughts before answering Gid’s questions or prompts.
John is a great spokesman for his band, sometimes contradicting the version of events in the book, always engaging and positive and with a neat way with words. “Irvine was a wee town that was in a huff with itself,” he says at one point. Ian hadn’t planned on being on stage beyond the first two minutes, but there he is, allowing the story to unfold around him and sharing the odd nugget of LNFG/TCS detail when the conversation heads that way. Stephanie talks of the record’s dude-like producer Ray Shulman and the clean eye of the book’s designer, Brooklynite Chris Dooley, and she and Gideon marvel at the real-life location of the fictitious Cakebrick Road in the lyric of Earlies.
And then, after what seems like only five downhill-without-the-brakes-on minutes, our part is over. We are ushered off stage, de-headsetted and, to a smattering of rippled applause, take our seats at the front for the Trashcans’ set.
And what a set they played.
Seven songs all in, six from the album in focus and an exquisite, jaw dropping version of The Safecracker from A Happy Pocket, the follow-up to I’ve Seen Everything that was so underpromoted by the record label that it never actually received an official release in the States. The ThreeCS are on fine form, Frank stage left, eyes closed, moving away from then stepping closer to the mic to allow the dynamics in his voice to shine. He lets loose an occasional wild and carefree emphasised final line, his jaw juts in and out to the acoustic groove of his guitar, his sticky-up hair looking backlit and electrified. John, stage right and grinning wildly at the thrill of playing these great songs again is the reliable heartbeat. And Davy, seated centre-stage on Aye Write’s bespoke table and looking like the Mount Rushmore of cult band bass players is nonchalant yet focused, the woody thunk of his remarkably right playing underpinning the lot.
Naturally, the crowd laps it up.
And then, we’re being ushered, Stephanie and I, to a Waterstones-sponsored table where multiple copies of our book (our book!) sit, being eyed up by a healthy queue that snakes its way around the table and back to the venue’s stairs. We sign books. Lots of them. Some for Trashcans fans, some for Aye Write regulars who hadn’t heard of the band, let alone their music, an hour ago. I get folk to sign my own copy of the book; contributors, many of whom I’d met only across cyberspace. Stephanie chuckles a lot at the absurdity of it all and I follow suit. I realise, after 30 or so signed books, that the ‘g’ I write in Craig is a bit rubbish, so I make it better for the copies that will sit on the Waterstones display underneath the ‘Signed By The Author‘ banner. That’s a picture I look forward to taking.
Signing over, and elder/younger family members safely dispatched back to Glasgow Central, we – a healthy mix of book folk and band folk, partners and pals – spill out into the still-light streets and make our way to the CCA, where we’ve a room booked upstairs but end up taking over the two floors in any case. We’re away from the riff raff and amongst hot company, as it seems much of the great and the good of the Scottish music scene is here. Drinks and shouted conversations are the order of the day, while Gideon and Davy corner the bar, deep in post-punk conversation.
By chucking out time though, our new 6Music pal has wandered off to find a taxi, not answering his phone or replying to texts. There’s an after party party going on Gid, and you’re meant to be there. Davy and I and our respective better halves load up on chips and pakora and follow my sister and Stephanie to the unsuspecting Air B’nB that will play host to our increasingly loud conversation, until 4am when Frank suggests a taxi. It comes eventually, but it’s not our booking. The driver takes us anyway then midway tells us he’ll go only to Byres Road. We get out and walk back to our hotel – a longer walk from here than from the flat we’d left. It was that kinda night.
Trashcan Sinatras – Worked A Miracle
The Trashcans’ love of Columbo and board games is reflected in the lyric of Worked A Miracle… ‘My Reverend Green revolver…guessing game is over…nobody leaves this room! Nobody touches anything!” There’s a great bass line running through it, replicated in rich Ayrshire doo-wop – ‘dum-dum-dum-dum-dum‘, some sudden stops and a sinister undercurrent in the bridge. It’s something of an under-appreciated track that could well lend its title to the event we somehow found ourselves a central part of at the weekend.
Worked A Miracle indeed. I believe too, there are another five albums still to write about…