Tag: funk

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Lost and found part 2

So, other than my speeding ticket, I’ve unearthed a couple of long-missing CDs – ‘the Free Story’ and Michael Jackson’s ‘Off The Wall’; both great CDs that I’ve missed over the last few months. Especially ‘Off The Wall’ – ignoring for a moment the fact that for the last 16 years or so, Mr Jackson’s private life has made far more impact than his music, he has been responsible for some awesome music in his time, and Off The Wall is arguably his masterpiece.

It didn’t sell as well at Thriller, but then, nor did any other record ever made, so that hardly makes it a ‘hidden gem’. It contains some of the funkiest songs he’s ever recorded – Rock With You, Don’t Stop Til You Get Enough and Get On The Floor – the only track that doesn’t quite maintain the quality is ‘She’s Out Of My Life’ which is a nice ballad, but not up there with the funky stuff.

Anyway, if you haven’t got it, set aside thoughts of the recent court case and weirdness involving surrogate mothers, oxygen tanks, pet monkeys, Liz Taylor and baby-dangling and pick up one of the finest soul/funk/pop albums ever made.

Soundtrack – Michael Jackson, ‘Off The Wall’.

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The weekend starts here

The Fringe has an interesting curve to it, in that midweek gigs tend on the whole to be smaller, especially for late night gigs, and shows tend to build an audience as the run goes on thanks to flyering, word of mouth and press (still no press that I know of for my show.)

So yesterday being Friday, I had fairly high hopes of a good turn out, and Guy Pratt was going to be on the show, so that was something else to tell people – members of Pink Floyd guesting on shows in tiny venues is generally a pretty cool coup, I guess.

Didn’t get into town til almost three, so concentrated on getting lots of flyering done til meeting TSP for munchies in Hendersons – Edinburgh’s coolest fair trade veggie restaurant.

After flyering the queue for Antonio Forcione’s show (I’m getting quite good at the queue-flyering business – just camp it up, smile a lot, and people seem happy to take a flyer and ask about the show – it’s a captive audience!), I met up with Julie McKee, Andy Williamson and some other friends for a mint tea back at Henderson’s, then headed back to The Carlton to meet an old college pal, Brian, who had come into Edinburgh to see the show. Brian was a fantastic bassist back when we were at college, a proper jazz-monster, and a thoroughly nice bloke, so it was great to catch up. The friendship/social side of the Edinburgh Fringe is so much fun, though not that dissimilar to how I live my life anyway, just more concentrated.

About two hours before the show, I rang Guy, who said he was ill and might not make it, but would if I had a bass he could borrow. No problem, says I.

Get to the show starting, still no sign of Guy. I eventually phone him from the stage in the middle of the gig, and he’s on his way. Cool audience in tonight, and my biggest yet by quite some margin (50), a few brought in by the promise of some two-bass-action, so it was a relief when Guy turned up.

Sadly, the duet section of the gig wasn’t great. Instead of playing one of my tunes, as I’d planned and suggested, Guy kicked into a funky riff thing in A, which went on and on, moved into E, and became pretty much what I’ve tried to avoid for most of my solo career – two bassists playing over one chord funk for what seems like ages. It’s a real shame, as I had hoped that we’d have played something more musical together – Guy’s a fantastic player, and has played on a few of my all-time favourite tracks, but tonight, it really didn’t work. Eventually it wound down, and he put the bass down and left (?).

It went on so long that I had to drop two of my tunes (the two with the funniest stories), and the show as a whole felt like something was missing, though CD sales were the best of the run so far, and the audience reaction was still very positive. It also meant that I couldn’t involve the Rvd G in the show, which I’d planned to do on the MMFSOG story – will just have to get him to come back in full ecclesiastical garb on another night (I wonder if a vicar could be struck off for dressing as a bishop and swearing onstage? I guess we’ll find out… OK, maybe not dressed as a bishop, that’s just wishful thinking…)

I’m not too bothered by the way it went – we tried it, it didn’t work, no problem. And in someways, it just solidified my own feelings of rightness about the solo stuff. It was really odd to be playing the kind of bass-duel stuff that I hear all the time at bassfest gigs and am always trying to steer clear of – I dispensed with the notion of ‘bass music’ a long time ago, in favour of just seeing my basses as instruments with no set function and with a total disregard for the tradition of the instrument, in order to come up with a way of getting the music inside my head out without it being trapped in some kind of expectation about what bass is. After tonight, it’s clear how hard that is to do with other players. I’m spoilt by how a lot of the duet situations I’ve been in have worked so easily, particularly the duets with Michael Manring, where the two bassist format works so ridiculously well that it feels like it should be fine with anyone.

Ah well. Fortunately the rest of my guests are just contributing their bit to songs I’m already doing – tonight is Julie McKee, a FANTASTIC jazz singer with her own beautifully original show here at the Fringe. She’s going to come and sing People Get Ready with me, and I’m very much looking forward to that.

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First gig!

Soi that’s gig number one out of the way, and it seemed to go pretty well. Not a big crowd by anyone’s reckoning (17), but above the Edinburgh average (11), and more than I had on my first day last year! It’s very odd becoming one of over a thousand acts vying for people’s attention and money, when usually I’m the only thing on on an evening in that venue, and just have to be better the TV and worth the drive to the venue. When you’re up against the cream of British comedy and some fine music as well, it’s all a bit more daunting.

Still, the gig itself went well – as it was a fairly small and intimate crowd, I was able to experiment with a new addition to the show, a bit of audience participation. Here, I got various members of the audience to come and make percussion sounds into a mic, which were recorded into a blank loop of about 6 seconds long, with the output turned down. So neither the audience or I could tell what was happening as the sounds were being recorded (they had no idea what was going to happen at all). I then picked up a bass, turned up the volume and started to play along with the rhythm that came out of their sampled noises – 6 sounds in all, forming a particularly weird and stilted funk rhythm, which I was fairly easily able to shape into a groove and start layering. A hugely successful addition to the show, and one I’m going to have fun with each night – it’s nice to have something completely new to add to the set.

Didn’t get round to playing the John Martyn cover – really need to have a bash at that tonight, if I remember. Did the tune for Eric, which went well, and ‘What A Wonderful World’ which has become a staple of the set over the last couple of months, but wasn’t in the set last year. So I’m happy with the amount of new material.

The links all seemed to go OK – the Snoop Dogg story went down v. well as usual, and I even explained (for the first time ever onstage) the story behind MMFSOG – just seemed to fit with the general comedic thread.

All in all not a bad first night – a few things to tighten up, and certainly room to move things around a bit, but I’m definitely happy with how things went.

the one thing I forgot to mention was the text-review thing, where you can text a star rating for a show, by sending them the show code and a rating – there are little cards explaining this in every venue, so please pick one up and vote for the show if you were there (the show code is BASS)

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The Solo Summit

So last night was The Solo Summit a mini festival-within-a-festival as part of Hackney’s Spice Festival.

The idea was to have lots of performers on different instruments and across myriad styles all playing solo. As it was, it was that and a whole lot more – the solo performances spawned some really interesting collaborations as the mini-sets overlapped.

Due to the current mess of bomb-scares and transport disasters in England, a few of the performers were either late or didn’t appear at all, so the set was being re-jigged all evening, and as a result even more time was freed up for new combinations of players. The initial three long sets became four slightly shorter sets, and each set seemed to take on a character of its own.

The first set began with Tunde Jegede on Kora, who was then joined by Cleveland Watkiss, who was using my loop set-up to great effect, layering vocals on top of Tunde’s gorgeous Kora.

The rest of the set was three of Orphy’s students, Renel, Yao and Michael, two spoken word artists and guitar/bazouki, respectively, who played some marvellous music. My set dove-tailed into the end of Michael’s, as I took a short solo over the end of his last piece. I then played Grace And Gratitude, and went into The Kindness Of Strangers, which Orphy joined me on, with my loop gradually fading after I’d left the stage and Orphy took over for his solo spot. End of set 1.

Set 2 was very different – mainly guys from the London Improvisors Orchestra, it started with harpist Rhodri Davis (playing music a fair bit removed from his work with Charlotte Church!), Bass Saxist, Tony Bevan, flugal horn from Claude Deppa and electronic bleeps ‘n’ squawks loveliness from Steve Beresford. An interesting set with moments of magic, a very long way from the opening set! This stuff is really a stretch for the audience – they seemed to stay with it though, which was great.

Set 3 was back to many of the performers from set 1, with the addition of Pat Thomas on piano (an insanely gifted musician) and Steve Williamson on Sax. I played another duet with Cleveland, and a trio with Cleveland and Tunde on a track that they’d be playing as a duo, which worked beautifully. I had it set up that I was able to loop Cleveland in the usual way, so that gave us a lot of scope to loop ‘n’ layer and have some fun, and it came out superbly well.

By Set 4, we were about an hour ahead of schedule (whoever heard of a gig running ahead of time???), but my ears were getting a little fatigued after such a long time of intense listening. I listened to BJ’s set from just outside the main auditorium, where the processed ambient pedal steel wafted beautifully around. The set grew with the addition of more and more musicians, til most of the LIO guys were back on stage making a glorious racket. Cleveland then joined them, and once I’d turned up his mic, was able to add a vocal percussion loop to it, and start to inject a key centre into the melee. I joined in on bass, and the whole thing gradually mutated from free soundscape to twisted funk/swing groove thang, providing a space for the rappers/spoken word guys to rejoin the party. As the musicians peeled off one by one, the loop faded, and it ended with just bass, acoustic guitar and the two voices. One heck of a journey from the free to the funky. I look forward to hearing the recording of that one too!

All in, a fine evening’s music. A smallish crowd (hey, that’s brit-jazz for you), but an enthusiastic one with a fair amount of stamina!

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Listening and Viewing…

Finally got hold of my copy of the As One Tsunami charity CD, which I’m on. It was posted a month ago, and for some weird reason the postal service decided that a box the size of a CD was too big for my letter box, which is clearly bollocks. So I finally collected it from the sorting office, and had a listen. There’s some great stuff on it, not least of all a Dean Brown track with Marcus Miller on fretless – very nice indeed. Also featured are some other amazing bassists – Laurence Cottle, Mo Foster, Jimmy Haslip etc. Top players.

Last night, TSP, Kathryn (current house-guest visiting from the states) and I watched Team America – it’s the South Park guys doing a satire on the War on Terrorism using Thunderbirds style puppets. I have to admit to being a big Trey Parker fan – I think the South Park stuff, when he’s doing satire, is brilliant. He does descend into mindless smut at times, but there’s usually a point to it. And when there isn’t, for me it still almost always stays on the right side of the ‘funny vs overly grubby’ scales.

And on that note, I also got a CD through yesterday from Toupe, a two basses + drums band from Southampton – I’d really enjoyed their last album, Alopecia, but when the first track I heard from the new album was called ‘f***ing’, my suspicions about the content of the new album were raised… As it is, bits of it are fab. Some fine satire on the music industry, and some other general frivolous nonsense. But, like their musical forebear, Frank Zappa, much of the album slips into crass comedy-porn. I’m sure there’s a point to it somewhere, it was just lost on me. If you’re into that kind of thing, definitely check them out. If you’re not, steer clear. I like the Toupe guys, and they are capable of making me laugh a lot with some of the stuff they do, but about a third of the album really misses the mark for me. Musically it’s somewhere in the Primus/SadHappy/Zappa territory – lots of funky ‘n’ furious slap lines, and some great distorted bass sounds, with that show-tune element that all three of the above mentioned bands have corrupted to similar effect in the past.

Soundtrack – Various Artists, ‘As One’; Prefab Sprout, ‘From Langley Park To Memphis’.

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Another fine Darbucka gig

So last night I was back at Darbucka, which, contrary to previous knowledge is no longer underneath India EC1 – they’ve taken over the upstairs part now, and the whole place is Darbucka! How cool is that?

Anyway, ’twas my third gig there, and I love playing there. The atmosphere is fab, the seating very relaxed and the owner, Ahmad is a good friend and supporter of live music.

Last night was extra-specially fun due to my two special guests, BJ Cole and Cleveland Watkiss.

The slightly surreal air that seems to drift around at my gigs began even before the show started, with George Galloway being in the venue when we got there… …sadly, he wasn’t there for an evening of mellow bass noodling, and left not long after we arrived to set up.

First set was just me, doing my thing. It was fun to play a slightly longer set, and get to play a couple of old tunes I haven’t played for a while – Highway One, and No More Us And Them, as well as a couple of new tunes – one slow country-ish thing so far called ‘What Happens When You Listen To Too Much Gillian Welch Late At Night’ (subject to change), and another untitled one, dedicated to Eric Roche a great friend and genius musician, going through a bit of a rough patch. (speaking of Eric, he’s playing at The Troubadour in Earl’s Court tonight, and is unmissably good – please go along and support him, you’ll thank me afterwards.)

Response to both old and new tunes was good, and Cleveland arrived during the last song of the set, so that was good!

Second set began with me on my own doing on tune (No More Us And Them, I think), and then BJ joined me for the next world premier of the evening – it was the first time BJ and I had played anything that was pre-written together. Usually, we just start playing and see where it goes. This time, we did a tune that BJ had joined in on in my soundcheck, a new tune called ‘So Long And Thanks For All The Thumbs’, and he added a huge amount of loveliness to the track! We then followed that with a bleepy, trippy improv, which ended with BJ in fine industrial soundscape mode, wringing all manner of weird and wonderful sounds from his knitting machine. What a fab player!

So I then kicked him off the stage, and brought up guest #2 for world premier #3 – Cleveland Watkiss. This was the first time Cleveland and I had played together on stage – we’ve played together twice before, but both times in my living room. He started us off with a clicky vocal percussion track, which I looped, slightly out of time, and we glitched it into a really really cool percussive soundscape with layers of oohs and aahs, and some dubby vocal samples, just him singing and me tweaking. At one point I was tempted to join in, but it didn’t need it, so I carried on tweaking and he carried on singing, and that was tune #1.

The second tune we did I started it off, funky thing in Am, which built up with layers and layers of fantastic beatbox into a full on clubby dancey thing, wah-wah guitars, clattering drums, dub vocals, all from just he and I. Another big success.

To finish off, I closed the main set with ‘People Get Ready’, then got BJ and Cleveland back for a mellow country ballad improv thing which just topped off the evening perfectly. A resounding success!

Hopefully I’ll be back at Darbucka before too long, I love it there!

if you want to get BJ’s or Cleveland’s CDs, you can get BJ’s here and Cleveland’s here (BJ’s newest album Trouble In Paradise is fantastic, as is Cleveland’s duet with Nikki Yeo)

If you were at the gig, please post your thoughts over in the reviews section of my forum.

Soundtrack – Maxwell, ‘Embrya’; Lewis Taylor, ‘Lewis Taylor’.

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Turning down gigs…

It’s been an interesting week work-wise. I got a phone-call last Tuesday from Carl Palmer, the drummer with 70s prog-rock legends, ELP, and 80s prog legends, Asia. Carl now has his own trio, which until recently Dave Marks – who I taught when he was studying at Basstech – was playing bass for. Dave left to take up a job at Basstech, and Carl had been recommended me via a few sources, aparently. Carl rang to find out if I’d be interested in joining the trio. Having been a big ELP fan in my teens (‘Pictures At An Exhibition’ got some major rotation on my record deck in the late 80s/early 90s), I was really up for meeting him and finding out more.

We met up on Thursday, to have a listen and chat about the gig – he lives pretty locally to me, and seems like a very nice bloke.

The music itself is mainly heavy rock reworkings of classical works, by the likes of Bartok, Prokofiev, Copeland etc. Most of it is at full-throttle, and while very exciting and energetic, a long way from the languid mellow stuff that I’ve spent the last five years getting good at…

So I was faced with a very odd decision – here’s a good paying high profile gig with a legendary drummer who seems like a very nice bloke, that I’m going to turn down… What?? But still I felt very comfortable with the decision. I’ve obviously been primarily a solo/duo player for some time now, but that was never tested until now due to not having been offered anything of this kind of size. Now that I have been, but am faced with the need to change my technique back to a full-on rock approach, and build up a huge amount of stamina to maintain that level of drive for almost two hours a night, I chose to stick on the path that I’ve been carving.

It’s not that I don’t want to work with other people – I’d still happily do sessions, and obviously do a fair few jazz and funk gigs with Jez Carr, Mike Haughton and our floating drum chair (which features some incredible players – Mike Sturgis, Tom Hooper, Phil Crabbe, Eddie John etc…) – but if the gig requires me to divert a lot of attention away from the path I’ve chosen, that I’d rather stick where I am.

It feels like a bit of a rite of passage. Four years ago, I’d have jumped at the chance, seeing it as a big step forward. Now, despite the obvious advantages of the gig, the distraction from what I’m doing was too great, and I’ve turned it down.

Am I nuts?

Soundtrack – Talking Heads, ‘Stop Making Sense’.

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All systems go on the new CD!

So, the new Cd – Grace and Gratitude – is recorded and is being mastered as I write, the artwork’s finished and been sent off to the manufacturers, there’s a page up in the e-shop about it with some MP3s and preordering details, and gigs are getting booked! This is the fun bit – I really enjoy the hustle and bustle of making this work – making CDs, booking gigs, sending out press releases and all that. It’s a little daunting, and I’m easily distracted, but when I’m on a roll, it’s great fun.

It looks like I’m going to be doing a few dates with Rob Jackson around the time of the album release, which I’m really looking forward to – Rob’s a hugely talented solo guitarist, and I’m sure that anyone who digs what I do is going to love his music. I’m trying to book a launch gig at the moment, and might be going out to check out a venue this afternoon… watch this space.

Had a great response to the MP3s so far, which is good news – I think this is my best album… I’ve thought that with each album I’ve released, and I don’t think it’s just that I’m enamoured with newness… It seems like there’s a definite progression from one to the next. This one takes some of the more advanced looping that’s going on on ‘Open Spaces‘, and combining it with the more melacholic side of my solo stuff (Ok, except Shizzle, which is good ole’ fashioned stevie-style-funkiness).

So what’s still to be done? Posters need to be sent out for the gigs, more gigs need to be confirmed, Edinburgh promo needs doing, websites need informing that the CD is out, as soon as I get the master CD back I need to start burning CDRs to send out to radio for airplay ahead of the release date, and I need to resume talks with the various distributors who’ve expressed an interest in the CDs, and see if we can come to some sort of mutually beneficial deal to get this stuff into the shops… On top of that, I have a set of John Lester’s tunes to learn, and I need to go back and learn all the tracks on the CD in order to be able to play them live! I also need to mix and master the extra disc, ‘Lessons Learned From An Aged Feline Pt II’ – I’ve got lots of extra tracks that I really like, so I think it’s going to be a rather lovely CD once again…

Other than that, I had a marvellous gig last night with Jez, Tom Hooper on drums and Michael Haughton on sax – it was a function gig in a gorgeous hotel near Bath. Now those of you who do function gigs will know that the staff in hotels and function suites often treat bands as less than vermine, but the entire staff at this hotel were SOOOO helpful. It made such a refreshing change! The event organiser was totally on top of everything, we played really well, got paid – what’s not to love? It was great fun getting back to playing with a quartet, and we used my Accugroove/Mackie/QSC set up as the PA, and it sounded incredible. Ain’t no other bass rig I could use as a PA for sax, piano bass and drums!!

Got back at 4.30 this morning, so slept in late. Am only now just getting into the land of the living. Need to go and post off some Cd orders, reply to some email, go and check out a venue for the album launch, contact some venues and send out some press stuff. Busy day!

Soundtrack – right now, Public Enemy, ‘It Takes A Nation Of Millions To Hold Us Back’; yesterday – cathy burton, ‘Speed Your Love’; Brian Houston, ‘Thirteen Days in August’; David Torn, ‘What Means Solid, Traveller?’

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recording so far

So, the recording process for this album started about a month and a half ago, when I decided I wanted to have the album out by the summer. At that point, I started to demo ideas – just recording them as stereo files into FLStudio, just to get me thinking about the whole album writing/recording process.

I also started to think through how I want to recording process to go, and the kind of equipment I’d need to take it on a step further from the last solo album. I’d decided I want to do another all solo all live recording record, not a step-time layering or sequencing record. I figure I’ve got at least one more all solo album before I need to do something else just to break up the flow… :o)

In order to be able to record the loops and all the processing onto individual tracks, I needed a mixing desk that had ‘insert sends’ on each channel – that way I could have Lexicon MPX-G2 #1 going into the desk, sending a signal straight to the soundcard, but also sending signal via the auxilliary channels to both Echoplexes, and the other MPX-G2, those are also input into individual channels, and each of those channels has an output to the soundcard, giving me a total of 6 outputs. However, my soundcard only has four inputs… time to get a new soundcard as well.

Ebay came up trumps on the search for a mixing desk, and I got a Mackie 1404-VLZ-PRO, which is fantastic. It was slightly less forthcoming on the soundcard front, and after two weeks spent being certain I was going to get a MOTU 828 Mk II, I decided to just get another Delta 44 and run the two alongside eachother.

So now I’ve got my set up with 6 channels going to the computer via my sparkly new desk. Time to decide on recording software…

Having used Cool Edit Pro in Italy at Luca‘s studio, I knew I liked the interface and editing facility. Cool Edit was recently bought by Adobe, and is now called Audition. So I downloaded the 30 day trial version, and waited for the immanent release of version 1.5 – not wanting to pay over £200 for a bit of software only to have to pay £50 a week later for the upgrade…

So, equipment and software in place, I started recording in earnest. The process changes slightly from track to track – sometimes I’ll work on one of the ideas I came up with before, other times I’ll put on a CD and then record whatever it inspires, or I just noodle around with the computer in record and see what comes out.

Then I’ll do a quick mix to see if it’s going to work at all, sometimes do another take or two to see if there’s a better one there, and then fire of an MP3 to Evil Harv to see what he thinks, knowing that he’s insult it.

So far I’ve got a few more funky tracks, some jazzy chordal stuff on the new 6 string, a couple of big sprawling ambient pieces and a tune with a reggae feel. This weekend I’ll probably put together a CD of what I’ve got so far, so I can have a listen through away from the computer and see if there’s any continuity between the stuff, and whether or not it might even end up as a double album…

Hopefully I’ll have an MP3 or two ready to go soon.

Inbetween takes, I’m also trying to sort out some more gigs for August (I’m planning on having the CD available from the beginning of August), and starting to get magazines etc. interested…

Soundtrack – nothing except me :o)

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3 gigs in three nights

that’s going to gigs, not playing them this time.

Monday night was Carleen Anderson at the jazz cafe. I’ve see her there before now, and it’s always an amazing gig. Her band is wonderful – Ben Castle on Sax, Andy Hamill on bass, Winston Clifford on Drums, Mark Edwards on keys, Mark someone on guitar (didn’t catch his surname, but he was very very good), and a backing vocalist I think was called Natasha. Anyway, a great gig – Carleen’s voice is amazing, her songwriting is really strong, the grooves were exceedingly funky, and a fine time was had by all.

Tuesday night involved going to hear Duke Special at Sound Acoustic in Leicester Square, which is a lot better than the Sound venue upstairs in the same building, which is horrible. Duke Special, AKA Pete Wilson, is brilliant – dread-locked piano-playing singer-songwriter with a stellar voice, beguiling stage presence, and some fantastic songs. His EP ‘Lucky Me’ is brilliant, and he was one of my top three favourite acts from Greenbelt last year. He’s on again at The Barfly in Camden tonight, but I’m teaching til 9, so don’t think i’ll be able to make it. I’ll have a mooch around online and see if I can find a stage-time…

Then last night (wednesday), I spent a very pleasant evening listening to the JazzBerries in the Crypt at St-Martins-In-The-Fields, in Trafalgar Square. It was a rather lovely set of vocal standards, well played and sung. Good stuff.

I love wandering round London on balmy evenings – the centre of london is such a gorgeous historic place, brimming with culture and marvellousness. Theatres, restaurants, street musicians, historic buildings and monuments, groovy cafes and swanky celeb bars. Add to that the majesty of the museums, and you’ve got one amazing city. OK, so we’ve got one of the worst recycling records in Europe, the public transport infrastructure has gone to shit, the hospitals are being sold off to people who don’t want to do operations that aren’t ‘cost effective’, the government are happy to ignore democracy in action, gun crime is rampant… etc. etc. but it does have its upside too… :o) I tend to walk around with a big grin on my face at this time of year.

Over the last couple of days I’ve been listening through all the tracks that I recorded for ‘Not Dancing For Chicken’ that didn’t get used, and some of it’s really good! I obviously did a really strong stylistic selection job on what went on and what got left off, and there’s tonnes of stuff here I really like. So it might be time for a downloadable extra and live tracks album… I’ll get round to that ASAP!

– right now, more of the out-takes. Before that, Carl Young, ‘A Few Sides Of Myself’; Ben Castle, ‘Blah Street’ (which is out next Monday, and is fantastic); St Germain, ‘Tourist’; David Sylvian and Holgar Czukay, ‘Flux and Mutability’.

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