Tag Archives: Simon Cleave

I’m From Further North Than You

The first time I heard this song was on a Cinerama bootleg from early 2003 when it was called ‘Edinburgh’ and I was living down South. Piecing together in retrospect it may have been its first live airing at The Lemon Tree, Aberdeen. There were some shrieks in the crowd upon its debut which is quite unusual as new songs usually take a while to warm to but I can understand why it got that reaction. It’s a special song and the band clearly thought so too as it was carried forward upon the transference to The Wedding Present and was the second single pulled from Take Fountain.

There’s the lovely way the song throws you straight in the middle of a conversation. What is it that led to someone having to explain where they are from and why were they mistaken in the first place. But the song, despite its anthemic shout-along moments has its dark alleys. It’s a song about a failed relationship. One that you look back upon and shake your head and wonder why on earth you stayed in it for so long. But there are lighter moments. I mean, any song that can have a verse that contains the phrases ‘weird pornography’, ‘counting planets’ and ‘red bikini’ is clearly a work of genius!

When I started experiencing the song live for myself I noted that, two-thirds of the way through when the guitars kicked in to that growling riff, that it sounded a bit like the old Weddoes sound. I recall hopping up and down to that refrain at the Garage in London in April 2004 and not even dreaming that just ten months later I’d be at the first gig of the ‘reformed’ Wedding Present playing the same song at the Spring and Airbrake in Belfast.

Just this past Summer I saw the song played again at the annual Gedge festival in Brighton and funnily enough he now lives down there in the South and I now live near Leeds. It’s funny that one of the first times I spoke to David, it was after I’d spoken to his then-partner Sally and I remember saying to him that I couldn’t understand her Northern accent. He pointed out that actually she was actually from down South and I realised that I’d just assumed she was a Northerner. She was actually probably from further South than me.

Questions and Answers with David Lewis Gedge:

This was originally titled ‘Edinburgh’. What inspired that title and why the change to how it is now?

DLG: The original title was suggested by the story in the lyric… i.e. that the narrator had met someone with a Scottish accent but had initially mistaken them as being from the south of England. Edinburgh has always been one of my favourite cities and so I decided to use that as being where the other person was from. I think it sounded quite romantic to me. But, later, I decided that, firstly, I wanted the title to be more literal but also, I wanted to reference that pride of being northern that would cause a northerner to feel appalled if someone mistook them for a southerner! Hence the outrage implied in “No, I’m not from the south, I am from further north than you!”

It’s a well-loved song and is enjoyed as a celebration but the song lyrics are actually quite melancholic. Do you have any thoughts about songs that are treated in ways that are different to their original feeling?

DLG: I suppose you’re right that it’s melancholic but my intention (as is often the case) was to inject some humour into an unfortunate situation. It’s one of our poppier songs, after all. The turnaround between “I admit we had some memorable days” and “but just not very many!” still makes me chuckle.

Do you feel different in living in different places? Does north/south or east/west mean anything to you anymore?

DLG: It does, yes. I get a distinctive feeling whenever I’m in a different parts of these islands and I still feel like I have returned ‘home’ whenever I’m in the north of England. That’s not to say any one place is better then another… but now I live in Southern England I’m acutely aware of a different mind-set in the people here.

The video for the single was filmed in Edinburgh. This involved a bit of acting, was it something you enjoyed?

DLG: It didn’t come instinctively to me, no! You’d think it’d be easy to just play yourself but as soon as the camera is rolling I find it incredibly difficult to even portray myself in a natural way.

This was chosen as a single. Any stories behind this? Were there any other songs that could have followed ‘Interstate 5’?

DLG: While we were recording Take Fountain both this and ‘Interstate 5’ screamed ‘single’ to me for different reasons. ‘Interstate 5’ had this huge, slightly ominous, sound which, to me, signalled a new Wedding Present album on the horizon whereas, this, as I say, just felt like pop music to me. I say ‘just’ but I love pop music, of course!

Just to confirm, the noise at 1:19 is Simon Cleave on guitar, not a dog, yeah?

DLG: It’s actually me… revving up to play my overdriven guitar part with a flick of the plectrum. There was a dog recorded during the Take Fountain sessions but it’s not on this track!

This got to number 34 in the single charts at the time when Top Of The Pops was still going. Was there a call-up?

DLG: Did it? Pretty impressive for a record label run from a rented flat in Newhaven, huh? But, no… no Top Of The Pops invitation for this one, I’m afraid!

Take Fountain brought the name of The Wedding Present back and there was a return to many of the sounds that fans associated with older tracks. This song, even in its Cinerama days, gave glimpses of what was to come. Did you think back, when writing this song, that it could be part of what was to come?

DLG: Not at all. We wrote this in early 2003 when our band was Cinerama and we had no thoughts of it ever being anything else other than Cinerama! Maybe that’s why it has a lighter feel… it’s rooted in a kind of Cinerama style indie-pop rather than something like ‘Interstate 5’ which was written a year and a half later.

Official Lyrics:

And then you said “No, I’m not from the south,
I am from further north than you!”
And with that you kissed me full on the mouth
And that was when I knew you were either drunk or you wanted me
and, you know, either way I wasn’t going to disagree

But how did one crazy night turn into six weeks?
How can we be ‘going out’ if neither of us speaks?
I think we’re the same in many ways and I admit we had some memorable days

But just not very many
I just think we both need more and we cant ignore how unhappy we were
I’d been abandoned by her and you needed a friend

All right the night we walked into the sea; I guess that was okay
And when we bought that weird pornography, yeah, that was a good day
The first time I saw your red bikini I just couldn’t help but stare
And when we counted planets in the sky, I was just happy you were there

Yes we’re the same in many ways and I admit we had some memorable days

But just not very many
I just think we both need more and we cant ignore how unhappy we were
I’d been abandoned by her and you needed a friend

Written and published by Gedge / Cleave [whose publishing is administered outside of the UK & Eire by Kobalt Music except for North America where it is administered by Superior Music].

Studio Versions:

Single version [ScopitonesTONE 019]] TIME: 3:30
Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass); Kari Paavola (drums); Steve Fisk (producer)
Released 14/02/2005

Klee remix version (appears on 7″ version of the single as well as compilation Search for Paradise [Scopitones / TONE 023]) TIME: 4:00
Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass); Kari Paavola (drums); mix by Klee
Released 14/02/2005

Acoustic version (from Search for Paradise compilation) TIME: 2:17
Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass); Charles Layton (drums)
Recorded at Yellow Arch, Sheffield
Released 29/05/2006

John Peel session version (on Season 3 CD as well as the Cinerama Complete Peel Sessions boxset) [Sanctuary Records ‎– CMXBX1526] TIME: 3:27
Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass); Kari Paavola (drums)
Recorded 08/05/2003; first transmitted 04/06/2003

Take Fountain

Live Versions:

Live in New York (Cinerama): Recorded at The Knitting Factory on the 28th of June 2003 [Scopitones ‎– TONE 031] TIME: 3:17

Shepherds Bush Welcomes the Wedding Present: Recorded at Shepherds Bush, London 20th November 2005 [SECRET RECORDS – CRIDE81] TIME: 3:26
Performed by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass); Simon Pearson (drums)

Live in Leeds (The Wedding Present): Recorded at Leeds Metropolitan University 6th June 2006 [Scopitones ‎– TONE DL 032] TIME: 3:29

Shepherd’s Bush Welcomes

Video:

The promo video as directed by Tim Middlewick and starring David Gedge and Annie Bergin, filmed in Edinburgh.

The song also appears in live performances on the DVDs for An Evening With The Wedding Present which is the DVD version of the Shepherds Bush live CD and also Drive, a DVD compiling the band’s 2005 North American tour.

Live: 

First played in 2003 by Cinerama when it was called Edinburgh. It was then played extensively by The Wedding Present upon the release of Take Fountain across 2004-2006. It returned to the set in 2011-2012 and again in 2017-2018.

Hard, Fast And Beautiful

In 1997, The Wedding Present went on hiatus and over the next year or so David Gedge created a new project called Cinerama. A place to pour his ideas for film soundtracks and pop songs that didn’t fit in with an indie rock group. It became a creative place for him and long-term partner Sally Murrell to indulge their musical whims.

One of the earliest tracks heard by fans was ‘Hard, Fast And Beautiful’. Along with ‘Honey Rider’, this track really summed up the startling change for me. Gone were the rock guitars, in came the strings. Gone were the jeans, in came the suits. Some fans didn’t like the new sound but some brand new fans were gained. Now nearly twenty years later, this song still feels fresh. Instruments come in one by one, gently nudging up against one another. The melody on the chorus must make even the hardest heart swoon. The song rises and it falls, over and over until tailing out with that delicate piano sequence.

Lyrically, things weren’t so different from what had come before. This was a song of yearning: a lost chance at love and happiness. The despondency in the early verses gives way to angst and almost self-pity but is there a chance of peace in the end? By coming to terms with the realisation of his feelings, the narrator is maybe on the first steps to recovery. In fact, the epiphany almost creates a sound of joy especially with those gorgeous female backing vocals right at the end.

There are only a few versions of this song but there are several that stand out. The original album version is one of the highlights of that debut disc. The Spanish version is, of course, ‘hermosa’. The Live In Los Angeles cd features the classic Gladys Knight opening but my favourite has to be the Peel Night version celebrating the great man’s sixtieth birthday. This features some marvelous Simon Cleave guitar which adds a nice burning intensity to the choruses. Every version though is neither hard nor fast but they are all beautiful.

Questions and Answers with David Lewis Gedge:

The title is borrowed from the 1951 tennis/drama/romance film directed by Ida Lupino. I know you are a fan of film but are you also a tennis fan?

DLG: I like the 2004 tennis/drama/romance film ‘Wimbledon’, too! I’ve seen that one about three times, ha, ha. But yes, I do like tennis. It was one of the only sports I actually enjoyed playing at school. I always thought that Ilie Năstase was the tennis world’s answer to George Best. That being said… the song has nothing to do with tennis… I just liked the title.

This track, along with others, really stood out for me among those early Cinerama songs. Where in your learning process of this new writing style did this piece fit?

DLG: I think Cinerama tracks tend to fall into one of two types. They’re usually either attempts at creating some kind of atmospheric cinematic soundscape or just me delving into pop song writing in the ‘classic’ or ‘traditional’ sense. This song falls very much into the latter category. It’s vocal led and has proper verses, bridges and choruses. I think it’s one of the best ‘songs’ I’ve written, to be honest.

The chorus with its soaring double-tracked vocals really hits the heart strings. Were there any pop ‘gimmicks’ that were ever ‘off the table’ for you at this time or were you happy to experiment wherever it led you?

DLG: I’m always interested in exploring different techniques; double tracking the vocal like that was suggested by the producer/engineer of Va Va Voom, Dare Mason. But there are a few pop gimmicks, as you call them, that I tend to avoid, yes… guitar solos, saxophone breaks, children singing, using a dozen notes in a vocal melody when a couple will suffice…

All these early Cinerama songs are credited solely to yourself so did they arrive totally constructed when you were in the studio?

DLG: Yes. I wrote all the Va Va Voom era songs at home, on my own. During the mid-to-late 1990s using computers to assist in the making of music became much more accessible to someone like me who has no recording studio engineering knowledge or experience. By that I mean that a) they plummeted in price and b) they also became considerably more user friendly. With the aid of some basic sequencing software and an Akai sampler I was able to record demos of those early Cinerama songs onto a digital 8-track recorder synched to my computer using drum loops, a keyboard, a micophone and my guitars. But, despite all the machinery, I still wanted Cinerama to sound like ‘a band’ so I decided to use session musicians for the ‘proper’ recordings. That was the process I used for Va Va Voom and most of This Is Cinerama. The musicians would come into the studio and listen to the demo and I’d explain what I wanted them to play. That was the other benefit of the technology, actually… the software enables you to print out a score for people like the strings players, so, again… even though I can’t score music… I was able to explain, by and large, what I wanted from the musicians. So they would come into the studio, hear the song for the first time and then record their part.

Dare was very helpful in a) sourcing some extremely talented players and b) helping me through the process because it was a completely new way of working for me. For all my previous records I’d been in a band and all the songs had been written, arranged and rehearsed a long time before we’d even set foot in the recording studio. The Va Va Voom sessions were much more liquid. Sometimes the session musicians would play it completely as I’d written it and sometimes they would say: “Well, I can see what you’re trying to do but the violin part would sound better if I did it like this.”

There was actually a funny moment during the recording of ‘Hard, Fast And Beautiful’ when we had the pianist in. I had a strong idea of how I wanted the piano part to be. I wanted it to sound like the soundtrack of a French film from the 1960s or 70s. But I can’t play the piano so I had to write the piece bit by bit on the computer… recording a few seconds of the right hand part, then a few seconds of the left… then moving on to the next section. It was a complicated process with all those overdubs but, when I was finally happy with it, I printed out the score and brought it along to the studio we were using to record piano. The pianist was a friend of Dare’s called Davey Ray Moor but what I didn’t know at the time was that he’s this hugely talented composer and multi-instrumentalist. He took one look at my score and said: “I can’t play this!” I asked why not, thinking that maybe we’d need someone with greater skills but he said: “Because they way it’s written I would need three hands!”

I know you love Terry de Castro’s backing vocals and she certainly shines on this piece. What is it about her vocals you love?

DLG: I do love Terry’s backing vocals but Va Va Voom was recorded before I met her. All the female singing on here is by Sally Murrell who hadn’t ever sung on a record before! She did a beautiful job…

I love the ‘Gladys Knight’ section on the Live In Los Angeles version – did you get that reaction often?

DLG: Ha, ha… yes, I suppose so… it’s a popular song. The difference between ‘Hard, Fast And Beautiful’ and a lot of my other songs is that the beginning is very quiet so you can clearly hear the audience reaction. On that occasion I was taken right back to hearing Gladys Knight And The Pips’ ‘The Way We Were’ on an LP my mum used to play all the time in the 1970s.

Do you have fond recollections of those days – when most of your gigs were low key and filled with hard-core, cult followers and/or new fans to Cinerama?

DLG: It was an interesting time. I was forging ahead into some kind of a new territory for me and so I was extremely appreciative of any support from those fans who came with me, while, at the same time, being excited to meet people who’d never liked The Wedding Present. The only frustration was that I didn’t have the resources to re-create the ‘full’ Cinerama sound live… I mean like we did in London a couple of years ago for the Live 2015 album. We only really used the full mini-orchestra on sessions for John Peel in those days.

Official Lyrics:

And guess what I found
It’s a letter that I started writing when you walked out

It says that I won’t miss you because I’ve met someone who’s more exciting
But that wasn’t true

So how did I lose you?
The last thing you ever wanted to do was to hurt me but I’d still accuse you

And I couldn’t know I’d never feel the same way with another
So I let you go

Yeah, I’ve got a girlfriend
She’s beautiful, considerate and, yes, I do love her
But I’m not going to pretend that she’s ever going to be the one

Because now I know that it was you all the time
How could I ever think it wasn’t true?
Now I’ve stopped trying to tell myself that I’ve grown out of being in love with you

And deep in the night I lie awake and think about you
Of course it’s not right

But what can I do?
I can’t sleep in this bed without you
If you only knew

Yeah, I’ve got a girlfriend
She’s beautiful, considerate and, yes, I do love her
But I’m not going to pretend that she’s ever going to be the one

Because now I know that it was you all the time
How could I ever think it wasn’t true?
So now I’ve stopped trying to tell myself that I’ve grown out of being in love with you

Because now I know that it was you all the time
How could I ever think it wasn’t true?
So now I’ve stopped trying to tell myself that I’ve grown out of being in love with you

[Written by Gedge and published by Cooking Vinyl Publishing]

Studio Versions:

1 – Va Va Voom album track [Cooking Vinyl COOK CD 150] – released 27/07/1998, recorded Spring 1998; TIME: 4:59

Recorded by : David Gedge (vocals, guitar, producer); Sally Murrell (backing vocals); Davey Ray Moor (piano); Anthony Coote (bass); Che Albrighton (drums); Abigail Trundle (cello); Rachel Davies (violin); Dare Mason (guitar, producer)

2 – Spanish version released as ‘Dura, Rapida Y Hermosa’ on the Superman 7″ [Scopitones TONE 007] released 23/04/2001; and later included on Cinerama Holiday  [Scopitones TONE CD013] released 23/09/2002; TIME: 4:27

Recorded by : David Gedge (vocals, guitar, producer); Sally Murrell (backing vocals, keyboards); Simon Cleave (guitar); Terry de Castro (bass); Kari Paavola (drums); Steve Albini (engineer); Dare Mason (mixer/overdubs) [translation by Anne Foley]

Live Versions:

1 – John Peel’s 60th Birthday version; TIME: 5:09

Recorded by : David Gedge (vocals, guitar); Sally Murrell (backing vocals, keyboards); Simon Cleave (guitar); Terry de Castro (bass); Bryan McLellan (drums); Philip Robinson (keyboards, backing vocals)
Recorded at the BBC Maida Vale Studios, London, UK on 31/08/1999, first broadcast on 02/09/1999
Released on John Peel Sessions  [Scopitones TONE CD 006] 02/04/2001 and later as part of Cinerama – The Complete Peel Sessions

2 – Los Angeles 2000 version; TIME: 5:00

Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry de Castro (bass); Kari Paavola (drums)
Recorded at The Knitting Factory, Los Angeles, USA on 05/11/2000
Released on Live In Los Angeles [Scopitones TONE CD 009]  06/05/2002

Live:

Hard, Fast And Beautiful was part of Cinerama’s first set on 22/07/1998 at the Camden Falcon, London, UK and stayed in until 2001. It reappeared briefly on the setlist in 2003. Then with the return of The Wedding Present, it didn’t appear again until around 2011 when Cinerama started playing as a support group at the Edge of the Sea and Peaks festivals. It was played as part of a set with a full orchestra at some shows in the Summer of 2015.

Video:

Va Va Voom version:

A nice live video from ATEOTS 2011 featuring Charlie on bass guitar:

The aforementioned version with full orchestra in 2015:

 

Wow

Cinerama had been around for a couple of years by the time that ‘Wow’ arrived. Just as some fans couldn’t take to the new band, Va Va Voom brought others that were new to the delights of David Gedge’s songs. Releases were coming thick and fast: four singles with fantastic b-sides, one album and a compilation of earlier singles and b-sides all came out in 2000.

‘Wow’ was a surprise to some of us at that time as it seemed like a return to the sound of previous years. Mixed in with the slinky orchestration of Cinerama, it was a heady mix. There was a new drummer in Simon Pearson whilst ex-The Wedding Present guitarist, Simon Cleave had been back in the fold for about a year and along with Terry DeCastro’s ever-excellent musicianship this was a band making some beautiful music.

‘Wow’ is kind of a perfect Gedge formula in many ways: Lust + Couplets + Roaring Guitars + Long Melodic Outro = Pop Genius. It’s been performed in many ways over the years from stripped down acoustic to full rock band to augmented orchestra and it never ever gets old. You want it to last forever. You compel it to stay. You are sure. OK?

Questions and Answers with David Gedge:

I guess the big question about this song is, it came kind of in the middle of the Cinerama era but was the first clear sign that the Wedding Present ‘sound’ was ‘returning’. It was noisier and rockier than anything in the Va Va Voom era. What was it that made you write (or record) a song that sounded so much like your (then) former band?

DLG: I didn’t go out to create something that sounded like The Wedding Present; I think it was just the way it came together. I’d written and arranged Va Va Voom totally on my own and had consciously tried to write songs around other instruments, rather than concentrating on the guitar as we’d done in The Wedding Present. But, after the release of Va Va Voom, Cinerama became more of a band and so, even though I still wrote this song at home on my own using the computer, we started arranging songs more as a band, too. And I think that’s where the similarities to The Wedding Present started to creep in, especially since the Wedding Present guitarist was now the Cinerama guitarist!

The songs recorded as part of the Disco Volante sessions are pretty varied. At what stage in the recording process was ‘Wow’ and how much of the result was influenced by Steve Albini?

DLG:  ‘Wow’ was one of the first songs to be written for what would be the follow up to Va Va Voom. I think the variety comes from the fact that I was still in the poppy post – Va Va Voom stage but, at the same time, also immersing myself in those rockier Cinerama band surroundings. Albini never really influences recordings, to be honest. He sees himself more of a documenter.

I’m assuming the single/album versions were cut from the same recording sessions? Was ‘Wow’ always going to be a single or did you only realise after recording and so have to create an edited version?

DLG: It was always going to be a single, yes. I’d earmarked it as ‘the herald’ for the next album quite early on and doing the two versions was always part of that strategy. It was just one of those songs that sounded like a statement of intent!

We tracked the six and a half minute version in Chicago with Albini but the only additional instrument we recorded at that time was the flute part. It was mixed, along with ‘Gigolo’, there and then by Albini and we faded it out over the outro to make the length a more radio-friendly four minutes. The third track on the ‘Wow’ CD single, ’10 Denier’, was left over from a previous recording session. When the single came out in the summer of 2000 we were still working on Disco Volante here in England with Dare Mason. For the album version of ‘Wow’ we added strings and french horn and, obviously, didn’t fade it out this time!

The Extended version includes some chitter-chatter at the start, the gorgeous instrumental outro and some distortion at the end. Any thoughts on the extra elements?

DLG: I surreptitiously recorded the chitter-chatter in a London restaurant on my portable mini-disc but then we recorded the ‘wine pouring’ in the studio. It was Dare’s idea to have one glass panned in one speaker and one in the other… ‘some for you, some for me’.

You’ve written quite a few songs that have long outros, with ‘Take Me!’ being perhaps the most famous example. What makes you think a song should have an end like that? And what makes you decide when enough is enough? I could listen to the end of ‘Wow’ for ten minutes and never get bored. Why stop where you did?

DLG:  I love a long outro, ha, ha… and some songs just call out for it. It just needs a pattern and tempo that can withstand repetition, I guess. But on ‘Wow’ the point is that the whole thing gradually builds and builds… the drums and guitars increasingly get more intense, additional guitar layers enter, then the solo french horn joins in… and I think that you ultimately reach a point where it feels that the arrangement is busy enough. At the end of the outro the higher strings play a counter melody and I sometimes think that maybe I went too far with that!

The lyrics are pretty unambiguous and in fact the stark reality that lust can overtake all rational and moral thought maybe strikes a chord with fans. Do you think this ‘weakness’  is something that most people succumb to at some point in their lives?

DLG: You would have to conduct a survey to answer that!

I know people that have had secret rendezvous at Wedding Present/Cinerama concerts. Do you think your fans are drawn to your lyrics because they already live lives that replicate your words or do they act out in ways that they wouldn’t normally because they are fans?

DLG: I think people are drawn to my lyrics because they’re meaningful and unambiguous and are rarely cloaked in ridiculous imagery. I just try to discuss the kinds of things that happen to us all.

Cinerama singles and albums had great sleeves. Is that Gina Lollobrigida on the single release and who designed the cover?

DLG: The earlier sleeves, including this one, were usually designed by Andrew Swain at Cactus following my brief that I wanted a modern feel applied to retro photographic imagery. I think Andrew went with more of a lighter ‘pop culture’ approach than Egelnick & Webb who did the later Cinerama sleeves. But it’s not Gina Lollobrigida, no.

You’ve played the song live as Cinerama in the old days; with the Wedding Present; with a couple of brass musicians and with a full orchestra. How much difference does this make to you live how many musicians are on stage? Do you prefer the full orchestra version over the others?

DLG: Ultimately, if a song is good enough it’ll stand being played by one person on an acoustic guitar… and I think this song is good enough. That being said, it does sound ‘huge’ when the band is complemented by a string section and the brass and flute and I’m really glad we were able to record a version in that format for the Live 2015 album/DVD.

Official Lyrics:

You’ve avoided questions that could’ve easily spoilt the mood
Like ‘where does my girlfriend work?’, ‘what’s her favourite food?’
I think I know someone who could give me an alibi
So, yes, I think I’ve just proved that I’m prepared to lie

But there is nothing quite like a secret rendezvous
I think I know already what I’m going to do
Outside the air is cold and your arm slips into mine
When you invite me in, you know I won’t decline

But I don’t want to stay forever
Oh, I don’t want to leave my girlfriend but, wow, this isn’t happening the way I’d planned
I’m not going to say never but I don’t want to fall in love right now
Well, just as long as we both understand

As you lead me up the stairs, I’m leering at your thighs
You’re revealing parts of me I just don’t recognise
You leave behind a scent that lingers in the air
It draws me up the steps but I should not be there

But I don’t want to stay forever
Oh, I don’t want to leave my girlfriend but, wow, this isn’t happening the way I’d planned
Oh, I’m not going to say never but I don’t want to fall in love right now
Well, just as long as we both understand

You’re telling me, almost compelling me, to stay
But don’t close the door because I’m still not sure
OK

Written and published by Gedge, whose publishing is administered outside of the UK & Eire by Fintage Publishing BV.

Studio Version:

1 – Single version released 12/06/2000 [Scopitones, TONE CD 002]TIME: 3:59

Recorded by : David Gedge (vocals, guitar); Sally Murrell (vocals, keyboards); Simon Cleave (guitar); Terry de Castro (bass and backing vocals); Simon Pearson (drums); Paul Martens (flute); Steve Albini (engineer); Dare Mason (mixer)

2 – Disco Volante version released 18/09/2000 [Scopitones, TONE CD 004] TIME: 6:44

Recorded by : David Gedge (vocals, guitar); Sally Murrell (vocals, keyboards); Simon Cleave (guitar); Terry de Castro (bass and backing vocals); Simon Pearson (drums); Paul Martens (flute); Abigail Trundle (cello); Rachel Davis (violin); Andrew Blick (trumpet); Jon Boswell (french horn); Steve Albini (engineer); Dare Mason (mixer)

(Recorded in Electrical Audio, Chicago and Oaklands Groove, London in the Summer of 2000)

Live Version:

1 –  Live in Los Angeles version released 2002 (Scopitones, TONE CD 009) TIME: 7:05

Recorded by : David Gedge (vocals, guitar); Sally Murrell (vocals, keyboards); Simon Cleave (guitar); Terry de Castro (bass and backing vocals); Kari Paavola (drums); Ethan Kairer (live sound mixer)

(Recorded at The Knitting Factory, Los Angeles, USA on 05/11/2000 [Cinerama: Winter Tour])

2 – Live in Belfast version released 06/10/2003 [Scopitones, TONE CD 015] TIME: 6:05

Recorded by : David Gedge (vocals, guitar); (Simon Cleave (guitar); Terry de Castro (bass and backing vocals); Kari Paavola (drums); Richard Jackson (live sound mixer)

(Recorded at The Empire, Belfast, Northern Ireland on 05/09/2002 [Cinerama: 2002 Tour])

3 – Live 2015 version released 09/11/2015 [Scoptiones, TONE 062] TIME: 6:25

Recorded by : David Gedge (vocals, guitar); Samuel Beer-Pearce (guitar); Katherine Wallinger (bass); Charles Layton (drums); Danielle Wadey (keyboards, glockenspiel, backing vocals); Melanie Howard (keyboards, backing vocals); Pedro Vigil (guitar); Rebecca Doe (violin); Michael Simmonds (violin); Robert Spriggs (viola); Anna Beryl (cello); Andrew Blick (trumpet); Elizabeth Palmer (flute); Sebastian Falcone (live recording/mixer)

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Live:

Debuting in 2000 to rapturous reception, ‘Wow’ continued in the set until the seeming demise of Cinerama around 2004 but as soon as 2006, it was already back in the Wedding Present’s repertoire.

Videos:

 

Skin Diving

 

The mid-nineties were a time of flux for The Wedding Present but even though band members came and went, great songs continued to be written. Born in the same fire as the rocking tunes from Mini, came a few teasers from the next full-length album.

I remember seeing the band play at a record store in London where I heard this song for the first time. I recorded the ‘show’ on a massive camcorder and watching it back now, I remember the feeling that the new songs really stood out, full of energy and thrust.

It feels like a neglected gem these days, hidden away on what was the band’s swan song (or so we thought at the time). When I hear it live now, it still sounds as fresh as it did twenty years ago under the garish bright lighting of the Virgin megastore on Oxford Street.

Questions and Answers with David Gedge:

I recall this song along with Snake Eyes being previewed live alongside the songs from Mini. Was it always planned to be on what became Saturnalia? I guess there’s no car theme for it to get onto Mini.

DLG: Yes, it was always destined to be on Saturnalia. It just happened to be one of the songs written following the release of Watusi, along with Snake Eyes, Dreamworld, Project Cenzo, Real Thing, Sucker, Jet Girl, Big Boots and the six Mini songs. Some of my favourite Wedding Present songs are actually in that list.

Any thoughts about the writing of this one, what the rest of the band contributed? It was written around that brief period you were a three-piece with Simon Smith and Darren Belk. By the time you recorded it, Jayne Lockey and Simon Cleave had joined and Darren had left. Jayne provided backing vocals, any other changes?

DLG: Of the dozen or so songs in that list above, Paul Dorrington [the guitarist on Watusi] contributed to only a few… Snake Eyes, Big Boots and Jet Girl. After that Darren moved from bass to guitar but wrote the bass lines for these songs as well as his guitar parts. I think that actually worked very well. The guitar lines are pretty simple and melodic but I think they’re written to work with the bass… so on Skin Diving, for instance, you get this big, driving, rocky sound.

To me, it sounds like the narrator is trying to get back with his ex and this liaison isn’t nearly as irrelevant as he’s making it out to be. He hopes it will lead to more and maybe even hopes the new boyfriend will find out. He doesn’t plan to disappear at all. Am I right?

DLG: I can see how you’d draw those conclusions as the song progresses, yes.

Likewise, the line “Oh, so then we both agree that this means you must be still a little bit in love with me”, is that arrogance or uncertainty? Who is he trying to convince, himself or her?

DLG: Ha, ha… I think that’s for you to decide!

The song title, one assumes, refers to the swimming mentioned in the lyrics but there is a ruder meaning to the phrase. Were you aware of that at the time?

DLG: I was most definitely not… but it does sort of work in the context, I guess!

As I write this, I saw you play this song last night. It still sounds fantastic. Do you enjoy playing it live? I think it’s one that gets a crowd going even if they don’t know it as well as others.

DLG: I think that’s because it just ‘rocks’… for the reason I gave above. It’s simple and effective. The current band always enjoys playing it.

Have you ever been skinny dipping?!

DLG: Yes! Very liberating!

Official Lyrics:

I know you said not to call
Well, so what?
I’ve lost you anyway
But, darling, that’s not all
I’ve got something else to say

Well, you pretend that I’m not here
So I guess you’re hardly pining
If you want, oh, I’ll disappear
But right now the sun is shining

So come on, just this one more time, then I’m gone
Well he can’t expect you to stay home
This is summertime
Besides which, he’d never suspect you

Sure, just take off your things
Because this is such a cool place to swim
We should go skin diving and just forget about him

So come on, just this one more time, then I’m gone
Well he can’t expect you to stay home
This is summertime
Besides which, he’d never suspect you

I’ll do it if you will
Oh, so then we both agree that this means you must be still a little bit in love with me

So come on, just this one more time, then I’m gone
Well he can’t expect you to stay home
This is summertime
Besides which, he’d never suspect you

Written by Gedge / Belk / Smith and published by Cooking Vinyl Publishing.

Studio Version:

1 – Saturnalia version released 24/09/1996 TIME: 3:11

Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Jayne Lockey (bass and backing vocals); Simon Smith (drums); Cenzo Townsend (and The Wedding Present) (producers)

Live Versions:

1 – Detroit 1996 version as featured on Mini – Deluxe edition (EDSEL EDSJ9010) TIME: 3:00

Recorded by : David Gedge (vocals, guitar); Darren Belk (guitar); Jayne Lockey (bass and backing vocals); Simon Smith (drums)

(Recorded at The Shelter, Detroit on 21/03/1996)

2 –  BBC Sound City 1996 version as featured on both Mini – Deluxe edition & Complete Peel Sessions  (BBC, CMXBX1447) TIME: 3:18

Recorded by : David Gedge (vocals, guitar); Darren Belk (guitar); Jayne Lockey (bass and backing vocals); Simon Smith & Chris Cooper (drums);

(Recorded at The Metropolitan University, Leeds on 12/04/1996)

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Live:

First appeared around the time of Mini in early 1996 and was a feature in those final years. Sadly it’s only appeared rarely since the reformation in 2005 but it’s currently on the set lists again in 2016 thanks to the upcoming Saturnalia tour.

Videos:

No official video ever made so here’s a recent live performance from the Indie Daze festival on 03/10/2015.

Skin Diving at The Forum, London

[Special thanks to Dawn Bellamy & John Marshall]

Perfect Blue

2005 saw the rebirth of The Wedding Present. For some, including, it seemed, the band itself, there was little difference in the semantics. As Shakespeare wrote “A rose by any other name would smell as sweet” but there was something special, something primal and tribalistic that was awoken when that change happened. The band from my younger years were back – even though they’d never really gone away.

On that return tour that would last 16 months, the band decided to end their set with the song that was ending the new album, Take Fountain. It was a beautiful song – a love song without any irony or bitter sweet taste. Just a song of innocent, wide-eyed devotion, pure and simple.  The lyrics include touches of lump-in-the-throat deprecation (“I’m not sure just what I did to deserve you”) and deadpan humourless conviction (“Because, when I’m away from you, it’s like something’s missing/That sounds drippy but I swear it’s true”). David Gedge even drops his voice to speak that middle phrase – just to emphasise how much she, and therefore the song, mean to him. As alluded to below, this song is real, it was not written for the sake of a needing a ballad to close an album, it’s from the heart. And as anyone who has ever been in love (or maybe still is) knows, when you feel this way, you don’t care who knows about it and you don’t care how it might look.

The song begins quietly with just guitar and vocal, with an aching silence after the “you’re staring” line. On the album, it gently builds picking up instruments along the way until by the halfway point, strings and horns are joining in. It ends in a gorgeous crescendo of noise that stays with you even after the needle lifts from the groove. Live, the song took on another life. Occasionally the band would attempt to mimic the orchestral feel of the original but most of the time, they set aside those thoughts and just filled the gap with guitars. Lots of noisy guitars. So, for many of the gigs in that period (and I went to a lot of them), the sets ended with several minutes of heart-surgingly powerful guitars. Gedge and co would take the song up several ratchets in their attempts to burst our eardrums and twang at our heart-strings. At the end of each gig, the fans were left exhausted but with massive smiles on their faces. Perfect.

Questions and Answers with David Gedge:

This debuted live as a Cinerama song in 2003. Did it go through any changes between when it was written and when it appeared on Take Fountain?

DLG: No, because, as you know, when we started Take Fountain we all thought we were making the fourth Cinerama album and so that’s how it was recorded. I think we decided it was actually going to be a Wedding Present album during the mixing.

I think most people assume this song was written about your now-wife Jessica. Can you break your usual wall and say if that’s so? If yes, what does she think about having such a beautiful love song written about her?

DLG: I will just say that Take Fountain is one of the two most ‘personal’ albums I’ve written… the other being George Best. Take Fountain essentially tells the story of the end of one relationship and the start of another and Perfect Blue, along with its ‘sister’ song, Queen Anne are the optimistic closing tracks at the end of what is otherwise quite a melancholy journey.

The lyrics (especially the last verse), as are often the case, suggest a lot of self-deprecation. Is that really how you are as I find people have very differing opinions on your real personality?

DLG: Ha, ha… maybe I’m just a complex kinda guy. Talking of the lyrics… when we were sound checking this song at The Leadmill in Sheffield once the monitor engineer came over to me after I’d done the spoken “it’s like something’s missing” line in the second verse and put his head close to my monitor speakers as we continued to play. He thought I’d paused during the singing to complain about the mix he’d given me.

Halfway through, the song changes into a long instrumental for around two and a half minutes. On the record it goes from guitars into an orchestral coda. Live, of course, it was usually just performed with guitars. Both versions are magnificent but I know that a lot of fans loved the live version as it allowed them to dance wildly in the same way songs like Kennedy and Flying Saucer did with their noisy outros. I think the album version sounds more romantic and the live version more frenetic and exciting. Which do you prefer? How much do you love playing it live especially the last minute with the extra roaring guitar? Can you try and get a live version onto a nicely recorded official release please?

DLG: It’s difficult to say which I prefer. In the studio you have the luxury of being able to add extra instrumentation, correct mistakes, fine-tune the production… and all that appeals to me because I’m a perfectionist! But then there’s nothing quite like playing a song live to ramp up the intensity and the excitement in the arrangement. What we’ve always tried to do in The Wedding Present, of course, is capture that live power in the studio. With a song like Perfect Blue we wanted to create a huge dynamic shift from the beginning, where it’s just guitar and singing, to the end, where all the guns are blazing but there’s still room for a solo french horn to cut through with the final melody.

As music lovers, a lot of songs get intrinsically linked with our own real life events and of course that is why we hold them so dear and feel quite protective over our love for them. Do you ever feel protective over songs, for example ones which may hold particular personal significance? Playing Devil’s Advocate here – would you let Adele cover Perfect Blue?

DLG: It’s an odd thing… I feel very protective of the songs while they’re being written but once we start performing them or recording them I do feel like I’m letting them go in some way. It’s as if by that point I’ve done all I can to prepare them… now they have to fend for themselves in the outside world! And I’m always interested to hear other people’s interpretations of my work, yes.

Official Lyrics:

And when I turn round to glance at you, you’re staring
And your eyes are such a perfect blue that I can’t look away
Did I get shy?
Maybe I didn’t make it clear, but, darling, I think I’ll always want you near

Because, when I’m away from you, it’s like something’s missing
That sounds drippy but I swear it’s true
You just appeared and, no, it wasn’t rehearsed, there really was no warning
Now you’re the first thing in my head each morning

And the more I have, the more I want you
The more you smile, the more I know that I’ll never make you sad
But I should warn you that I just might never let you out of my sight

I’m not sure just what I did to deserve you
I’m not complaining, God forbid, I just don’t understand!
Tell me why haven’t you had enough of me?
How have I managed to you make you love me?

The more I have, the more I want you
The more you smile, the more I know that I’ll never make you sad
But I should warn you that I just might never let you out of my sight

Written by Gedge / Cleave and published by Gedge [whose publishing is administered outside of the UK & Eire by Fintage Publishing BV] / Complete Music.

Studio Version:

1 – Take Fountain version released 14/02/2005 TIME: 5:31

Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass and backing vocals); Kari Paavola (drums and percussion); Jen Kozel (violin); Stephen Cressswell (viola); Lori Goldstone (cello); Don Crevie (french horn); Jeff McGrath (trumpet);  Producer/Engineer/Mixer/(other instruments): Steve Fisk
(Recorded in the USA in the Summer of 2004)

Live Version:

1 – Live in New York by Cinerama released 18/01/2010 (Scopitones, download-only) TIME: 6:30

Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry De Castro (bass and backing vocals); Kari Paavola (drums and percussion)
(Recorded on 28/06/2003)

Take Fountain51UCbkBBLHL._SL500_AA280_

Live:

As mentioned above, the song started off as a Cinerama song in their 2003 gigs and by the time 2005 arrived and the band had changed name back to The Wedding Present and embarked on a long tour, the song had become a firm live favourite. It reappeared in setlists in 2007, 2011-12 and 2014.

Videos:

No official video for this song although in 2011 MVDvisual released Drive [MVD5208D], a documentary and live video collection of 2005’s North American tour so there is a version of Perfect Blue on there which isn’t on youtube. Instead, here are a few versions. First up is the album version with a straightforward non-video.

Perfect Blue – album version

Next is an example of the noisier, more guitar-driven live version despite a guitar change halfway through the coda by Chris McConville.

Perfect Blue – live, Hamburg 2007

Lastly, an acoustic recording of the song which has had a video created for it.

Perfect Blue – acoustic by Gedge/Cleave, Amsterdam 2004

[Special thanks to Tracy Hopkinson & Hick Hallworth]

Get Smart

The first Cinerama song for this blog to tackle and it’s a largely forgotten album track from the otherwise remarkable Torino. It was premiered a year earlier in a John Peel Session that was first broadcast on the 24th May 2001 alongside three other songs that went on to be singles. Likewise on Torino it’s track 12, sandwiched between the magnificent Get Up And Go  and Health and Efficiency. So it’s understandable if not many fans talk about it much, added to the fact that it’s rarely been played live so it’s not really built up much of a following. The title doesn’t appear in the lyrics although it is obliquely referencing the theme of the song. The title was probably influenced by the American TV show of the same name from the late sixties (see below, I was right!). It was a spoof spy series created by Mel Brooks and starring Don Adams. Certainly not the only Gedge song to have a spy-influenced title.

The song is told from a rather weird angle as the narrator is talking to his partner telling them that if they want to keep having an affair, that’s fine, just be more discreet. The slightly confusing thing about all this is that he doesn’t seem all that angry or upset by the conversation. After all, he tells them not to “flip”. Is he just so in love with this person that he will put with anything as long as it isn’t made obvious? It’s not an argument that seems rational by any means but I guess love can do funny things to people. My favourite lyric in the piece comes in the form of the wonderful couplet: “This hanging up without him saying a word / Was maybe fine just once but it’s becoming absurd”. Accurate, funny and a joy to hear. Vocally, Gedge set his sights (and his vocal chords) high here with some falsetto notes in places. Not sure it works to be honest but I love his bravery in trying.

Gedge co-wrote this song with Simon Cleave and his distinctive playing dominates the instrumental sections with some lovely Spanish guitar twanging. There are some beautiful strings that swing us along and Kari Paavola added his flare to the percussion. Please note: there are also bongos! A really nice addition to the Torino  version were the haunting backing vocals that Terry de Castro does in the final chorus before the flute kicks in to take us to the end.

Questions and Answers with David Gedge:

Why is the song called ‘Get Smart’? 

DLG: It’s my little nod to the classic 1960s American TV comedy series of the same name. It was a James Bond spoof, created by Mel Brooks, which I adored as kid.

The Torino version changes a fair bit from the earlier Peel Session.

DLG:  Well, of course, we used Peel Sessions as a way of recording ‘works in progress’ [as Peel himself used to call them] so I was bound to use the opportunity to improve the arrangement in between the BBC and our own sessions. I remember that we hadn’t thought about adding backing vocals to this when we were at Maida Vale, but the main thing I wanted to add, when we recorded the Scopitones version, was a feeling of 1960s ‘grooviness’, if there’s such a word! So we brought in Mat Pharaoh to play bongos and Duncan Bridgeman to add a killer flute solo over the end section. Both were colleagues of one of Cinerama’s go-to recording engineers, Dare Mason, but Duncan’s actually a renowned record producer in his own right. Neither Simon Cleave [or John Peel!] shared my affection for a good flute part but I think it really transforms the end section.

Any general thoughts on the song?

DLG: I’m fond of the little details in the lyric… like the hair in the bed and the credit card receipt… which lead you to believe that the narrator is slightly obsessive… as well as being a bit pitiable!

Is there anything you would change about the song now?

DLG: I think I could have been slightly more sparing with the amount of falsetto singing I use.

The song comes from a very unusual viewpoint of a man wanting his partner to keep her affair hidden better. Do you know anyone that’s ever actually acted like this?

DLG:  I never discuss lyric sources but I do think this to be a thought-provoking scenario… purposely turning a blind eye, so to speak. And I think we’ve all turned a blind eye!

Official Lyrics

I heard exactly what you said but I know that he slept in our bed
You should really take more care because all it took was a single hair

How would you, how could you not think that I’d realise?!
You must know you’re just so terrible at telling lies

And did you really think I might not find out where you were last night?
Believe me, darling, it wasn’t hard, when you paid for the meal on your credit card!

No, don’t flip, here’s a tip: all it needs is a little thought
This will surprise you but I don’t want you to get caught

That’s a price that I’ll pay to stop you going away
Keep telling your lies
I won’t criticise if it means you will stay

And you should probably tell him not to ’phone unless you’re sure that you are going to be alone
This hanging up without him saying a word was maybe fine just once, but it’s becoming absurd

No, don’t flip, here’s a tip: all it needs is a little thought
This will surprise you but I don’t want you to get caught

That’s a price that I’ll pay to stop you going away
Keep telling your lies
I won’t criticise if it means you will stay

That’s a price that I’ll pay to stop you going away
Keep telling your lies
I won’t criticise if it means you will stay

That’s a price that I’ll pay to stop you going away
Keep telling your lies
I won’t criticise if it means you will stay

Written and by Gedge [whose publishing is administered outside of the UK & Eire by Fintage Publishing BV] and Cleave [Complete Music].

Studio Versions:

1 – Peel Sessions: Season 2 [SCOPITONES TONE CD 014] recorded 13/05/2001, broadcast 24/05/2001 TIME: 3:27

Recorded by David Gedge (guitar and singing), Sally Murrell (keyboards and backing vocals), Simon Cleave (guitar), Terry de Castro (bass and backing vocals), Kari Paavola (drums), Philip Robinson (flute), Andrew Black (trumpet), Abigail Trundle (cello), William Davis (violin), Mike Engles (producer), Jamie Hart (engineer)

Peel Sessions Season 2
Peel Sessions Season 2

2 – Torino version released 01/07/2002 [Scopitones TONE CD 11] TIME: 3:31

Recorded by David Gedge (guitar, singing, producer & string arrangement), Sally Murrell (keyboards and backing vocals), Simon Cleave (guitar & producer), Terry de Castro (bass and backing vocals), Kari Paavola (drums), Allen Samuel (violin and viola), Rachel Davis (violin), Theresa Whipple (viola), Abigail Trundle (cello), Rachel Didcock (cello), Ian Williams (trumpet), Christopher Hortin (french horn), Duncan Bridgeman (flute), Mat Pharaoh (bongos), Steve Albini (producer), Dare Mason (mixer)

Torino
Torino

Live:

As mentioned above, it hasn’t been played live very much although it has made the occasional appearance as seen below.

Video:

https://www.youtube.com/watch?feature=player_embedded&v=f4ETzPRq4w8

Don’t Talk, Just Kiss

It was February of 1990 and things were about to change. The Wedding Present had recently come out of the studio with renowned engineer (not producer!) Steve Albini, he of Pixies, Nirvana, Black Flag etc. fame. According to David Gedge at the time, he might finally be able to reproduce the ferocious sound that the Leeds-based band had so far not been able to capture on record. The Brassneck EP [RCA ‎– PT43404] was the first result of that collaboration and it was a blessing from the gods. Four tracks of blistering and powerful guitars including the finest song ever recorded in the title track. Nestled comfortably on that EP was Don’t Talk, Just Kiss, a song of yearning and lust.

The protagonist is pleading with the girl to forget her boyfriend (“He’s probably not even there”). There’s a desperation inherent in the lyrics familiar to many a young male. Nothing is more important than this moment even if it involves cheating and infidelity. “Don’t talk, just kiss”: so simple and yet words that resound with anyone who has ever been drawn to someone they can’t or shouldn’t have.

The most striking thing about this song however and something that really comes across live is the tempo change between the verses and the choruses. Twice, the verse leads into a ferocious storm of guitar as the drums double up in speed and lead into the “If you’re worried he’s so near” segment. At a gig, this has always led to an uncontrollable amount of moshing, such is the excitement that this combination of speed and rhythm and noise create.

Questions and Answers with David Gedge:

Do you have any memories of how the idea first came to you?

DLG: I have a vague memory that “Don’t Talk, Just Kiss!” was the title of a novel I saw in a bookshop once and the idea of how lust can be so powerful that it can overcome the need for conversation immediately appealed to me!

Any general thoughts on the song now and whether you like playing it live?

DLG:  It’s an exciting song to play live, primarily because the fast bit is so frantic. Charles Layton [drums; The Wedding Present, 2005 onwards] agrees and adds: “I love playing this song live. It has a great driving and punky feel to it… from the two thumping drum hits at the beginning to the guitar driven verse and then the double time chorus. The bass intro back to second verse is a nice touch, too. An early precursor to Corduroy, I feel!”

Is there anything you would change about the song now?

DLG: From a boring technical point of view I think it should be in a slightly higher key because the vocal is right at the bottom of my range. The only other annoying thing is that the pop group Right Said Fred released a single the year after we released “Don’t Talk, Just Kiss” with exactly the same title… and theirs went to Number 3 in the British charts!

I remember hearing this song live for the first time. It was ferocious and hasn’t let up since. Do you deliberately play it as aggressively as possible knowing it will generate a massive physical response?

DLG: It’s not played like that just to generate a response, no… it’s just that a certain amount of aggression is required for the playing of some Wedding Present songs… and this definitely falls into that category!

Did a specific incident lead to this song? Some of the lines seem so spot-on that I can’t imagine any of it being ‘made-up’. Lines about missing trains and waking up “near you” put this in the sometimes-rare category of ‘Romantic Songs’. Do you find it as easy to write such happy, thrilling lyrics as this compared to the more painful, angst-ridden ones?

DLG: I find it difficult to write any kind of lyric, to be honest, which is why I spend a long time doing them. If an incident in a song hasn’t happened to me directly I’m usually writing from the point of view of… if this had happened to me, what would I think? What would I say? What would I do? Etc. In this case I wanted the lyric to match the urgency and impatience of the fast section.

At the time it felt wasted as a b-side. I remember people thinking it should be a single before it appeared on the Brassneck EP. Any thoughts to it being an a-side?

DLG:  I think that any song that reaches a standard high enough for us to consider recording has the potential of becoming a single. I guess we just thought Brassneck was the more appropriate song for the A-side on this occasion.

The tempo change for the chorus was a first for you I think. Any idea what inspired that?

DLG:  When we are arranging a tune we will try countless different ways of playing it until something clicks. That kind of tempo change technique only suits certain songs, though… so we don’t use it that often. But it when it does work it can really enhance an arrangement.

Official Lyrics:

He didn’t see me
He sort of looked uneasy but I’m sure he didn’t guess
Oh, he’s never liked me
And, yes, OK… it might be a bit better if you left
Oh, was it me who said that?
No please, come straight back
You’ve got to stay with me somehow
Well, say you missed your train
What have you got to gain by leaving here right now?

If you’re worried he’s so near you might as well go back
You were never here, oh, why would I say that?
Look, everybody lies about this
Don’t talk, just kiss!

If you’re worried he’s so near you might as well go back
You were never here, oh, why would I say that?
Look, everybody lies about this
Don’t talk, just kiss!

I want to wake up near you
Oh, yes, of course I hear you but you’re just off back to row
Well, put yourself above him
Look… if you really loved him I don’t think you’d be here now
Oh, come on, what do you care?
He’s probably not even there
Oh, yes, I’m sure he’d sit and wait|
It’s just whenever you touch…
Oh, God, I want you so much
And you can’t say it’s too late

If you’re worried he’s so near you might as well go back
You were never here, oh, why would I say that?|
Look, everybody lies about this
Don’t talk, just kiss!

If you’re worried he’s so near you might as well go back
You were never here, oh, why would I say that?
Look, everybody lies about this
Don’t talk, just kiss!

Don’t talk, just kiss
Don’t talk, just kiss
Don’t talk, just kiss
Don’t talk, just kiss

Written and published by Gedge. Gedge’s publishing is administered outside of the UK & Eire by Fintage Music International.

Studio Versions:

1 – Brassneck EP version  released 05/02/1990  [RCA PT43404] TIME: 3:16

Recorded by : David Gedge (vocals, guitar); Peter Solowka (guitar); Keith Gregory (bass) and Simon Smith (drums) Engineer: Steve Albini;  Mastered by: Miles Showell

Live Versions:

1 – Shepherd’s Bush Welcomes released 2007 [SECRET RECORDINGS CRIDEBI] TIME: 3:26

Recorded 20/11/2005 at Shepherds Bush Empire, London
Recorded by : David Gedge (vocals, guitar); Simon Cleave (guitar); Terry de Castro (bass); Simon Pearson (drums) Mixed & mastered: Roger Lomas; Live Sound Mixed: Christopher McConville

2008-03-04_brass

Shepherd's Bush Welcomes

Live:

Played regularly from 1989 to 1991 and then on and off since the reformation in 2005. In 1989, it often opened the shows such was its popularity.
It was finally officially released as a live version in 2007 on the Shepherds Bush Welcomes cd [Secret Records Limited ‎– CRIDE81] plus there’s the appearance on the video Spunk which combined live performances with promo videos (See below).

Video: 

From Spunk: