I am a father and husband and love family holidays in the tent visiting Scotland which is perhaps the greatest country in the world. I love music and play in Weird Decibels as well as solo. I love video games but have yet to blog about that.
The Firkin Outburst Era and the around the time we headed back to Split Level.
The heady early days of being in a band are irreplaceable from the euphoric high of writing your first songs to the adrenalized buzz of playing your first gig. A band in its infancy can produce a surge of creativity often known as the ‘early stuff’. Then there were the large high school Martell crowds, the first articles in the Falkirk Herald all the first targets were being met.
So as the dust settled on our arrival at the music scene we knew that new songs had to arrive. By now we were students at college, drinking at every practise and generally having a laugh. We wrote many songs, probably forgot more than we remember. The tracks that did stick had to be recorded; there was a need to be back in the studio. There was only one choice for us. Split Level. Around the local scene our first demo had been a massive success, The Rain, Vancouver and Chameleon had been well received by the local radio station. With this in mind we had to pick three songs that would propel us further.
So here are our thoughts and memories for what would be our last session at Split Level. Also joining us for a look back is our long time friend John Baines who with our late great friend Dave Brown visited during the session.
Pabs
The choice of studio was a no brainer, we just wanted to go back to Split Level, it had been around 18 months since we recorded our first demo. The choice of songs would prove to be more difficult. We had written a number of songs, we had forgotten a lot more, so much alcohol flowed and we lost focus, it was just a bit of a laugh at this point. I remember Culture Creature was pretty much certain to be on the demo. Summerhigh was an early choice as well I think but trying to pick the third track was tricky. We couldn’t agree on the third song and the studio was booked so there was like a deadline. So I don’t think we had decided, so on the first day in the studio we were picking the last song and that turned out to be Today Was Insane. I didn’t think it was our best, but we went with it. The excitement was still there are we drove to the studio, the place was still a bit of a scrap yard, a wee house hidden by trees just outside the Edinburgh airport.
Derek
I remember Neil’s cars, he had loads of VW Scirroco’s (in the yard)
Pabs
The set up was the same, the studio hadn’t changed which was fine. Neil arrived, he could remember us from the first time and he still had that laid back approach to everything.
I think the atmosphere was different this time, it didn’t have the same feel for me, I don’t think we were ready to be honest.
John Baines
It’s all a bit hazy now but from what I can remember you’d blitzed through the majority of the songs on your first day and spent (most) your time there on 1 song. Am I right in saying it got a bit smoky in there too? Bizarrely my main memory is of Dave flicking a lit fag into his mouth. Lit end first obviously!
Pabs
I would’ve paid money to see that! I must’ve been in the vocal booth at that time, I spent many takes trying to get Culture Creature right, not only the vocals but the little guitar part in the middle. Stu and I play a strange dual solo that I don’t think we’ve properly nailed since!
Culture Creature was difficult, it’s a sad song with dark lyrics, I remember after a few vocal takes coming back into the control room and everyone just looked flat.
Stu
I Remember deciding to record Today Was Insane either just before or when we got there. Culture creature depressed everybody! Neil wasn’t quite as jovial as the 1st time. Did we crash at Deeks flat in Edinburgh in between days. Can’t remember.
Derek
I didn’t have my flat then!
Pabs
John and Dave were just sitting on the couch. The rest of the guys were quiet and yeah Neil looked a bit bored. I agree with Stu he didn’t joke or have a laugh like he did during the first demo.
John
I’ll put my poor recollections down to repeated concussions (and alcohol perhaps). Was it not Culture Creature that took the longest? Well worth it in my opinion
Pabs
Yes definitely, it took the longest. Summerhigh was pretty seamless, I can’t remember how Today Was Insane took but to be honest I didn’t care much for it. Culture Creature was worth it, it was worth the effort to get it right. I think it is one of our best songs, even if it sits in disjointed (but fun) album, Firkin Outburst.
Is the studio still there? Always look out for it when I’m going past.
Pabs
It is! It’s still nestled behind the large trees, the airport parking edges ever closer though. I think Neil still works in the studio. I’m the same, I’ll take a wee glance over, we had great times in there but to date, sadly, we’ve not been back.
We did record in professional studios, most were pretty bad but one did stick out as a fantastic place to record. Split Level studios in Edinburgh; we look back at our first recording. We put down three songs in that session, The Rain,Vancouver and Chameleon.
Pabs We got this studio recommendation from Chris Mason; Cage had recorded their single there, Collapse if i remember correctly, for Baghdad records. He gave us a number and I got in touch with a guy called Neil. We discussed dates and a price and I booked us a slot. I put the phone down and I couldn’t be more excited. We had a few songs ready, The Rain and Vancouver were definite choices. We had entered a competition to write a song for an anti drug campaign in Falkirk. So we wrote Chameleon and decided to record that at the studio so we could submit the song. Greg drove (again), I remember heading to Edinburgh, the studio is just outside the city’s airport, you take a sharp left just after the turnoff for the main terminal. We were heading up this dirt track and i’m thinking we’re lost. Then past the bushes there was this yard, it was a bit of a dump really and there was this cottage and no one was there to meet us. I remember Neil tearing up the drive in a car and parking next to us, out jumped this tall fella with a mop of red hair, he was a friendly laid back guy who fitted into the ramshackle surroundings. He led us up to the cottage and unlocked the front door. I think we first went into a kitchen and it was untidy, then i think there was a toilet. I was a wee bit taken aback. Then we got into the control room and I was blown away.
There was a huge mixing desk ( I was starting to have an interest in recording) a reel to reel and through the window there was a drum kit and a vocal booth. It was amazing. I stepped into the recording room, it was small, cosy, and there was this door that led to the vocal booth. It was padded out in green sound absorbing panels at that time i thought we were now a real band recording in the studio!
This was the first time I was recorded playing the acoustic guitar in the studio, it was nerve wracking! I learned that every chord scrape, every open string was heard and i quickly had to improve my playing.
I can’t remember the order of the songs or even the process of putting the songs down, i do remember screaming my lungs out on the Rain and Neil gently mocking my lyrics, ‘Trousers that keep us alive’ I also remember Greg placing his amp in the toilet to get the sound for the bass.
Derek has always had a knack of putting drums down quickly, I can’t remember how we did the initial tracking but I do remember the overdubbing. I felt at ease in this environment, we’d flop down onto the big couch and listen as Stu laid his tracks, we were well rehearsed so the whole thing went quite well.
Greg
I remember having a bit of a jam with Neil on drums at some point. Also that i felt very relaxed doing the recording. It was also the first time you really heard the individual parts being played in isolation as everyone recorded their part.
Remember thinking that was cool. I still love that shot someone took of me taking my bass off in the sunlight from the window. I recorded my parts Sat next to Neil at the desk I think.
Stu
The studio was a hidden gem. A bit like Dr Who’s travelling police box. Just looked like a run down wee cottage from the outside… Then once (we got) past the ‘cold trainspotting loo’ a wonderful studio with huge mixing desk and sound proof glass. Amazing stuff I remember feeling under pressure to nail guitar parts but it was quite a relaxed atmosphere so it felt really easy to layer double tracked rhythm parts.
On the track The Rain i use a lot of wah wah and coming back into the studio on the 2nd day Neil had added a delay effect over the top which sounded incredible…..needless to say I had to invest in a delay pedal shortly after this so the overall sound would be replicated live
Pabs
The mixing was quick, Neil asked if the tracks were for an album or a demo, we said demo, and away he went mixing rather quickly, in the background the tape reel was spinning back and forth. He had an Atari computer with music software and a huge rack of FX. Derek liked the drum sound, later he would reflect that the cymbals could’ve been louder. I was mesmerized at the speed that Neil worked, with a cigarette in hand he flitted between the desk, the reel to reel and the Atari. We started to hear the music back through the speakers and it was amazing, really amazing to hear out songs this way. Neil seemed to like the songs so I guess this made the job easier for him (we’d return a year or so later and it was a slightly different outcome) it wasn’t long before we were done.
There was time for photographs of us larking around in the studio, it was a fantastically optimist time for us, everything was new and we had youth on our side. We thought the world was waiting for us. I guess deep down I knew it would be a long shot making it in 96, Oasis had exploded and our demo that we had just cut was heavier rock. I shook this thought from my mind when I heard the demo played on the car stereo, it sounded amazing on the tape player.
The story of the demo and what it led to is another story, however the legacy of the Split Level sessions would last until this day. These recordings are what we measure our home recording by and they still stand up well today. The three songs would all appear on our first album Whapper Stormer which remains one of our best albums. We recorded the rest of the album some ten years later on an 8 track, the quality of the Split Level sessions forced us to try and match what Neil had achieved. It was a fantastic experience, we would visit a few more studios but they would never match our first studio.
In the years that followed we distanced ourselves from studios, we had a couple of poor experiences and I was getting more involved in sound production. I think the band would’ve loved to have returned to a professional setup, I wanted to learn though, and I suggested we invest in our own gear. Eventually we would take our recordings a step further and higher remote cottages and lodges to record. This was a fantastic experience but we still look back on the professional studio experience with fondness. Perhaps we’ll do it again.
When our long-time friends the Buzzards of Babylon invited us to play at the launch of their new album we cleared the diary and jumped at the chance. We’d be back at the Windsor hotel, the first time we played there was back in 2005, the Buzzards were of course Kranksolo back then.
Sure we were admittedly a little huffy at going on first, no band really wants to open the night; you fear playing in front of the sound engineer and maybe a couple of bar staff, I mean who goes to gigs to see the first band right? However it made sense, we weren’t bringing a crowd with us and we would be able to sink ale after ale as we listened to the metal riffing of Fife’s finest.
Of course we had grand plans when the gig was booked, lets book a hotel, we dreamed, get drunk and have a party! Then I decided to enter a half marathon on the Sunday, looks like I’d be the designated driver then. Greg’s face lit up… I knew that at some point he would go into ‘wee dick’mode. Now this is not a slight on the man, this is a self-confessed state that Greg gets into when he’s had an ale or two. He gets a little annoying but in a bloody funny way. More on that later…
The day arrived far quicker than we knew and it was great to be playing a gig, it’s been strangely quiet year for us, holidays, work life you know the drill. So it was good to be on the road heading over to the Kingdom back to an old haunt to play some tunes.
We arrived in good time at the Windsor, I couldn’t really remember it as much as the Path Tavern down the road (we played there a couple of memorable nights) however when we got into the function room it came back to us. The stage had moved to a better more loftier position and there was now a dedicated sound desk at which Travis Whalley (He is the respected sound engineer who produced Micrometeoroid Modulation, Buzzards latest magnificent album) was attentively caressing a tablet that was mixing the stage sound (technology these days…) so he was able to walk around as he made fine adjustments to the mix. After a quick greeting we set to a soundcheck with Travis and we were ready to go.
By the time we took to the stage, a small but appreciative crowd had gathered to watch our set.
Take the Blindness from Your Eyes
Once more with Feeling
It’s Who You Know
Kill it Kill it
Speak
Quoted, Not Voted
Medicine
Industry
My plan had been to try and conserve some energy for the pending half marathon, but that plan went out the window as soon as we started playing. I had no idea how much i had missed playing live and it was great to be back on the stage.
New song Take the Blindness from Your Eyes was an unusual opener for us, we tend to go for easier songs to settle the nerves however we managed to nail this one. The set went well, Speak went a bit wayward when we decided to miss out a couple of bars, no one noticed, including Derek!
I always love playing Quoted, every time I sing it the lyrics always fit in with the latest political shambles, Medicine is now a live staple, it’s such a great tune to play and we finished with old regular Industry. We were tempted with Fathers Verse from the new EP but we hadn’t played it for a while so we went with WdB1’s finisher.
The audience was great, numbers were up a little so it was nice to reach new ears. After we were done the lads made a beeline for the bar and I settled for my Irn Bru. As I supped the soft drink I thoroughly enjoyed the 80’s metal dynamics of Volcano X, they looked like the were having a bawl on the stage and it spread to those who were watching. The vocalist Johnny Steel had a wide vocal range, from deep growls to soaring falsettos. The reminded me of the fun and high energy heard on Helloweens early (and best) albums. Smokestacks followed with a high energy set with some superb guitar work.
Volcano X
Smokestacks
Buzzards stepped up a little later than planned, we stayed for the majority of their set (early rise for the big run on the Sunday was now on my mind). Eck suddenly appeared on stage with the first of his masks, he looked the part! No idea how he managed to play the guitar. The band sounded really tight, the new songs from Micrometroid Modulation were solid. Stuart was on form as he crafted his solo work. I had caught up with Rab and Mike earlier in the night and in a similar way to us the Buzzards are happy to keep writing and playing while juggling jobs and families. Fingers crossed this adventure will last for a while yet.
Sadly we had to bail just before the end of their set. Derek and Greg were now giggling and laughing on their way to the car, Greg darted back to the venue for some reason, Stu was sticking up for me telling the guys to get in the car. It was becoming more like a family day out! I started to chuckled as all the nonsense was going on in the background. Greg had previously attempted to pack the gear in the care, that was a disaster…
We set off and Greg went into his Wee Dick mode, being as annoying as he possibly could, it was a laugh. As we left Kirkcaldy we put on Micrometroid Modulation the CD player, tunes blaring, Greg and Derek laughing it wasn’t helping the tinnitus!
As we reached the highway Greg asked if he could vape in the car, before it could answer Stu asserted, nope! Laughter ensued as Greg was shot down, however he had hatched a cunning plan.
I need to pee, was the words that came from the bass player’s mouth. So we pulled over and let Greg out. It was the longest pee ever.. We waited…under the flashing orange of the parking indicators I could see that Greg’s cunning plan was at work! He was vaping! We started to pull away, Greg caught up and laughed as he bundled into the car and we headed back to the shores of Fallkirkshire with Buzzards blasting out of the stereo.
Another good night was had, we should do it more often, except next time I ain’t driving!
(Oh I managed 1:42:38 in the Scottish half marathon)
In the 23 years that we’ve played around Scotland we have met many great bands and friends. Time often sees many bands fade as we carry on towards out next musical adventure. There is an exception; the wonderful Buzzards of Babylon.
It was around our One More Solo tour back in 2005 that we first met some of the Buzzards. Back then they were in a different guise, Kranksolo, this is where we met current BoB members Rab Dempsey (vocals) and Mike Gordon (bass). We had played the Path Tavern, a small venue in Kirkcaldy.
The Buzzards of Balyon arose from the unfortunate end of Kranksolo and released a fantastic EP; this included Monkey Knife Fight which became a solid live favourite.
Probably one of the best album names of the year is Micrometeoriod Modulation. Rab, Stuart Gillies (guitar), Mike, Stephen Kirk MacLeod (drums) and Alec have produced a thumping 48 minutes of rock, blues and a tinge of metal brought together by their long served sound engineer Travis Whalley.
Opener I Am Hell has a growl, Rabs vocals are always strong, he has a voice and range perfectly suited to the downtuned rock that plays with him. The huge riffs have a blend of Queens of The Stone Age but meater, perhaps in the vein of mid-early Metallica.
The guitars drive the music, with the kind nature but imposing stature of Alec Raeside and Stuart Gillies assaulting both speakers.
The guys are having fun, embracing their superb music that so far remains unsigned, is being unsigned such a problem anymore? The title of the tracks give away some of the enjoyment they are having B U aWzrd being an example. Its quick riffs show the dexterity of the band before they launch into meaty chorus chords.
Rabs lyrics have always been well written; ‘Be you a wizard or a Mother of invention’ he roars as the band changes pace throughout the track. The beauty of B U aWzrd is the many magical roads it takes you down.
This is what people miss when they only listen to bands from the mainstream, they miss bands who are prepared to take risks, push their music in a different way, bands that are happy to play songs over 3 minutes long. At over 7 minutes this is spellbinding.
Morning After is next, subtle guitars gently bring in the song, giving the record a chance to breath and cleanse the palette before the crunch kicks back in. I thought Mark Lanegan was singing for a minute, Rabs fantastic controlled vocals showing his lower range; arguably this is where he thrives.
When Rab snarls ‘I lost my way, I lift my head towards the sun’ near the end of Interplanetary Convulsion you can feel aggression resonating from the usually upbeat Mr Dempsey, it’s a fine track that slows down with the mood as it fades.
Bi-Polar Bear is blues at its heaviest, this is confirmed when the mouth organ floats over the monolithic guitars, it’s a nice change of texture for the record. I’m tempted to say that this is a direction that suits the Buzzards, the moody blues really fits with the pitch of the vocals. Perhaps a highlight of the album.
Buzzards Of Babylon are a fine band; we’ve played a few shows with them and love it. Everytime we met its never like strangers. They can drink…only our Greg has matched them.
They have finally graced us with an album and it is worthy of a purchase. Sure you could accuse us of being bias towards our friends but those that know me say I won’t say music is great without meaning it. Its excellent and satisfyingly aggressive enough to have you nodding your head in approval. Buy it, support one of the unearthed gems of the Scottish music scene, the Buzzards are soaring upwards.
Seems strange that after over two decades I can’t recall Weird Decibels playing Dunfermline. That was until I remembered a biker rally we played in Crossgates between Cowdenbeath and Dunfermline, but that’s a story for another day.
We were asked to play Montys a couple of weeks before the gig. The venue has a laid back approach to live music, they like to put on bands every weekend, you turn up and you play. The venue itself is a mecca for those who love their rock music. Posters of rock icons are pinned on the wall and the music heard in the background was a playlist of heavy tunes for the punters.
Derek and Greg working put how to pin up the banner
We were made to feel very welcome but the place was empty. We wondered if this would be the first quiet gig for a while. We hadn’t really pushed this one.
We were on first which was fine, we did originally think we’d be on third so we had a longer set so we had to cut a couple of tracks.
I stepped up with my guitar in hand ready to soundcheck. I approached the Marshall stack and switched on the head. Suddenly I heard a electric crunch and smelt burning. It was not I was hoping for. Gav who was on the sound remained calm, he did a very good job throughout the night. The only problem was that we did not have a spare amp head.
Enter Kirby guitarist of The Other Side came to the rescue. He kindly allowed us to play though his valve amp. This saved the night.
By the time half 8 arrived it was time for us to go onstage. The place was empty bar a few eager music fans how had arrived to watch the live music. They were regulars and explained that Monty’s can be packed one week and empty the next.
Undeterred we carried on and struck the first chords of Feeling, once the music was playing the other bands and other people wandered from downstairs and suddenly we had a small but appreciative crowd watching us.
Feeling
Speak
Take the Blindness
Who you Know
A801
Medicine
Quoted
I Hear the City
I really enjoyed this gig, Feeling was a little ropey for me but things tightened up when we played Speak. It was wonderful to play Take the Blindness From Your Eyes live for the first time. Finally free from the restrictions of the studio the song felt great to play. A801 was also played for the first time; I only had a light distortion (I didn’t want to muck about with the settings on Kirby’s amp) and I thought it gave the song another edge. It went down really well.
Medicine is now my live favourite, it’s a great song to play. Quoted was angrier than usual and to end with I Hear the City seemed to work well,
After we finished I caught up with the guys from The Other Side and we shared our joint passion for recording our own music; they were friendly bunch of guys who were helpfully sharing contact details of people to get in touch.
Turned out to be a good night!
We stayed to drink a few beers, well Derek and I did.Stu wasn’t feeling too hot and Greg was working the next day so he was driving back. We took in the sets of Phoenix Lane and the fantastically entertaining AYE Hobos. On last was The Other Side who played many rock songs and a range of brilliant solos that made me want to listen to Dinosaur Jr all over again. Sadly we had to leave halfway through their set sdo Greg could get home but i liked what I heard.
The Other Side rock Montys
It was a great evening for us, we really enjoyed a night out in the Dunfermline music scene hopefully we’ll be back in the near future and not leave it quite as long next time.
Stu and Pabs take a look back at our first gig at the Martell Falkirk in 1995. Thanks to Derek for the archive flyers, posters and clippings. Stu for the pictures. Not sure who took them.
It was Thursday 17th August 1995, Bill Clinton was still president of the USA, Take That were in the top five and in the the cinema Waterworld was watched by noone. Another seismic event was about to take to place. Weird were about to play live for the first time.
A few months earlier Greg and Pabs had set their first target, to form a band and play the Martell. They created Weird with Stewart and Derek in the deepest of winter in February 95. A few songs later, probably around 6 or so we were looking for our first gig. That offer came from the late Chris Masson who got us on the bill to support Cage, one of Falkirk’s finest and fiercist bands.
We just had a handful of songs, we hadn’t even graced the studio but we had written some songs that earlier Weird followers would enjoy for years namely: The Rain, Vancouver and Educational Suicide, some of our best known tracks. We felt these songs were strong and it made us confident going into our first gig, well fairly confident!
Pabs
Back then the Martell was a big deal, it, alongside the Happening Club were the places for local bands to play. Greg and I had went every Thursday night for weeks, months even, to drink beer and listen to Cage. When the call came to play the Martell I was excited, nervous, but really excited. Derek kept a copy of our first flyer. We were third on the bill, we would open up the show for Cage and a band called Twister. A lot of bands in the local scene had ‘er’ at the end of their name.
Our first set list was penned in black ink, what a feeling that was, writing our first set list. Six songs. The Rain, Educational Suicide, Show Your Face Soon, Stay In, Vancouver and Go Away. We never recorded Stay In or Go Away.
We still use the flower logo to this day, The Rain occasionally appears in set lists 23 years on
We pulled up to the Martell and had to load into the side door straight onto the stage. I walked onto the stage as Jimmy and the sound guys were setting up, I had long hair draped over my face I didn’t want anyone to see me. I was just doing vocals, the freedom! I could just turn up and sing. The classic days.
Stu
I remember walking into the venue and hearing Ewan the drummer from headlining band Cage sound check and the hairs were standing on the back of my neck.
Sound checking my guitar felt amazing as It sounded huge through the massive pa system.
A slightly nervous Stu plays his first live chords
Pabs
I remember hearing the kick drum through the PA for the first time. What a sound. We just used a vocal PA down at our practise room. Derek never used mics on his kit in rehearsal so we had never heard the drums like this before.
Derek was the cocky youngster so full of confidence and even in the early days he used to love winding me up. Greg was laid back as always. Stu if I remember correctly seemed quiet and a bit nervous.
Looking up I saw the lights during soundchek, the blotted out my view of the Martell, at this time it was empty, I remember Stu shredding the guitar to test it, it seemed like a huge sound. This was it, we were going live. I can’t remember what song we soundchecked with but I do remember reading about Eddie Vedder and Pearl Jam. Even at soundcheck Vedder would give everything to his performance, so I did the same. I put everything into the soundcheck!
Stu (l) donning the summer rock look, Pabs (c) with vedder hair and Derek (r) takes care of the drums
We were about to go on, by this time a crowd had gathered, there were a lot of friends from high school. Phil and Juls were there as well (I’m sure Phil is in one of the photos), they only knew Stu at this time but we all became friends over the years. I walked up to the stage ready to play, I was really nervous. It’s always the first line you have to remember. Do that and the rest of the gig is fine. So I walked up ready to play and Derek was nowhere to be seen…
A young Greg graces the stage
Stu played a riff as the crowd waited. Then Derek runs up after getting changed in the toilets. I was raging. Finally we were ready to play. I just recall the lights, the music took me and I just went crazy. I had seen Chris Masson of Cage do the same a few times on this stage, he put everything into his live shows so I did the same, it was natural. Something comes out when you play live, its like all the anger that builds up just pours out. My hair was everywhere. I was singing my songs to other people now.
Stu
I stood on stage blasted out the 1st song the Rain the crowd went mental I thought that’s awesome but my guitar didn’t seem that loud on stage…I then realised the sound engineer hadn’t mic’d up my guitar amp!
Pabs
First song done and my confidence grew. The crowd cheered, the folk from the high school, were loving having a few beers on a Thursday!
Stu
After I moved the microphone in front of my amp it sounded a lot better and I grew in confidence.I was pretty nervous which I always am at gigs but after I nail the 1st song the nerves settle and after rehearsing at the practice room for months the live sound on stage was incredible.
A more confident Stu and Greg entertain the crowd
Pabs
The gig flew past, it was only six songs but it felt like 5 minutes. It was an amazing feeling coming off stage and our friends were congratulating us. We dissolved back into the crowd and enjoyed the rest of the night. Cage were amazing, Light years ahead of us, they had been together for a while and were getting into their stride. Stu
Our 1st gig flew by so quickly. So many people came up to us after in Firkins on the Saturday night saying how good we had been. Such a buzz. We had arrived on the live scene.
Shuffledown is now ingrained into the psyche of the local music scene; regular Shuffle goers will look eagerly for the line up announcements around the Autumn and plan a day of music and drink ahead. Past years have seen successful, subtle additions to the lineup that have helped broaden the range of people who soak in the sights and sounds at the Dobbie hall. Past lineups have included the impressive headliners Broken Records during Shuffledown’s maiden year to the unearthed gem that was Paddy Steer in year 2. There have been successes and surprises every year.
Gifted to the people of Larbert by Major Robert Dobbie, the hall has matured into a grand building that generations of locals have been proud of. It’s become Shuffledown’s home; adding a touch of grandeur to the festival, many of the bands that play are often used to the trappings of more modest venues.
As I reached the doors, ready to enjoy Suffledown’s fourth year I was greeted by a vocal quartet, food stalls and an area for arts and crafts. Not to mention a warm welcome from the many volunteers. I walked into the hall and admired the well decorated stage, I looked for the trademark Shuffledown lamp and it was proudly illuminated to the right of the stage. In addition to the lamp there was a new lighting rig and a large screen to enhance the visual experience.
Two inviting drinks stalls were set up across from the main bar. I decided against the Prosecco, that stuff goes right to my head, it was Birds and Bees for me. The surroundings gave me the impression that Shuffledown is now well established and the leading music festival of the Falkirk area.
The Sonic Blues grace the stage.
At the back of 2 o clock the early comers were greeted by The Sonic Blues, a late but welcome addition to the Shuffledown lineup. In what is to be their last gig for an undefined hiatus, the Blues looked like there were at home on the big stage. The great sound helped the trios bluesy rock transcend over the hall. They played a few tracks of last years album ‘Something Today’ and ‘Purgatory Blues’ was as enjoyable as ever.
A growing crowd gathered for Fairweather and the Elements; arriving back for a second year in a row. Under the impressive lighting and sound the band put on a great show. They closed with the impressive Go Far, the latest single from F.A.T.E.. This was a confident set from the six piece.
Fairweather and the Elements
London act Davey Horne and his band arrived to a vibrant atmosphere. With threads of the War on Drugs their edgy southern rock had a psychedelic feel. Davey Horne switched between keys and guitar with ease. It was a very enjoyable set and went down very well with the audience. A highlight of the day for me.
Mt Doubt keep cool
Somehow keeping cool in a large jacket the lead singer of Mt. Doubt and the band delivered a set of pop and rock with some urgency. Reminding me of the Sleepy Jackson they put on a good show. I enjoyed the set and as they finished I headed around the festival for a wander.
This year there was more food stalls which was a good move given the growing army of all day drinkers. I had a few Birds and Bees from the Williams Brewery stall and I was even tempted for some Buckie from the main bar. I left it this time. I grabbed a quick coffee and a roll on pulled pork (nice) before heading back in to the venue from the crisp spring evening.
Refreshed and refueled I grabbed another beer and waited for Fuzzystar. The bands bittersweet melodies are well suited to Shuffledown. Sporting one of the most impressive beards in the Edinburgh indie scene, Andy Thomson, Fuzzystars singer, sang low melodies over the impressive solo guitar work from Michael Morrison. Longest Day was a nice indentation amid the flurry of guitars; its subtle handpicked chords and slow build was a smart change. Given my love for Grandaddy and the National, plus the fact that I enjoyed Fuzzystar at the Artisan Tap back in 2017 this band was always going to be one of my highlights of the day and they didn’t disappoint.
Under shining lights, the impressive Fuzzystar
Upstairs in the cloud room there was a bit of retro gaming reminiscing going on. Dusty Hayes played an uplifting set to a busy room, he clearly enjoyed the occasion as both artist and audience were punching the air in synchronized delight. I was mesmerised by the videos of Sonic, F Zero and the Ninja Turtle games. It was a neat touch.
Brilliant set from Onthefly
I also caught OntheFly. A live drum kit was set up in the corner of the small stage providing analog beats to OntheFly’s digital mastery. It was an excellent set, a moody mix of driving electronica. This was the last act I saw in the cloud room and I’m glad I took the time to head upstairs this year, there was an intimate but great feel about the smaller stage of Shuffledown.
Back downstairs the main stage welcomed Denny’s The Nickajack men, who flung themselves into an energetic set that went down very well with the crowd. Dead Man Fall entertained the crowd with a lively set, I missed much of this part as I soaked in other areas of the festival. The Birds and the Bees ale was still going down a treat and the end of the night was nearing. There was still time for Colonel Mustard to walk onto a colourful stage donned in yellow mustard hues and big hats. A party atmosphere had taken over (as it often does at the end of Shuffledown), the uplifting mood of the music transferred to the crowd.
Partytime with Colonel Mustard and the Dijon 5
Shuffledown was over for another year and with all things you look forward to, the festival was over rather too quickly. The artisan feel of the event lends itself to a welcoming day of entertainment and it continues to evolve every year. It’s now an integral part of the Falkirk music scene; given its location and returning crowds there is no reason why Shuffeldown cannot become the leading indoor event of the Forth valley area.
This was an excellent year, continuing a consistent run of successful events. Next year will see its 5th anniversary, it’s now a young and confident festival, long may it continue.
Photographs Neil Henderson, Sweet P, Kevin Byrne and various.
Don’t you just love countdown list? Yeah thought so! We’ve been rating our recordings and now we reach the top five records that we feel represent our best work. This is all to celebrate the forthcoming release of ‘Everyday Heroes’ EP.
So now that the teacups are running dry and the biscuits are nearly eaten we’ve finally agreed what are our favourite recordings are. All albums are on Spotify, just hit the links. Feel free to follow us so you get notified of our new releases.
Drinks on the cover and drinks in the album. This is a wee table in the quiet corner of Firkins
Our second album. By this time we were enjoying the freedom of college and the fact that we hadn’t started full time jobs. We drank a lot of beer writing this and probably forgot more songs than we recorded. Nine songs survived.
Pabs
The front cover sums up the album. Drink and Firkins. We were having a riot. The band was young and we had had a successful couple of years thanks to Whapper Stormer and the vibrant local music scene. This album is messy, it was recorded in two different studios and on three different desks. I remember standing in Firkins asking a guy from Central FM what he thought of the new demo which had Culture Creature, Summer High and Today Was Insane (which never made the album) He didn’t think it was as good as the previous tape (The Rain, Vancouver and Chameleon) I was gutted, raging and walked away.
During the Firkins sessions we liked a booze in the practise room, apart from Greg who always drove. We owe you Greg!
But the assessment was correct, Firkin didn’t hit the heights of Whapper but it is a fun record that captures a great time for the band. We threw discipline and care out the window and had a laugh.
Derek
Big highs, a couple of lows, probably an unfocused time for us but from the practise room point of view it was the best time ever.
Pabs
It was crazy, taking beer glasses and a carry out down to the room on a Wednesday night. Sometimes we’d drink more than rehearse.
Stu
Not as good as Whapper but has its moments. Culture Creature is an absolute classic. Loads of songs lost during this boozy period.
Bo
Excellent album, long way down is a totally underrated song in my opinion. Wasn’t quite as boozy a time for me as I was the one driving. Some good vids made then though that are fun to look back on.
Pabs
Greg drove all the time…He’s one of the most patient people I think I’ve met. He put up with our antics for years. We need to get these vids onto YouTube or something.
Stu returns after a break and we write songs for fun and record in Derek’s old flat with our friends ever present cases of beer and Subways.
Pabs
All of us apart from Greg gave this the same score. One More Solo was plain good old fashioned rock. We were celebrating getting back together and it shows on this record.
The original master was bad though; in fact i don’t think we mastered anything back then. The bass swamped the record and there was these lovely ringing guitars at the end of nearly every song that Derek was a big fan of.
It was a great time for the band, we still believed that we could make a go of our music career ao we gigged this record quite intensely. We met some great friends on our travels. Its a good record and a wee bit or re-mastering has helped to clear it up.
Bo
The remastered version is better. Just think we’ve played the songs on this record so often that they lost out a bit to the other albums on my list.
Pabs
We haven’t played Waiting On the Sound Of Your High Heels that much.
Stu
Not! Great album. Love being back in the fold. Hanging out with my best mates and writing recording and gigging. Remastered version a lot better
Star Wars has always been a big influence on Weird Decibels
Our debut was always our favourite recording over the years, until the Decibels arrived!
Pabs
I love this record. Three songs were recorded at Split Level in Edinburgh: the Rain, Vancouver and Chameleon. In terms of quality they’re above the rest of the record so in that regard it’s a bit uneven. However the songs were some of the best we ever wrote. This album also has my favourite lyrics; my imagination was firing on all cylinders then, perhaps with the exception of Downer.
One of our first photoshoots for our first demo
Drink makes you ‘cuddly’
It was what we team as ‘classic weird’ I would stick to vocals and Stu would take care of all the guitars. The four of us wrote together. I would sing the melody to Stu, it was a time where i could keep melodies in my head for months. Stu would create a riff from it. I was fascinated by that.
Derek
You always remember your first!
Pabs
Although this album was written in the mid 90’s it would be in 2004 that we would record 7 songs to fit in with the three from Split Level. Just For Today was an early example of progress we were making at recording our music.
Stu
The classic Weird album. Still sounds amazing. Timeless. It was so easy to write those songs. Happy happy days.
Bo
The first professional recording we did at a proper studio by the chain smoking Neil on a reel to reel whilst muttering ‘the rain..in Spain’ to himself over and over. Was an exciting time.
Stu
And Neil added the delay effect over my wahwah guitar in the verses then I bought a delay pedal to replicate it live
Pabs.
Haha yeah I forgot about that, then he sang ‘trousers that keep you alive’ and I’m at the back shaking my head because he’s mocking my diction. It was a very exciting time; it felt like we were living the dream.
One of our best and it was a great era for the band
The second coming. 4 years after Quiet Act, finally back on the gig scene and about to have our most successful phase some 17 years into our career. Weird Decibels 1 was a defining album for us.
Derek
There isn’t much between WdB1 and 2. There would’ve been a bigger difference if WdB1’s tracklisting had been better, WdB1 would’ve been a clear number one.
Pabs
Ahh the WdB1 tracklisting debate. I stuck firm with this one. Psalm was a statement of intent. It was some 4 years after Quiet Act and we were nowhere on the local scene. Psalm had everything, big guitars, epic drums and bass. The intro is on an old acoustic, similar to Battery by Metallica. The acoustic linked Quiet Act with Weird Decibels 1. The song builds to one of our biggest crescendos. Stu played about three solos while I sang my heart out.
I’m worried about the concept of an album these days. I hope there is not a time where bands stop putting out collections of songs. An album is an experience for me, a beginning, a middle and an end. WdB1 had that.
I see the point that the other guys made about not starting with Psalm but I couldn’t see it any other way. The album starts big and ends big with Industry.
One thing I will say about my favourite recording is that the vocals are loud in the mix and a little harsh, if I had the time I’d have a wee go at mixing this album again.
I like the scope of WdB1, Jemma Burt added piano, keys and violin to three or four tracks but it adds so much to the album, it gives it a lot more texture than it normally would have. Derek and I rated this our favourite recording, there are a lot of solos, guitar riffs and vocals on this album.
WdB1 was also a great era for us. We ventured out of the practise room and started to head out to Glasgow playing some cracking gigs around the city. We shot our first music videos which were watched a few times. Until this time we were a largely ignored band so it was a highlight for us.
Stu
Wdb1 is a fabulous record. No acoustics just huge epic rock. So many great songs and still play many of them in our live set. I stand by the track selection although we never really play Psalm live. Love all the videos we made for this record which opened up new listeners to the band. I don’t think Steel had aged too well hence why I rated the album my 3rd favourite.
Pabs
It’s true what Stu says we do lean quite heavily on this album when building sets. We’ll need to write more!
Bo
This album had a limited edition release with hand written lyrics around excellent artwork by pabs which I really enjoyed. I also started making t shirts to sell at gigs with this album cover which seemed to be popular. Good songs which were well received when we played them live.
Our favourite recording. A lot of things came together, the songs, the location of the recording. it just worked.
Our latest album is voted our favourite recording. At 33 minutes it’s a short, sharp burst of rock recorded at our biggest location yet, the grand Springfield cottage.
Pabs
I voted this my 3rd favourite recording, I like the record, its two years old now so i’ve had more time to reflect on it. It’s probably the best sounding record but it was hellish getting there. Recording the drums in Springfield was a good move. It gave the drums the room sound i was looking for. After the drums and bass things went a bit askew.
Whatever technique or mic placement i used on the guitars I could not get a decent tone for the distortion and spent ages during recording and at mix to get it to sound good. I used to use the Rode for the guitars as I liked the bright tone but the industry standard SM57 gives me more control of the sound. With the Rode I was always cutting a lot of frequencies so I guess it took me awhile to get round to using the SM57; I’m stubborn that way I just wanted to try something different.
I always thought numbering the albums (like Led Zeppelin) was a mistake as it felt like we were essentially doing WdB1 again. We scrapped a few songs at the start and hired a cottage to write, This was new for us and it saved the album. It turned out really good
We went away to write WdB2 and it saved the record. Pic Kevin ByrneThe highlight of promoting WdB2 was Shuffle Down. Pic Sweet P
Bo
An album full of excellent songs, some stronger than others but very fun to play. I feel we’re pushing ourselves a bit which can only be a good thing for future recordings.
Stu
I rated this my top album as there is not a weak track. It’s our best sounding album recording wise. I had an absolute blast recording my rhythm and especially solo parts (with Bo recording)
Pabs and Stu. Victory coffees
the sun shines through the pop sheild
went with the sm57 for stus distortion it could handle the pressure!
Many many pedals
This was used to record both the bass and the drums at the same time.
The reason we picked this place was for this set up
A stunning and breathtaking property
Pabs
Yeah I remember Greg recording the solos for me, I had had enough. I set up the mics, got the sound then said to Greg can you do it? Im done… Then I went for a walk in the freezing cold. Derek had went home early he was missing his family. So I’m standing at the end of a farm road, fed up, in the distance I hear Greg and Stu finishing the album and I’m thinking is this it? That was then, time has passed. I think we’re gonna do it again.
I was standing here thinking we wouldn’t ever do this again. Pabs
Stu
Once More with Feeling and Medicine kick arse and love playing those songs live. Plus it was the best lodge we have used to record. Very happy memories. A fantastic album and looking forward to you guys hearing our brand new EP coming soon.
Recently, in October 2017 RiFF was born. The first showcase night saw a collective of four bands playing harder edged songs. Throwing hair that (for some) was slightly longer and wilder, to a loud chorus of music that had a bit of attitude. We were trying to show Falkirk that there was a heavier scene waiting to be discovered. That night there were a few nervous glances at the door; would it be a success? That question was answered pretty quickly when punters started to wander into Behind the Wall. There were fans of the bands present but there were others, genuine hard music lovers who had waited years for a scene like this to fire up again. The place was packed and every member of each band that played that night were buzzing. So it was this success that RiFF 2 was aiming to emulate; another night where the legions of rock, punk and metal lovers would swarm to BTW with their regular punters throwing confused glances towards the many tattooed and pierced music fans heading up the stairs for some colourful mayhem. This time Greg and I went to watch, drink beer and listen to our fellow RiFF bands scream, sing and shred. It was like old times for the both of us; 20 years ago during the 90’s in the Martell on a Thursday night we would be doing the same thing. By nine the doors opened and a decent crowd took their places; staring at the stage eagerly awaiting the first of the bands to appear, RiFF does not tell the crowd the running order of the bands. The message here is to stay and watch all the acts, not just your friends and family. Come and discover something new. Greg and I did just that. It was also nice to see many band members from the first RiFF showcase back to support the fledgling cause.
The Drop kick off the Showcase
The Drop kicked things off. The trio were the first of three new bands to join the RiFF collective. Driven by a distorted bass, drums and strong vocals; the Drop’s lack of traditional guitars was not a problem for their sound. Their hard driven rock impressed the crowd and the powerful vocals had me thinking that I wanted to listen to Rage Against the Machine all over again.
Sianar impress the crowd
One band that is on a rocket propelled trajectory is Sianar, currently impressing much of Scotland with their music. Somehow they managed to fit 7 musicians onto the small stage and they played an excellent forty minutes of rock; full of swirling guitar solos and dueling vocals. Kristian, on lead guitar, appeared not to be distracted by impending fatherhood. He had us on stand by to step in for Sianar should his other half give birth on the day of the showcase. It was good to see the band play on home turf.
The dynamic trio that is Thirteen
RiFF veterans Thirteen picked up the third slot of the night and launched into a roaring set of punk. Tune after tune hitting the audience like a prize fighter. They also flung a cover tune that had me chanting along, by this time Greg and I had few pints under our belts and getting into full flow. Thirteen never disappoint: Dolly likes a snarl when he sings, Craig leaps in the air to slam home a chord on the bass and Greg is one of the best drummers in Falkirk at the moment. His energy behind the kit was felt by the audience adding to a rather brilliant performance.
Shatterhand bring it home in style
Not to be undone by Mr Breens masterful performance, Brian now shirtless, took the sticks and pounded the kit into submission for Shatterhand; driving the music veteran’s powerful anthems home. It was the first time I’ve seen these guys, it was a commanding performance from the four piece whose experience lends itself to producing a tight unit. Shatterhand have been around long enough to know how to overcome the hurdles that bands face and it was great to see them in fine form at RiFF. The late hour was not on their side, but the hardy souls that stayed to the end were rewarded by a set that had an urgency about it. The audience had little chance to catch their breath as the four piece launched from song to song. They gave everything to the show and I thoroughly enjoyed it.
Greg and Peter (Blind Daze) just two of the many non-playing RiFF members that showed up to support the collective.
Having been a member of the audience for this RiFF showcase its was a little harder to gauge the success without the hard evidence of counted ticket stubs. But from what I could see there was no denying that once again BTW enjoyed a busy night and there were far more of the RiFF community members supporting each other. At the start there was a swell of people turning up to support RiFF, packing out much of the stage area and it was great to see that most of the audience stayed all night, (a rare occurrence for local gigs); hopefully the venue appreciates this. The RiFF community is alive and well. This gig proved the first showcase wasn’t a fluke, it was a sign that there are music listeners that want harder edged bands playing in Falkirk. Too see them come back for more was fantastic, let’s turn it up and let the rest of the town hear it.
We rate our recordings from 10 to 6 in part two of our feature. A couple of ‘official’ albums appear in this part, as we counted up our scores we were surprised at some of the results… Our latest recording Everyday Heroes EP is out soon.
10.Live! Tonight! Not Completely Sold Out! (2010, this has not been officially released, a few limited copies are kicking about)
The tongue in cheek title, based on Nirvana’s film of a similar name Live! Tonight! Not Completely Sold Out! Was our first stab at recording a live album. We arranged a gig at the Argyll bar that was once owned by Derek.
Pabs.
Our first attempt at recording one of our gigs, we had previous recordings from camcorder footage and a couple of recordings from venues like the Cathouse but we’d never attempted to record the full show.
We basically placed mics in front of the kit and the amps and took a feed off the PA, it was a quick setup, we pressed record and just started playing. The one regret is not placing a mic at the back of the room to capture the crowd. When I say crowd there were a few people at the back of the venue, it was busy if I recall, but not packed.
Two rode nt2a on the amps, a mic above the kit. Basic setup
I was a bit disappointed we played so many covers, the album has a pretty even mix of originals and covers but i would’ve preferred tunes from the albums we had at the time. Interestingly there were early versions of Speak and Forward. So we had a live albums with tracks from an album yet to be released! Saying that we haven’t uploaded LTNCSO so not many people have heard it.
Stu
I agree with Pabs it’s a pity there are lot of covers but it’s a great wee live album.
I remember this gig well as I used my Ibanez double neck the whole time which sound amazing on the recording but was a complete back breaker. I suffer for my art ha ha.
This recording has a great live feel and sound apart from Bo’s buzzing bass in between tracks hee hee.
Pabs
Yeah that reminds me of the hours of editing out the buzz whenever he stopped playing the bass.
Bo
Buzzzzzzzz
Derek
Great night, great gig which puts it above Live at the North Star, in my opinion. Like Pabs I wish we put a mic at the back of the room.
Pabs
Yep we would’ve captured Rooz in his full heckling glory!
A collection of live recordings, radio broadcasts and unreleased songs. Official Bootleg 1 spans from 1995 to 2004 and has a broader range of songs that its predecessor.
Pabs
This was fun to compile; I dusted down about five or six shoe boxes full of old tapes and CDs. Listening back was quite an adventure. This was back around 2004 / 5 around the release of One More Solo. So we didn’t have the recording experience that we have today.
Bo
Great to have these recordings to listen back to, radio spots that only a few people will have heard at the time.
Pabs
There was nearly a decade’s worth of past recordings including b-sides from the Split Level sessions. I found our first four track demos one of which was Educational Suicide; the first song we ever created.
Some of the recordings were pretty poor, the camcorder footage for the Martell gigs was recorded in Mono and there was no scope for mixing it. However it did capture the atmosphere of those early gigs which was fantastic.
Of course the Official Bootleg 1 was where I was interviewed by Central FM and uttered the ‘it’s just a hobby’ quote for which the guys have never let me forget.
Stu
Love this. So many hidden wee gems. All the radio interviews ‘It’s a hobby’ lol
Original version of Educational and live version of Creep live at the Glasgow Cathouse.
Derek
Nothing wrong with bootlegs but there are better versions of the songs on our albums.
Our 5th album Riot Act come in at 8 2nd lowest appearance of an official album. Pabs explains why he voted it down.
That’s real blood. Punching walls not recommended. Probably one of our best covers
Pabs.
I have never connected to Riot Act in a way I have done with the other albums; I even voted Coldhome Street higher than Riot Act. Despite its inferior sound Coldhome meant more to me than this album because I thought it was our last and listened to it many times.
I think its dated pretty badly, partly because of the lyrics. I wasn’t writing particularly imaginative lyrics and got lazy. I lost it here!
Stu
Still love underachiever what a great track and solo. Very punky and influenced by all the cover gigs we were playing at the time.
Classics Razor wire and all work out in the end still sound great and of course the Sky is Falling.Also arguably out best cover artwork for an album.plus we played the Cavern touring this cd.
Derek
Although my favourite song (that we’ve done) is Sky is Fallen the other songs didn’t age as well, although there are other high spots. I feel the album is inconsistent.
Pabs
Stu is spot on about the cover art, it’s probably our best cover and Derek suffered for his art. He punched the wall to open up a wound. Thats real blood folks!
The road to the Riot Act sessions could not have been calmer
Night has fallen; Greg reflects. Stu takes pictures
Bo
Dave Broon to Stu as he was scraping his knuckles on the wall outside – that’s not how you do it *punches door* that’s how you do it. Poor Stus knuckles were bloodied up but didn’t make the cover. Still one of my favourite albums that we’ve done. Also, it’s not all real blood pabs, pretty sure there’s some ketchup in there as the blood wasn’t showing up on camera enough. Was this the album Stu and I built the ‘vocal booth’ in the hall with eggboxes and cardboard?
Pabs
Yes we built a makeshift vocal booth in the small corridor, it didn’t really work though, we were still learning at this time. I guess we’re always learning about sound production.
It is often seen as the flip side of Riot Act; this was a big change in sound for us (going acoustic) but not necessarily a change in direction.
Bo
Good songs but not quite as good as I feel we have the potential to do on acoustics. We had a fantastic time recording this album in a stunning location though.
we don’t hire professional studios and I guess our sound isn’t as polished as it could be; but instead of looking at a sound treated wall we look at this…
Pabs
I always knew that Derek would vote this album high as it was his idea to try an album without our trademark distortion. There was a bit of reluctance from the rest of us but we weren’t particularly busy at the time so we decided to experiment.
I really like listening to Quiet Act these days, I prefer it to its sister album Riot Act and with the distortion turned off it allowed the more integrate parts of our music (mainly Stu’s solo parts) to breathe little more.
I also like the recording quality. I was learning new mic placements and mixing techniques. This was a good learning experience for me. It’s quite a well balanced album, maybe missing a nice kick sound but overall its clarity is one of its strengths.
And yes I’m with Greg on the location for this record, it was stunning.
Stu
Get the distortion back on ha ha.
Great wee mellow album. We pushed ourselves with this.There is nowhere to hide in an acoustic setting and we needed to do something different which would mean Weird Decibels 1 could be very loud and heavy.
Pabs
Which it was!
Stu
A lot of fun to record(especially when me and Bo starred drinking cider during Derek’s drum takes)Plus sitting in that living room recording guitar with that stunning view was very inspirational.
A live set recorded at the North Star May 2016. This is the highest non-studio album on the list but just misses out on the top five.
Derek
To be fair I’ve not heard this much, good night though.
Pabs
I recorded. Mixed, mastered and designed the sleeve in order to be ready for Christmas 2016 so I could hand the CDs to the lads…and now I discover Derek’s hardly listened to it!
Stu
Really like this record listened to it twice that Christmas morning! All the good stuff of wdb1 and 2.Cracking extended version of Wait.
We kick serious arse on this recording considering it was quite a loose gig.
Pabs
I remember this night; I recorded the Sonic Blues and the Rabid Dogs and I had to do their sound. I was knackered by the time we played. For some reason we pointed our lights up towards the ceiling. But it turned out it was right in my fecking eyes and I could’nt see the fret board of my guitar. I dropped a few notes. Our sound was all over the place as we were playing through Rabids amps. I had to chop a few songs from the recording but whats left has turned out alright.
Bo
Always great to hear a live recording, even though I accidently left a phaser setting on with my pedal that I didn’t seem to hear at the time and carries it over a few songs.
Pabs
Haha yes the phaser all through a couple of songs. What is it with buzzes and phaser pedals on live records Greg?
Bo
Years of standing next to noisy lorries I guess. Hearings shot 😂
Stu
All you can hear is Dale shouting get more drunk Boris. Brilliant
weirddecibels.com 