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falkirk music venues Gigs music The Falkirk Music Scene

Falkirks live venues past and present. part 1. the Martell

The Martell (now the Warehouse)

You never forget your first time, the anticipation, the hope that everything works, getting the mood right and of course making sure the drummer comes out of the toilet before we start. Yes i’m talking about our first gig back in the summer of 1995. We had a setlist of around 6 songs (it’s all we had) and we had a stage. It was a Thursday night, it was the Martell.

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Our Wonder video has Stu playing outside the iconic venue.

Just off Grahams road near the canal sat the Martell. It was hidden from the road by a furniture store. Once you walked past the lastest sofa sale signs you would arrive at the big sign lit up with the Martell font. You can hear the music as you approached the small unassuming front door and when you entered the music hit you. To the left was the till that took the ticket money. Then you would enter the front room, tables often bustling with punters and directly in front the long bar would stretch back to the pool tables.

A small CRT monitor would flicker as the tills rang though the drink sales. Gold Bier £1. This was the mid 90’s and many of the local kids were heading to this venue to see 4 bands on a Thursday for a fiver. Our friends Cage, rock gods  Monitor Lizard, the wonderful Foam and various other local acts played through Jimmy’s PA system. It was loud and some of us had school in the morning…

The stage was on the far right of the room, it was separated from the audience by a small brick wall for which many stunts and guitar poses would be struck. Up in the booth was the DJ, big Sid and his clap monitor for measuring the Battle of the Bands victors. (yes that was how it was decided…)

Watching bands at the Martell was brilliant; it was a small but loyal community that attended every week. From watching the bands to shooting pool you would find you started to know people’s names and hang out talking about the bands of that era, Oasis, Nirvana, Blur and various other acts. Some nights were packed, others not so and occasionally the place would be dead apart from the hardcore frequenters.

Our First Gig.

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Smokey. loud, young and proud to playing the local music scene

At around 19 years of age I had a mop of long brown hair and a stooped gait. Stu was in full Metallica mode, Greg also donned with long hair often tied up so he could show of his rose tinted shades and Derek the cheeky youngster who infuriatingly got changed a minute before we took the stage. I swear he enjoyed seeing my exasperation as he ran past me towards the drum kit smiling.

The first time we played the Martell was amazing. The lights blinded you, we were probably ropey but we played some of the best songs we had written. The Rain and Vancouver to name two, followers from the start will know these songs well.

The high school crowd that has followed Derek loved it and we were finally part of the Falkirk music scene. What followed was amazing. The battle of the bands.

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Advert for the battle of the bands. £1000 in those days would get you a decent stint in a studio. Our gig with Nervana and local lengends Cage advertised. Miss Wet T shirt perhaps showed the other side of the Martell…

Our first attempt at the battle of the bands would see our largest crowds swell the Martell to bursting. To date it is the biggest audience we have played original songs to. It was the quarter finals. Thanks to the clap monitor being pounded by the crowd we sailed through to the semis and the dreams of winning started to become a reality. The semi final was another packed gig but it was not to be, we lost and did not make the final.

We played a number of gigs at the Martell during the late 90’s it was like our Cavern, it’s where we cut our live teeth. Gigs ranged from supporting our friends Cage and Turtlehead to opening for cover bands like Nearvana. Eventually another battle of the bands took place and sadly we were not as successful.

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Stu on the bigger stage that was opened up at the rear of the venue. It would prove hard for us to fill.

The venue opened up a bigger hall at the back where the snooker tables used to be. It felt different and for us it was too much to fill with our small but loyal fanbase. Highlights started to thin out and the Martell’s appeal was starting the wear thin. Eventually we knew all the bar staff, had lock ins with George the bar manager and played live recorded shows with Central FM (hard to believe a local station used to record live local bands). The alcohol flowed, the gigs came and went. One night when I crashed beer all over the counter I knew it was getting out of hand.

We left the Martell for a while, the Thursday nights were no longer a regular occurrence.

In the 2000’s (do we have a decent name for this decade yet?) we were approached to play and we obliged but the magic was gone or perhaps Falkirk had moved from our brand of rock. The Martell, the birth of our gigging experience and the hub of the Falkirk Music scene for so many years had unwound. As we finished our last set at the Martell there was no ceremony, just an air of disappointment. We thought perhaps the next time we play will be better but there would be no next time for us the Martell.

Life went by as it does, new venues opened and I would head down Grahams road sometimes going home in a taxi after a night out up in the heart of Falkirk. For years the neon sign of the Martell would glow statically in the night. You would hear about the Martells reputation for club music and the place became alien to me. Eventually it changed hands, now it’s named the Warehouse and encouragingly the venue puts on bands albeit tribute acts and mid size touring bands. There has been little mention of local artists playing there.

The Martell was one of the best venues we ever had in Falkirk. It worked for years, bringing together like minded people who wanted to listen to or play in bands around Falkirk. Together we created memories that will never leave us. Indeed some of the people who lit up the Martell stage are sadly no longer with us which makes the memories of this iconic local venue all the more important.

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influences music

Our Influences. Nirvana, Derek

 

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Bleach! In Utero! Bleach! In Utero! Bleach! In Utero! etc etc

 

Our dear drummer takes Pabs through the first of his favourite artists in our current series of band influences. Seattle’s Nirvana

It was probably the mid 2000’s when we were re-recording some of our early albums and Derek and I got into a healthy debate about Nirvana. Bleach is best he said. I spat out my Carlsberg and protested, how can Bleach be the best. Surely it’s the raw power of the Steve Albini produced Cobain curtain call that is In Utero? No he said, it’s Bleach.

In later years Derek would confess an admiration for Dave Grohl who as we know has stepped from behind the kit to become perhaps more commercially successful with the Foo Fighters. It was clear that Nirvana would have a huge influence on him, his drumming and indeed the band. Derek explains how Nirvana has influenced him.

When did you first discover them?

“I first heard of them (Nirvana) when Scott (a good friend of Derek and the band) of all people, pointed me in the direction of a tape entitled Bleach. I put it on but at first listen I didn’t really get it, I was 11 and I wasn’t quite into music yet although I was listening to Queen and a bit of Guns n Roses. Then, like so many of my generation, I heard ‘that’ song – Teen Spirit and my mind was blown. The rest is history.”

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Nevermind is a classic.

In the early 90’s as our young minds were soaking up our first musical tastes Nirvana did indeed explode onto the scene with Smells Like Teen Spirit. It would have a huge bearing on our first album Whapper Stormer. Educational Suicide, the opening track, was directly influenced by Teen Spirit. Educational was the first of many many songs we would write. On the same album the song ‘Vancouver’ addressed the tragic events that led to Cobain’s self inflicted demise.

Why do you like them Nirvana?

“Probably the same reason most of us like Nirvana, the utter shambolic brilliance of their music. Scratchy vocals, massive riffs and pounding, pounding drums, how can you not like them? Their almost anarchic attitude was exactly the way to get to a young teenager, who in times of angst, could literally let his his hair down and blow off some steam. Nirvana was the perfect soundtrack for that.”

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I wish i had the guts (and money) to smash guitars, but i get attached to them! Pabs

 

It was true that the punky anarchic attitude of Cobain and co directed our behaviour. Our early practise room videos show a total disregard for our futures. It would be mid week and we would be drinking to excess, generally giving a middle finger to the working life ahead. While our peers were revising for sixth year exams we would be planning our next gig, our studying would suffer and at times so did the music. We got really drunk at practise, we traded insults, dived off sofas (yeah I know anarchic) and hung around Earlsgate garage causing low level mayhem.

How do Nirvana influence you or the band and are they still a favourite today?

“Very much still a favourite today, they shaped my music taste from the word go. I wish we could have got another album out of them, but I don’t think we would have got much more than that even if Kurt was still with us. I would say they massively influenced the band, especially in the early days. For at least 3/4 of us they might not have been our favourite band but they were definitely in the top 10. Probably the reason some of us picked up an instrument. Definitely the reason I picked up a set of sticks. So blame them!

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Nirvana in 1993 (from left): Kurt Cobain, Krist Novoselic, Dave Grohl.

Even our latest album has threads of Nirvana. Quoted not Voted is perhaps an example of recording what you want to the harddrive and it paid off. Most modern rock bands still go for the large sounding chorus a technique that Nirvana helped make mainstream. My style of guitar playing is heavily influenced by Cobain.

How have Nirvana changed the music scene or the industry itself?

Difficult one to answer for me, I don’t really take much notice of the scene. I don’t listen to music radio at all and I don’t get too many gigs. As Pabs will tell you I live in the past a bit with music. I don’t download and I don’t stream. So for me to comment on how these, or any bands have changed the scene or the industry would be a bit like me trying to design the instrumentation for an a biomass upgrade of a power station…….wait a minute!

With regards to the structure of today’s music industry you could argue Nirvana don’t have much of an influence as they were at their powers during the CD boom of the 90’s however their song structure can be heard everywhere and they opened the door for a huge alternative rock scene.

There probably would’ve been no Weird Decibels without Nirvana.

Kurt Cobain File Photos
Kurt Cobain of Nirvana (Photo by Kevin Mazur/WireImage)

 

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influences music P A B L O ' S M U S I N G S Pabs General music thoughts

Our influences. Radiohead Pabs

 

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As I write this blog Radiohead have just shared their 9th album, a Moon Shaped Pool on Spotify. Thom Yorke once described Spotify as the “last desperate fart of a dying corpse” and pulled his solo work and Radiohead’s post parlophone albums from the streaming service.

So what has this got to do with Weird Decibels blog? I want to  explain the influence that Radiohead have had on our band.

Around 1994 95 Radiohead had already released the single ‘Anyone Can Play Guitar’ my father didn’t seem to care much for the record so he kindly handed me the vinyl and I ran upstairs and played it.

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Anyone Can Play Guitar was hugely influential for a young guy trying to learn guitar. Then there was the song Creep.

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Weird had already formed when Radiohead’s 2nd album The Bends had surfaced and this more accomplished album would eventually see me experimenting with delay pedals and the structure of songs. It also opened up the possibility of mixing acoustics with electric guitars. That would be Firkin Outburst then.

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Greg and I went to see them at the Barrowlands towards the end of the Bends tour. Perhaps one of the greatest gigs I had ever been at (I think Greg would agree). Witnessing Thom Yorke jumping around onstage and publicly displaying his every emotion when singing was now on my repertoire

At this point Derek kinda lost interest in Radiohead, Greg no longer listened to them and Stu would visit the ‘head later in his musical journey, for now Ok Computer was mine. I loved the CD, studied the extensive artwork and slotted it eagerly into my Philips CD drive (again supplied by my ever influential father).

Ok Computer would be the latest album to be imprinted on my psychi. Nirvana, Soundgarden, Smashing Pumpkins had only held this honor until now. Radiohead showed me that British music could be as good as the states.

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Ok Computer… I cannot work out where to begin. My love for the structure and ambition of this album almost frustrated me as I could not reach it. Then I had started to sit up and listen to Nigel Godrich’s spacious production. Steve Albini had been my hero for a while, both these guys would now influence my desire to try sound production. This obsession of mine would influence the sound of Weird Decibels until the present day (for better or worse)

Ok Computer unlocked another band for me, Grandaddy, and well that’s a whole other blog

As I moved away from my grunge rock roots (I was writing acoustic solo albums) Kid A arrived to the distaste of music critics and much of the radiohead masses. Only the true fans clung on after this ( there were many). Kid A was and still is a fascinating record (Derek hated it, Stu and Greg didn’t say much). I conquered Kid A,  listening to it several times and unlocked the beauty of the wonderful sonic landscapes that Yorke and co had created. Then it dawned that you could do anything with music but it was incredibly hard to get right. I recorded a terrible solo ep called ‘The man without a heart’ although I do still listen to it for my own selfish indulgence.

It was now the year 2000 and we all survived the millennium bug but alas Weird did not, the 17th (more on this at a later date) would be formed for a while and I would continue to consume whatever Radiohead had to offer. Indeed Amnesiac would influence my contributions to the 17th significantly. Pyramid Song would forever teach me how to find a mood for a song. Its a beautiful piece of music.

Hail to The Thief was the first kick at the shins, the first stumble from my biggest influence. I found myself floating away from my heroes and by 2004 the punk ethic had gripped me as Weird had reformed to  record One More Solo. In our opinion one of our best.

Radiohead had left EMI and for them things went south, they didn’t record an album until 2007’s wonderful return to form ‘In Rainbows’. We went on to the ‘Acts’ arguably our weakest era.

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In Rainbows was a great album however it wasn’t the shiny disc that influenced us this time. It was Radiohead’s decision to let listeners ‘pay what you want’ for their new album. I remember not trusting this, I wanted a CD not MP3’s so I steered clear, however this would have a profound impact on the industry. People downloaded albums for free, privacy was rife anyway and I think Radiohead were trying to find a new approach,however they alone would be unable to stop the demise of the record industry that had bloated to greedy heights in the 80s and 90s.

Our next album (2012) Weird Decibels 1 would be the first to embrace the online community( we were behind the times). It would be the first album to have different price entries. Free on Spotify, pay for a normal CD or pay more for a deluxe CD, Radiohead’s decision to let the fans pay what they wanted had helped pave the way for what was now an option on Bandcamp.

By the time King Of Limbs had surfaced I hardly listened to them. Thom Yorke started his spat with Spotify, yes it’s shocking how much these services pay and we have to see an increase in payments per stream but his won’t happen until Youtube in particular stops being a free platform for artistic content. .

One of my favourite singers took his vitriol out on the wrong (or flawed) service of Spotify. He took a stance and removed his music.

So where are we now. Have Radiohead been paid a handsome fee to upload their new album? Is it the record company that have done it on their behalf? The bottom line, they won’t lose money (it’s been suggested that streaming sites actually encourage consumers to buy physical products albeit on a far more selective way) on this but bands like us continue to do so.

Thanks to piracy, MP3’s and a general reluctance by the mainstream consumer to pay for music we make nothing yet pay a significant fee to get on these services. The bands who are at the top shouldn’t be fighting against the payment per stream, it’s here to stay until the next industry disruptive format arrives. Perhaps they should be asking a local band from every town they visit to open their shows. This would be far greater that anything they could do including anti streaming protests.

Moon Shaped Pool lands on Spotify on the 17th of June. Click and listen, it’s a sombre but beautiful piece of work from one of my favourite bands.

 

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music Pablo likes this The Falkirk Music Scene Uncategorized

There are hidden treasures up in the loft

Credits

The audience

Rikki Toner (Afterglow) local music scene pioneer

Eindp Photography capturing the scene, his work is used on this blog with his kind permission

Bootsie Blue, The Projection and Grim Morrison the artists!

Ben White sound

Before I entered Behind the Wall to head upstairs into the Loft (the ale house for the older bairns) I had no idea who was playing tonight. The fact that event organiser Rikki Toner has made so much of an effort to continue his push to rebuild the local music scene has made me determined to go and support it.

Once I had paid at the door, pleased that my fiver would be going towards the bands I met up with the one and only Stewart McCairney, quickly followed by Greg McSorley. We reflected on our last gig (the week before at North Star) and planned our next assault on world music domination.

While we plotted to headline Glastonbury the soundcheck was one two-ing in the background preparing for the night ahead. Just before 9 the first band would adorn the stage.

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Bootsie Blue take to the stage. 

The tall, confident singer/guitarist Aidan Buhrmann of Falkirk’s Bootsie Blue held things together well and was clearly happy to be upon the loft stage. Dressed in black jeans, that looked welded on, the big chap strutted about the stage. Their drummer, Ian Simpson was manic. This guy truly delivered stunning beats hammering the poor drum kit to within an inch of new skins. You could see he felt every beat, superb. The bass player Callum Barret  balanced things by being subtly calm and focused on keeping the Bootsie’s sound tight.

There were great songs unfortunately I don’t know the titles but ‘Bad Apples’ was a highlight. The first half of these guys set was probably the best I’ve heard in the local setting for a long time. The songs were dynamic and well structured. Once they flesh out their set I’d be surprised if they don’t make some sort of impression on the Scottish scene and are one of Falkirk’s most promising bands. (lets hope the scene grows with them)

As the night wore on I sampled more Tryst Carronade and blether to both Stu and Greg about the local scene we were thoroughly enjoying supporting other bands. For a while we, like many other people, stayed away from Falkirk bemoaning the lack of live music in our town. Yet we failed to realise that staying away contributes to the problem.

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Falkirk finds its place. The Projection

Up next was Glasgow band The Projection. Now I can be dumb at times so when I explained to Greg and Stu that I was looking forward to a visual spectacle by the projection I was ridiculed. (in my defence many bands use projection, most recently at Shuffle Down, when Paddy Steer was performing)

No offence but these guys are ‘experienced’ and it’s great to see Rikki had booked a diverse set of acts. These guys, bar James Lee Brodie on the guitar, are older and still belting out the tunes.

Stewart Cuthill was shielding his eyes looking for the crowd and eventually he left the stage to dance with the audience. They had a punk ethic with good melodic licks and Stewart had donned a nice ‘London, Rome, Paris, Falkirk’ tee shirt. Its great to see our fine town in the same light as these cities!  At one point he explained that there “should be thousands of people here” before launching into No Fracking in Falkirk. Which had the biggest crowd response.

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Grim Morrison

The headline act, also hailing from Glasgow, were Grim Morrison a three piece who borrowed the excellent Ian Simpson from Bootsie Blues to play drums. They grooved well and I thoroughly enjoyed their set. James McManus on guitar and vocals gave it his all and he looked like he enjoyed it, Meg Kenny on bass donned with a floppy hat danced away as she skillfully handled bass duties.

By end of the night I was tipsy; full of Carronade ale and ready to get the train home. There is no doubt that I enjoyed the night with good company and it was good to catch up with Falkirk music scene once again. Long may this continue. Please support it if you can.

Categories
music The Falkirk Music Scene

Shuffle Down 2016

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the impressive Dobbie hall

Shuffle Down hits its stride.

A one point during this years Shuffle Down I soaked in the atmosphere I found myself  genuinely impressed by what the festival organisers Laura and Rikki Tonner have achieved.

Now in its second year Shuffle Down is the Falkirk areas yearly fundraising music festival held in the elegant surroundings of the Dobbie hall. Laura, Rikki, their friends and family bring together the artists, sound crew, stalls, food and beer; much of which is produced in the local area. This year Strathcarron hospice was chosen to receive the funds raised.

Shuffle down first caught my eye when they booked the band Broken Records for last years headline act. This was when I believed that the festival meant business.

The first year was good, a strong line up and a good crowd. These were the first tentative steps of running a music festival. This year it felt like Shuffle Down had hit its stride.

The sound was improved, there is no doubt it’s a challenging room, it’s a large space with a high ceiling. The sound guys did a sterling job.

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the crowds gather early on.

The vibe was good, the hall was bustling with a mixture of people intently watching the bands and others having a catch up with old friends.

The stalls were varied and my wife and I spent more than we planned to. John Grieve should get a mention for his artwork. I bought two of his sketches, one for my son and one for the studio but my son has claimed them both… Later Noise Noise Noise would set up a stall for the night time punters eager for merch.

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merch stalls for the bands. I was treated to two Yossarian cds!

Beer was flowing and the staff were happy to pour it. Tryst Brewery had set up a craft ale stall separately from the main bar which was an inspired idea as this helped reduce the waiting times for thirsty music lovers.

 

I didn’t know many of the bands in the line-up this year but this is part of Shuffle Downs appeal, you’re guaranteed to discover a band you’ll enjoy. Yossarian, from London, were superb. They started playing as I made my way to the bar, I was stopped in my tracks.

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Yossarian played a blinder

Their guitar driven tunes that build to a grandiose conclusion and singer Ash Spencers baritone immediately had me drawing comparisons with Matt Berninger of National fame (which is a noted comparison in their Bandcamp page). After their set Kirsty and I headed out for some food, the May breeze thankfully didn’t take the edge off my tasty chilli dog.

Satisfied we headed back into the festivities. The second stage is run by Gavin Brown and his crew. I caught a one man multi instrumental electronica sensation that is Paddy Steer. We waited a while for him to set up and that was part of the curiosity, there was a mixture of live drums, synths, keys and costumes.

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Paddy Steer, simply brilliant

When he started his beats he had the modest crowd engaged within the first loops. Behind him, as he amazingly played several instruments at once, a video stream was projected onto the wall, one scene had bananas on the moon, yes it was mad.

About half way through his set he asked the now swelling crowd, ‘Do you want more chaos?’ he didn’t wait for the answer as he reached for a mask. On his head he put a white robotic dome with glowing eyes that stared around the room as the artist inside continued to offer a varied melee of electronica. His music has a hint of Grateful Dead’s spontaneity. A superb live show and one of the nights highlights.

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Esperanza. Superb to watch live

Back down stairs there was a buzz in the air for Glaswegian ska rockers Esperanza. The numerous band members confidently strode onto the stage and launched into 50 minutes of infectious music. My wife and I were dancing about at the back of the hall with the rest of the crowd, it was a fantastic part of the night.

The Treetop Flyers finished the festival and their set was watched by a slightly smaller but enthusiastic crowd. I enjoyed their music on Spotify and they came across well live. By this time the craft ale was taking effect and my hazy head needed to get home.

We grabbed the last train on the Falkirk line both happy at what was a very enjoyable day of music surrounded by friends.

Rikki and Laura should take pride in what they have achieved. It’s hard enough to organise a successful gig in Falkirk let alone run a festival. This town has often had an apathy towards live music; you can’t really say that Falkirk has vibrant scene but Shuffle Down is certainly helping to address this.

So hopefully once all lights have dimmed and the amps are turned down; they’ll have a chance to appreciate that not only have they raised money for charity, but they have also brought many people together to celebrate the great things that our local area can create.

 

 

 

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J O U R N A L music The Falkirk Music Scene weird decibels 21 years

Weird Decibels and the Falkirk Herald

Many thanks to James Trimble, Graeme Smith, Sarah Moyes, Kevin Byrne phtography and all at the Falkirk Herald

It was probably around late 1994 perhaps early 95 when I saw the advert. In plain black and white text it was the description of a practise room in Grangemouth near the docks. There was a phone number. I dialled and spoke to a guy, his voice distant. ‘I saw your ad in the Falkirk Herald mate, about the practise room?’

There was always ads and music guide in the Falkirk Herald; as a fledgling singer I used to study the gig guide and the demo reviews. One day, I thought, Weird will be in the local paper and then after that? The NME. That was when we dreamed of success.

I used to deliver newspapers. The Falkirk Herald was an extra shift. Grudgingly I’d lay down the Megadrive controller on a Thursday afternoon and head out to Charlie Sismans newsagents and pick up my batch of papers to stick through letter boxes with the occasional dog attack tearing up the paper the owner had just paid for.

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Goal 1 get our demo reviewed in the Falkirk Herald. Graeme Smith penned much of the music news during the late 90’s when we first appeared on the scene.

So I always had a connection with our local rag. The days before our first gig I wrestled with the broadsheet hastily flattening the pages to see our band name in print. There it was. Weird. In bold black letters, in print, Goal 1 achieved, now to earn a decent review.

There is a  distracting photo in the slideshow just below, the Martell at just 6 years old celebrating its underage birthday, we were listed on the live night with Nearvana. Every Thursday there was a Martell listing, from Sids Bevy Wheel to Foam nights (not the band..).

The local journalist Graeme Smith seemed to be the dominant force in the local music articles, his writing was sometimes witty, showing a hint exasperation at the various tribute acts and britpop clones floating around every music scene at the time.

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I nervously slipped our chrome 90 tape with our freshly cut demo  (The Rain Vancouver and Chameleon)into a padded envelope to be reviewed by the fearsome Graeme Smith.

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Our first review!!! I could not wait until the Thursday to see this.

The following Thursday I quickly flicked through the vast pages to get to the local music scene column hoping that a review would be there. It was. Our first ever review in print Thankfully the article was positive. Goal 2 achieved.

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Things went quiet after a while as we drifted into even deeper obscurity. We failed to reach many goals after our early successes. Gradually we took a step back from the local scene, every Wednesday we would practise and record for an audience that had gone. Aimless and wandering to an eventual end like so many local bands before us.

A few years passed. We returned to the fury of One More Solo and gigged that album relentlessly. The local scene had changed but the Falkirk Herald was still there, piled in beside the vender, the pages fluttering in the High Street wind.

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We resumed a more restrained relationship with the Herald; there were a few pieces covering the albums that we had recorded at the time. James Trimble now had the reigns of the local music section in the paper. Both One More Solo and Riot Act were covered. By the time we had reached Quiet Act things were, well, quiet.

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This Riot Act feature would be the last for a few years as we stepped further into background of the scene

It was not until Weird Decibels 1 that things changed again. We grabbed our camcorders, drove around Falkirk and shot the Wonder video. It caught the imagination of the town and amazingly (for us) it hit 2000 views. Once again there was some interest and we contacted James at the Herald.

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What followed has been an upsurge of support from James and our local paper. Almost all the videos have had a feature and our new album Weird Decibels 2 is discussed.

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pic Kevin Byrne. James Trimble has written a few pieces about out time together, which is nice!

Of course print is now struggling and this was reflected in our last discussion via email with James; he was understandably frustrated with the state of things. Everyone wants everything for free, music and news included.

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21 years 8 albums in. Much of our story has been written the Falkirk Herald

So as the Falkirk Herald attempts to move to digital hopefully we’ll still get column space albeit pixels instead of print.Who knows what the future of our paper is but when we appear in the centre pages rest assured as I walk down the corridors of work the following Friday someone will say ‘I saw you in the Falkirk Herald yesterday!’ 

 

Categories
music The Falkirk Music Scene

The Loft Sessions (BTW) 24th March

The following people and artist made this blog possible

The Audience

The Sonic Blues

Pleasure Heads

Ghost Writer

Afterglow Promotions

Photographs by 

Eindp photography  also on Facebook

AMiF

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The Sonic Blues. Brilliant.

Behind the wall has never been one of my favourite haunts; when I heard that a new local music event was happening in BTW I felt a tinge of disappointment that they picked that location. I headed through the main doors and passed by a relatively quiet bar with Thursday drinkers enjoying a week day pint perhaps glad that Easter had afforded them a long weekend.

I headed straight upstairs to the ‘Loft Sessions’. A different atmosphere presented itself here; there was a pleasant welcome from the gentleman collecting door money and promoter Rikki Tonner. Rikki looked happy, he offered a handshake but he was slightly distracted. He told me one of the PA speakers was down; underneath his calm exterior was a slight hint of exasperation. Immediately I could tell the guy puts a lot into these nights and he feels all the highs and lows.

There was an expectant air about the venue; the bar was the same as I had always remembered the Ale House to be (it’s in BTW). I grabbed a nice ale and enjoyed a cheeky school night pint (I was not off for Easter).

I bumped into Ranny, an old music friend who started a band around the same time as Weird Decibels. We had a wee chat about the old practice room and times gone past. With a nostalgic smile on my face I headed through to the stage area.

I was impressed. They have changed the layout for the live nights. Most of the tables are gone; under the soft blue lights lies a bigger stage than before. The darkness was pierced by the stage lights which remained static for the night and added to the intimate feel of the venue.

The sound desk and PA  was provided by Jimmy Dunbar who has presided over much of Falkirk’s live sound for years. I expected loud. However he has handed the reigns over to a younger chap, Ben White. The drums were excellent. The kick and toms were deep without muddy overspill and the snare cut through as expected. The band sound checking were The Sonic Blues.

I admit this was the reason I was here. Weird Decibels had a gig at the Kilted Kangaroo in Stirling, the Sonic Blues were on the same bill as us. I saw these guys soundcheck and I was impressed. We rudely left (to get a train) before they played that night. I had listened to their tracks online and wanted to see these guys.

11167960_525395094299516_6594349464135157036_oThe Sonic Blues have great invention; if you listen to their tracks you can hear many many influences straining to be heard. The blues feel is very much in their sound, they play really good Zepplin esq jams. They started the first half of their set with covers and they picked songs that suited their sound. The band members changed instruments and Greg Breen, a friendly guy who is very enthusiastic about his music, seamlessly switched from an excellent drumming performance to some, quite frankly, stunning guitar work.

They started to play the songs I heard online. Like many bands when they play live they sound  not better but free to improvise. Sometimes the thrill of the live performance outweighs the discipline of the studio. This was an excellent gig.

As The Sonic Blues jammed Rory passed with camera in hand and ear protectors in place. Tireless is a word I would use to describe this guy who is capturing the many events around Falkirk and the surrounding area.

They finished with ‘I can’t Get You Outta My Head’ by Ms Minogue (soon to be married, celeb goss on the WdB blog). It was fun and had me laughing as I made my way to the bar to meet my friends.

I spoke to Greg after their show and he shared the most common of ailments for any local musician. He’s moved to a new flat and this has curtailed the recording of drums for now. Hopefully he and the rest of the guys will get round this and released more music soon.

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Dressed for the occasion. Good set by these guys.

Pleasure Heads were next. The sharp dress code matched their music . The singer tall and dressed in a shirt and tie commanded the audience to move towards the stage and promised he wouldn’t bite. Those in attendance moved towards the stage. Their set was good and they had an enthralled audience watching their every shuffle.

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The mix of vocals between Iain King and Mags Dignan is very effective.

Last up were Ghost Writer. The crowd had thinned by the time these guys came on. One or two punters were talking of heading to City to no doubt listen to club music which, if that’s your thing, is fine but they missed a treat.

These guys take risks with their music. The singer Iain King stood taller than the rest and commanded the stage. Mags Dignan, on keys, shares vocals and this mix reminded me of Low and Foals but without the doom of Low, if that makes sense.

12916381_525526614286364_5480002945239723970_oThe different textures (keyboards and female vocals) in their sound was welcome and their songs were ambitious. I have tried to listen to their music online, so far their fine work is shackled by the 30 sec clip from iTunes. Their Outskirts Vol 1 EP has promise. I don’t do apple. Hopefully I’ll get a chance to download (and pay) for their music on Bandcamp. (if it’s on bandcamp please link, I couldn’t find it)

The proceedings came to a close; for the first time in years I had taken in a night of local music and I thoroughly enjoyed it. Rikki, who had been darting around the venue all night, had a moment to chat. He hopes the Loft Sessions will work but I sensed doubt. He is a family man with a life outside music who has appeared on the Falkirk scene with a desire to improve it.

The Falkirk music scene is notoriously unforgiving. It will give you a flash of potential, of promise. Crowds will come then they will disappear for no reason. Scenes have come and gone. The Martell, the Happening Club and Dancing In the Dark I’m looking at you.

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Rikki (far right) chat with Ghost Writer

Now we have Rikki. He has stepped up and accepted the challenge that many have shied from. He and his team have invested time and money to try and make something work in our town. The green shoots of a new Falkirk music scene are all around you.

 

Categories
J O U R N A L music review of the year

Weird Decibels our 2014.

Weird Decibels review of the year 2014

January

The year started with a mixture of optimism and permission; we had started writing weird decibels 2 and it wasn’t really taking off so we had to find some inspiration from somewhere. We booked ourselves a wee lodge in Oakley for the end of the month.

Before we were due to set off we had the small matter of releasing a new music video. Speak was the song we opted for.

http://youtu.be/bhh3IeKejGM

We stayed true to the black and white theme of Weird Decibels 1. It was shot down at the practise room with a mixture of stills and live footage. The idea was to have a bit of fun with each of us switching musical positions. The video did quite well; sitting at over 1000 views and that isn’t taking into account the Blank TV stats. A good start!.

The Falkirk Herald kindly ran a story about the video. Nice folk.

http://www.falkirkherald.co.uk/what-s-on/weird-combine-sound-and-vision-once-again-1-3271181

Moshville times wrote a nice piece for us as part of their ‘Band of the Day’; my favourite quote would be ‘not exactly radio friendly (!)’ and ‘ an overall undercurrent of folk’ this led us to utter a new genre Folking Metal!

http://www.moshville.co.uk/botd/2014/01/new-band-of-the-day-weird-decibels/

Spotifyimage3as January came to a close we headed off to Oakley with the acoustic guitars and a shit load of beer. We wrote 6 songs. ‘I Hear The City’, Little Thoughts Lost’, ‘Digital Takeover’, Curtain Hits the Cast’, ‘Quoted Not Voted’ and ‘Hit Me’ the latter had everyone reaching for their beers a little quicker. ‘Its a song about depression’ quipped Stu. We never played it again.

February

This took us neatly into February and Tommy Clark of the Third Class Ticket Show continued to do us proud by playing us on his show; ‘Speak’ getting the slot.

Click ‘like’ here

https://www.facebook.com/TheThirdClassTicket

March

We were looking forward to playing Stereo but the gig was cancelled. I was gutted at this news; A because I love playing live and B because its a cracking venue.

We also uploaded the remasters of One More Solo to limited success!! I’m not sure if its worth doing the other albums; the overpowering bass of the original master was swamping the album. I like the new master though.

Hear for yourself.

http://weirddecibels.bandcamp.com/album/one-more-solo-remastered

April

April was quiet for us. I was busy working on Morningday; an album I recorded with Kevin Byrne and Jemma Burt.

May

Derek and Ann tied the knot. Its good to have a least one celebrity wedding a year.

World cup fever was building, we continued to practise the new songs another quiet month.

June

We had a gig at Pivo Pivo to look forward to. We were sitting in the practise room mulling over the limited response to the gig (we would learn that gigs are best played on a Friday or Saturday); we got a phone call from PM promotions who had helped us have some cracking gigs in 2013 (Oran Mor, ABC 2). It was to be at the QMU; an old stomping ground for us. The big stage right? We asked the promoter.

Ah no its Jims Bar.

Mmm it still looked ok so we went for it given that Saturday gigs tend to be better. First gig of 2014 booked… in June… Anyway it was to be part of the ‘West End Festival’.

June would also see us attempt our own event. We booked a gig at the brilliant 13th Note with young rockers Ciceros secret, Miss the Occupier and The Dark Arts. Things were picking up!

10401915_10152485640034519_7255418438963022257_nThe 21st of June would see us play Jim’s Bar. I filmed the approach to the gig hoping to start a documentary for the band. It was a clammy summers day, the football was on and the venue was like a an oven. Not the greatest gig; our patience with PM promotions was staring to run low.

https://weirddecibels.wordpress.com/2014/06/29/pabs-gig-diary-jims-bar-qmu-live/

July

The film I made for the Jim’s Bar gig was quickly shoehorned into a video for Joker’ we hadn’t had a presence on YouTube for a while and this was a chance to get back on.

Not our greatest video by any stretch but it was a bit of fun. Views? 120 on our page around 600 on Blank TV. Very disappointing given the success of the other videos. A fickle world indeed!

Go on click the link and make it 121 views.

http://youtu.be/5GAXNtruyqA

August

I was with Lewis sipping a coffee at the Helix when the phone rang. James Trimble from the Falkirk Herald looking for an interview! So look out for our article in the next couple of weeks! Thanks James. This was a Facebook post I wrote the day James Trimble phoned my mobile as I sipped a coffee. You should have seen the looks of the other costumers as I was talking about writing albums and playing gigs!

http://www.falkirkherald.co.uk/what-s-on/falkirk-s-kelpies-are-rocking-horses-in-music-video-1-3501992

It was a very good article from James Trimble.

The heat the rock it was all there
The heat the rock it was all there

To top off this fantastic month we played our gig at the 13th Note. One of the best we played and we met some good friends old and new that night. I also highly recommend the Notes veggie burgers!!

https://weirddecibels.wordpress.com/2014/08/23/gig-diary-22nd-august-13th-note-glasgow/

Oh before I finish August we had promised for weeks to do the ‘ice bucket challenge; the Facebook craze that had went mega viral, listen close and you will hear Stu scream like a big girl!

https://www.facebook.com/video.php?v=868665706491852&set=vb.128933433798420&type=2&theater

September

We booked another gig; this time at Ivory Blacks. It looked very promising; although it was on a school night…

September was a quiet month of writing and recording practise sessions. We actually started writing in the old room again and the results were pretty good.

October

We launched our very own website this month in a hope not to rely too much on Facebook. Its hard to say where this is going to go. My how did we get to attached to Facebook. Disturbing…

anyway here it is.

http://www.weirddecibels.com/

The website will probably evolve to become more of a tribute to our 20 years together. Watch this space.

We started drinking tea and coffee at practise; yes you read that right.

November

Stu rocks the ivory
Stu rocks the ivory

We hyped the Ivory Black gig as a send off to Weird Decibels 1. A very disappointing gig and a rather sad end to the live life of Weird Decibels 1. Maybe we’ll do another show and send it off in style.

As I write about the highs and lows of unsigned music life there are certain things that quickly pull you back into perspective

Our good friend and fellow musician Chris Masson passed away at the age of 37. Too young. Too soon.

https://weirddecibels.wordpress.com/2014/11/15/chris-masson-1977-2014/

On the 22nd of November the guys brought their gear around to my place and we set up the studio. We wrote another batch of cracking songs for Weird Decibels 2. This will be the way we write in the future given the success of the session.

https://soundcloud.com/weirdmusiconline/the-canine-with-no-teeth

December

Weird Decibels 2014
Weird Decibels 2014

The band has wrapped up early this year, work and the festive season have taken their toll on our practise sessions.

All is good, we have a batch of songs ready to be rehearsed and eventually recorded next year

2014 has been a mixed bag. Some highs some lows; I feel we lost a wee bit of momentum this year due to different circumstances and perhaps poor choices.

2015 is our 20th anniversary. A new album is due, new videos, gigs, podcast and hopefully a film. So a lot to look forward to,

Massive thanks to the unflinching support of our family and friends

The unsigned musicians work is never done!

Categories
music solo writing

I can explain everything…

 

Morningday 

Thinking about this for the cover
Thinking about this for the cover

As I reach the twentieth anniversary of first stepping up to the microphone to be lead singer of Weird Decibels I look back on the past two decades with a sense of achievement that the four of us have written and recorded seven albums with another one on the way. I feel lucky to be able to write songs (a few great, some good some bad and some awful) it is something I take for granted and I cannot understand when people say they cannot write songs. Then I remind myself that I cannot do the things others take for granted. Derek thinks the drums are easy… Stu pulls a solo out of the hat and the Bass I recorded for the album Morningday made me appreciate just how good Greg is at his chosen music discipline. Anyway the bottom line is I have to write songs all the time, for I fear if I stop I will lose the only skill I have. This brings me to the ‘solo career’, my mistress in the Weird Decibels marriage.

You may wonder why I express guilt at creating music without the band. There are a number of reasons. The main one is I’m not creating music with the guys, something I swore I’d do so long as they let me. The second is some of my best work (you may disagree) has been on my own where it should be with the guys and sometimes I think I spread myself too thin. There is only so many albums you can write and they should always be the best that you can create.  So I’ll take you on a wee tour to see how the solo albums fit in.

Solo albums are a lonely experience. Lewis keeps me company
Solo albums are a lonely experience. Lewis keeps me company

The first was ‘Gods In The Kitchen’ a rather rough acoustic album recorded 1997 on a four track, this would be just around 1997’s Weird’s  ‘Firkin Outburst’,  at this point the band was beginning to lose its way (although its a good record). Next was 1998’s ‘Monkeys On A Stage’ another sketchy acoustic album. 1999 saw ‘A Twist and a Turn’. Three albums in quick succession. At this time Weird were about to end their first era and release ‘Cold Home Street’ in 2000. 2002 saw ‘The Armour is Broken’ the first solo album (and perhaps last) that I was insanely proud of. Around this time I was in the Seventeenth were our writing was frustratingly sporadic. The writing slowed.

However 2004 saw the return of industrious writing and the second coming of Weird and ‘One More Solo’ around this time Derek and I recorded Sllablo’s 9 hours. My fourth solo lp ‘Fortune Favours the Brave’ arrived 2005 as Weird leaned towards covers to pay for the ‘lodge’ albums Riot/Quiet Act which would arrive 2007 and 2008 respectively. This phase was lean lyrically, songs of drink, ennui and Eurovision… Things went quiet for Weird after the ‘Acts’ so 2009 saw the release of ‘Creeping Ash’ my 6th solo acoustic album. After this record I swore never to write another acoustic album again.

2012 saw three years of focused writing to create Weird Decibels 1. I could not believe it had been a four-year gap between Quiet Act and WdB1 It is however arguably our best record. I had sickened myself of the acoustic guitar and had been listening to a lot of early Metallica and Megadeath so lyrically it was a lot stronger than previous albums. This brings us to 2013. We had started writing Weird Decibels 2, Derek sustained an injury and I had writers block, The band now had down time and I had to find a way to write songs again. In December 2013 I sat staring out the garden thinking that I was finished writing songs. So I played the guitar and listened to RM Hubbert until my fingers blistered. I record it all into a Nexus 7 and Morningday started to take shape. A full five years since my last solo record.

Kevin Bryne on drums and Jemma Bur Piano/Violin have helped shape Morningday
Kevin Bryne on drums and Jemma Burt Piano/Violin have helped shape Morningday

Morningday is still unfinished and I have the usual concerns of how it will turn out. It’s more than a solo album Kevin Bryne (drums) and Jemma Burt (piano and violin) are very much involved. Its strange having a full band sound without Weird Decibels. Morningday started out acoustic but it grew into something different and refreshing. All my energy has went into it which is where the guilt comes in. However I conquered the writing block. I feel recharged and ready to put everything into Weird Decibels 2 which will be the 17th studio album of which I’m a part of. Chuffed with that!

IMG_20140323_205627225

Categories
music retro corner

One More Solo turns ten. (remaster)

Prelude;

Stu leaves band, Weird become the Seventeenth, 4 years pass, Stu comes back, Weird write kick ass rock album.

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Guitar shines in the light.

2004 Facebook launches , Ireland bans smoking in pubs, Greece win the Euros and Weird make a comeback. It was never going to work…

Facebook that is.

The Background, let’s rock this shit.

When Stu returned to pick up the guitar there were grins all round the room. It had been four years since we had thought Weird had had its day and the bands legacy would be a couple of EPs and a ropey album ‘Cold home Street’. I had already been working with Stu on various projects having met him at Behind The Wall by chance. Amongst our new musical projects was an idea of a Weird ‘best of’ but in acoustic form. We had recorded Glass People first, that would appear on Whapper Stormer. I had mentioned to Greg and Derek that Stu and I were playing again. Strangely we decided against reforming the band and instead approached Kevin Byrne and Chris Burt with a proposal to start a new larger group. Other commitments prevented both Kevin and Chris from attending practise and myself, Derek, Greg and Stu found ourselves back in our old practise room with only a handful of songs from the big group practises. However Stand For Your Rights was written that very night and suddenly the desire to reform and write a new album was back.

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The rock in the rock band was back…

Writing an album the easy way…

We wrote the album quickly. There was no pressure to evolve our sound as we were simply back to enjoy playing music. The songs are generally simple 4 chord progressions that the quo would be proud of. The songs had a great feeling though, from the shouty anger of Easy Way, the smoke hazed Trying To Grab Hold to the darkness of The Ending and its middle 8 that we have yet to better. We all felt part of the writing of the record and the solos were back. Now the challenge was to get the energy of the songs recorded.

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Album prepped and ready to go. Tune up Bo!

One Take Jake.

We recorded, mixed and mastered the entire album ourselves. In 2004 we had very little equipment. I had a Tascam 788. My first digital recorder. A Stagg condenser microphone that was used for everything from the mono overhead drum kit sound to the vocals and guitars. A Shure sm58 was used on the snare and I have no idea what was used on the kick. The drums were recorded in Derek’s biggest bed room in his flat. It had high ceilings and the shape of the room lended itself to excellent acoustics. To this day it is still one of the best rooms I have recorded a kit in. The bass was in the smaller bedroom, guitars in the kitchen where the floor was wooden so a brighter sound for the guitars and a vocal booth in the tiny corridor. Egg cartons were used for acoustics, and as I stood and admired our little booth I had no idea that I had no idea what the fuck I was doing. 

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I’ve nailed this…

The recording went well, the songs were well rehearsed. We recorded much of the album in the flat in around three separate weekends. We drank a lot, ate a new thing called Subways. My favourite was the foot long meatball. (Still is) We had everyone around at some point to sit and drink, smoke, eat and drink. Gav McVicar, Kev Bryne and Dave Broon can be heard cheering as Greg nails a bass line in one take. Such a fun time, it spills onto the record despite the many dark moments that the songs have. Then there was the biblical rain. The heaviest rain I can recall, washing my old Renault that was sat outside. It was flooded. So I had another beer and recorded the rain that can be heard on the fade out at the end of the album.

So we gigged OMS, until our fingers bled.

We have never gigged an album as much as we had OMS. Sometimes playing twice a week which is a lot for us. Even more impressive given that our jobs were already starting to grind us down. We gigged Glasgow, Dundee, Edinburgh, Falkirk and Kirkcaldy. Kirkcaldy was simply brilliant. The Path Tavern. We met a band called Kranksolo on our travels, fucking loved that band and they became firm friends. They invited us to play the Path. The Krankies were a riot. One of the support acts had these huge shoes that lit up and a huge spiky hair. They were camp metal. 13 Tombs. Brilliant. We drove around in a big blue automatic Vauxhall called Vulture. The Cavern was good as well. Beatles played there you know.

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Gigs. The Cavern in Liverpool was a highlight.

reception and Legacy.

OMS generally went down well with our faithful. We still play Waiting On The Sound of Your High heels Baby and our clan love it. the Falkirk Herald were kind in their review, the Daily Record went meh and looking back I can see why. One More Solo is one of our best albums, the fun we had during that era will be hard to match. The original recording just needed a bit of mastering.

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OMS circa 2004/5 was a fun time for us.

 

Ten Years On. The remaster.

A lot of remasters are awful cash ins that add nothing to the original recording. It wouldn’t be hard to improve the sound of OMS. The original was mixed and mastered in my living room on a pair of huge Celef speakers designed for hi fi use. I got it all wrong. The mix was buried under a sludge of low and low mid frequencies. Every song faded forever which Derek kindly pointed out on a daily basis for years. He had a very valid point.

Ten years on I put the CD into the D3200

Unfortunately I could not strip the songs back to tracking level as they had not been backed up… So there are limitations to what I could do, most remasters are the same. Get it right at the source as they say. These days I have a wee bit more knowledge, a set of budget monitors and basic sound acoustics in a purpose built studio. When I played the original recording it was glaringly obvious what needed fixing. I applied huge EQ cuts to the lowmid bass frequencies which opened up the mix. The guitars have come through quite well. I’ve added some dynamics to the mix. Easy Way has a gain of 1db at the chorus. The things you learn! Cold Calling has a new mix that I found. Cold Calling has always been poor recording. One of those songs that worked well live but on record it suffers. Fade outs have been cut and edited better. Not a huge difference but an improvement. The remaster will be yours absolutely free via download at our online album hub that is https://weirddecibels.bandcamp.com

How much do I love WordPress on android its a riot…

I hope you enjoy One More Solo, its reached its cheeky tenth birthday. Treat it well or it might rebel on you. Its an angry wee bugger.

Pabs.