Tag Archives: alternative

RiFF Showcase no.1 Sep 29th 2017

Behind the Wall 29th September 2017

Photographs by Eddie Mceleney. What Eddie Sees

Eindp Scotland

Band links:

Weird Decibels, The Nebulosity, Blind Daze and Thirteen

It all started on June the 26th; it was a Monday night, Dolly Robinson of 13 asked for local musicians to meet and discuss the possibility of a showcase for Falkirk’s harder edged music. A handful of local musicians wandered into the pub looking around for other band members that they had not yet met.

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This was the 2nd meeting at Behind the Wall. Pic Eindp Scotland

Peter Gilbert and Nathan Paterson both from Blind Daze, Alan Costello of the Nebulosity,  Bob from the Star Inn, Craig Hayworth and Dolly from 13, Rory from Eindp photography and myself sat around a table in Behind the Wall’s conservatory. One of the things I remember Dolly saying was “I don’t want this to be another pub gig”, he had a vision for a showcase for a number of bands.

The venues that were being suggested were bigger than I imagined. The Warehouse and the Loft upstairs at Behind the Wall. I was thinking of smaller, more intimate venues akin to the Happening club, somewhere were 40 people would make the place looked packed. We settled on Behind the Wall, I felt that this was ambitious for the first RiFF showcase. Start small I thought, then build a scene.

One thing was clear from the first meeting that all the bands were heading in the same direction, some felt ignored by the local scene and others felt there was no scene. I was in the middle. We’ve played some great gigs in Falkirk recently and been to see many great bands. One thing that was missing was harder, in your face, alternative music.

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the RiFF logo was born!

We departed from Behind the Wall all with various tasks to carry out. The date was set, September 29th 2017 upstairs in the 180 capacity Behind the Wall. Now we needed to get a crowd through the door…

Rikki Tonner of Afterglow offered much needed advice, Bob from the Star Inn offered help, The Bunker offered gear. It was looking good for the setup. We set up the usual social media pages and I contacted the Falkirk Herald, James Trimble was happy to be on board.

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A few weeks later I was back in Behind the Wall. Craig Hayworth and I stood outside the pub at 11am like a pair of keen drinkers waiting for our first pint when we were actually waiting on James. He arrived clearly happy to get out of the office, notepad in hand, pen at the ready.

Alan Costello bounced in the door just as we were starting the interview, slightly harassed having just awoken after a shift he was keen to be part of the article. We repeated the RiFF community’s philosophy that RiFF bands will support each other whenever possible. It was a pleasant chat over a few coffees.

Everything seemed to going well but the tickets were slow in selling. I hoped that the old tradition of an article in a newspaper would help raise awareness.

The bands worked hard to spread the word. It was now just a couple of weeks to go, more people were starting to commit. Craig reported an increase in sales at Noise Noise Noise. Word was getting out, people were sharing posts. Maybe, I thought, we’ll reach 50 or 60 sales and the place will at least look busy.

Now with just days to go, we had more of our fantastic supporters wanting tickets, again Craig said that tickets were selling. We put all the figures together we were looking at around a 100, Now I was getting excited, was this really going to work? Was this going to be more than just a pub gig?

The Night Of The Showcase

It was a bright September day, reds and ambers now appearing in the trees. Time had flown since RiFF was created back in June. Greg came to pick me up around 3 and we headed off to the Bunker, a rehearsal studio in Bonnybridge. Daniel McGibbon was most helpful giving us the backing. Two amps, a bass cab and a full drum kit. Greg recalled his Tetris skills and we managed to carefully pack all the gear into his car.

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22 years of packing gear into the boot of a car pays off. pic Pabs

After fighting through the Falkirk traffic we finally arrived at the venue. Upstairs we were greeted by a cheery Jim Dunbar, he was busy setting up the rig. Blind Daze drummer Craig Scott arrived to help and together we set up the room for the showcase.

The other bands started to arrive and we had a brief soundcheck, the stage was set. I stood at the door with Craig Hayworth; I was getting slightly obsessive about the door opening. Bang on half 7 the first people started to arrive. They didn’t have tickets…they were happy to pay at the door and I saw those guys stay the whole night.

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More people arrived, some with and some without tickets. Stubs started to pile up under the cash tin. Craig Scott came over to let Craig Hayworth run the merch, again we were all working for the cause. It was now around 8 and there were people streaming through the door. I looked around after tearing stubs and couldn’t believe that the place was packed.

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pic eddie mceleney

Our stage time of 9 fast approached. When we stepped under the blue lights I could see rows of people awaiting the first riff to be played. I was stunned and excited. I picked up the guitar, looked at the rest of the guys and started Kill it Kill it. It was an immense feeling and I was driven by the crowd. Every Time I looked up I could vaguely see people appearing to enjoy the music. When we stopped songs there was a great cheer. It was a fantastic feeling.

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half a pint and a full set to go? Not good. Pic Pabs

Setlist

  1. Kill It
  2. Speak
  3. It’s Who You Know
  4. Feeling
  5. Quoted
  6. Miss A
  7. Joker
  8. Medicine
  9. Deliverance
  10. I Hear the City
  11. Industry

The set flew by and it was hot. I’ve  no idea how Greg didn’t pass out wearing his big patched jacket. My guitar cut out at Deliverance, three songs from the end, so it was back to old school Weird with myself on vocals and Stu doing all the guitar. Before ‘I Hear the City’ I tried to plug the guitar straight into the amp, passing by the pedal board. It worked and we finished the set with ‘Industry’ now becoming a regular finisher.

The Nebulosity stepped up next and they played a blinder. I missed the first couple of songs, although I heard them through at the bar as I waited patiently for a pint. The staff looked a little overwhelmed by the size of the crowd, (Derek may disagree with ‘overwhelmed’). However I got back to the door duties. I would like to say I could see them but the place was packed. Alan Costollo looked like he was loving it, flinging his hair about. The music was heavy, this was what RiFF is all about. Again the crowd was brilliant, they got a large response from every song played. The crowd were watching all the bands not just their own and this was fantastic.

The night now jumped into the second half, time was flying. Up stepped Blind Daze to deliver a solid set of rock with some really slick guitar play. Craig Scott’s drumming kept the band really tight it was a great performance and they clearly enjoyed it as much as the previous two bands. It was great to see most of the crowd staying. Peter Gilbert really looks like he’s enjoying life as the vocalist of Blind Daze and Nathan Paterson handles his bass duties with aplomb.

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Remember when Dolly said right at the start he didn’t want the showcase to be just another pub gig. When he stepped onto the stage he must’ve felt a sense of achievement. He helped bring it all together and admittedly he had his ups and downs. When the ticket sales were low he wondered if the event should be cancelled given that the bands were paying out of their own pockets. This defines the ups and downs of being a musician yet to make a living out of the art. But he and the rest of the RiFF community stuck through, and together we all stood in the same packed room as 13 played with huge grins on their faces.

It was another fine set, a mixture of songs from their records and covers. Greg Breen is probably the busiest musician in Falkirk at the moment, now full time drummer with the band and of course he has the Sonic Blues going as well. Craig Scott really took in the event, he was bouncing all over the stage, (thank goodness we extended the size of the platform…). It was an excellent end to the night.

I was now a few beers in and had a slight sway in my step, last orders were shouted and the crowd slowly started to filter away leaving the RiFF community alone in empty to venue to try and comprehend what had just happened.

The RiFF Collective Look to the Future.

The ticket stubs were counted, 140 tickets sold; this was nearly a sell out. The RiFF showcase was a tremendous success. After all the costs were met the bands evenly split the money, it was a great feeling to get something back and merch had been selling as well.

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pic eddie mceleney

Our attention now turns to future showcase events; many people in the audience commented on how they had never seen a heavy alternative music event for many years so perhaps there is a scene in Falkirk waiting to be uncovered. So now it’s all about timing and getting new bands on board. We’ll never know where RiFF could go, perhaps it will grow and local bands will have an opportunity to play shows of this magnitude. It’s a hard edged music scene Falkirk really needs.

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pic eddie mceleney

It’s a night that Weird Decibels that will never forget; we were delighted to be a part of the first showcase and we hope that there will be many more, giving other local acts the chance to meet new friends and a new audience.

Once again RiFF members will gather around a table to discuss the next showcase with a new meeting planned for mid October. Who knows what the next showcase will bring but one thing is for sure the bands involved and the crowd that came to see us will never forget what happened at Behind The Wall on the 29th of September. It definitely wasn’t a pub gig.

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pic eddie mceleney

Pabs ( a proud member of the RiFF community. Get involved.)

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Shuffle Down 2017

credits

the crowd

sweet p photography (featured image)

Gregor Boyd photography

what eddie sees photography

afterglow events

ben white sound

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we’re on the bill! A great line up. Artwork Afterglow Events

 

 

Shuffle Down had a different feel about it this year as we were playing! Read more about that experience in our latest gig diary.

As I arrived at the Dobbie hall some two hours before the doors opened there was a surprising calm in the air. The various volunteers and stalls were quietly setting up their various stations, there was an air of anticipation, would it be as busy this year?

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Capturing the live sound for so many different bands with so many different instruments is a skill mastered by Ben. Pic What Eddie Sees

Shuttling back and forth from the stage was Ben White who once again had the duties of mixing and amplifying a number of different bands with a wide range of instruments; he did a superb job. Anyone who has ever provided the sound for a gig will understand how difficult this is to do for two or three bands never mind a festival roster! So hats off to Ben and his team they did very well providing a nice meaty kick sound that cut through the full range of frequencies that are needed for a balanced sound. Everything from the guitars to the bass sounded well knitted. I would argue that this year was the best sound, a couple of technical glitches aside (which you have to expect), it was clear the sound crew have got to grips with the acoustics the hall

In the background Jim Dunbar was once again overseeing the task, A stalwart of the local scene for many years. During soundcheck he reflected on his many years hauling speakers to various venues and hinted that it may be time to put his feet up.

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Jim Dunbar was doing our sound when we first started playing live. Local legend.

He did the sound back in at our first gigs at the Martell some 22 years ago, now here we were in the Dobbie hall about to embark on another Shuffle Down and all the challenges that come with putting on a show that gives local bands an opportunity to reach a bigger audience on a grand stage.

Once the soundcheck was completed the lights slowly came on, the true beauty of the stage was revealed. Shuffle Down always has the personal touch of the loyal volunteers and of course Rikki and Laura Tonner. This year was no different with a waterfall of lights hugging the back of the stage and the ever present Afterglow Lamp, stage right, proudly illuminated..

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Beauty and the fest, The Everglow lamp. Pic Gregor Boyd

The heavens opened outside, biblical rain fell as the last of the early bands arrived to drop off gear backstage and exchange handshakes. There was a good air between the artists, mutual respect and a common desire to entertain the crowds that were on their way. The doors opened and the rain started to ease, a good number of punters drifted into the scent of coffee from The Common Grind and a whiff of ale from the Tryst Brewery.

Up first was Kieran Fisher playing an acoustic set of originals and covers; his gravely voice reminded me of Kelly Jones I thought this was a lazy comparison until he nailed the Stereophonics. Kieran looked confident up in the big stage which is a hard thing to pull off given that you’re up there on your own. Continuing the acoustic theme was Robbie Lesiuk, when he took the stage the hall was starting to fill with punters. The noise of the crowd chatter grew as people greeted each other the atmosphere was starting to build; there was now a buzz about the place. Robbie played well, his subtle use of loops is always good to listen to and Fault Lines always gets stuck in your head

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A charismatic front man who had the crowds full attention. Pic Gregor Boyd

I was surprised to see Have Mercy Las Vegas on early but it really did help get the feet stomping. Their charismatic front man had the audience stamping and clapping and for the first time I felt genuinely nervous that our rock set would plummet to the earth like a dropped pint of real Tryst ale. Then up stepped Pronto Mama, whose dynamic sound no doubt tested the sound engineering skills of Ben but I felt that the mix held well. Their set was a good blend of synth, brass and guitars. I really enjoyed their show. There was an intense feel to it.

We were up next and you can read all about that in our gig diary.

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Rock comes to Shuffle. Pic Gregor Boyd

We played a half hour show which felt like 5 minutes. As we stepped back stage and took a few photos and admittedly did a couple of high fives the Lonely Tourist stepped up to the mic. The stage curtains were drawn so he had a more intimate platform for which to share his tunes. I caught a couple and I really enjoyed his music; I love the full band sound on his record and I hope he ventures up here with the band in the future.

I headed out the the stalls to grab a fine burger and the sun peaked out from behind the dark May clouds, they broke and scatters of blue sky could finally be seen. Finally I could relax and enjoy some Dobbie Shuffle from the Tryst stall (can I by bottles of this somewhere?! It’s sweet!). The alcohol hit me pretty quick!

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Ghosts on the stage. Pic Gregor Boyd

I was really looking forward to Ghostwriter who I believe are one of the best bands to have emerged from the scene recently. For Hire (Summer never ends) was a great opener and that guitar riff is one of the most infectious I’ve heard for a while. Technical issues distracted singer Iain King and it caused him frustration. To be honest I felt his anger added a little edge to the performance which I enjoyed; however it proved to be too distracting for him and sadly their set finished early.

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There was an edge to Fly Jackson at Shuffle, my fav show of theirs to date. Pic Gregor Boyd

Fly Jackson ambled up to the stage they seem to take these events in their stride, I saw them at the Trinity Church gig and enjoyed them but I preferred this performance. It was a very focused set by the band and the sound had a fine clarity to it. They have some great songs on their roster.

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Iain King found his composure and joined Fairweather and the Elements for their set. Ross and co headlined a great night at the Trinity church, this performance seemed to have more energy, perhaps driven by the occasion, vocalist Deborah Lang was clearly enjoying herself as she danced about the stage. By now it was clear that the electric atmosphere of Shuffle Down was influencing the artists; the performances seemed more energetic and the crowd were loving it. This is why we need this event.

I felt myself glued to the main stage, the atmosphere, the bands and the beer. In previous Shuffle Downs I found myself wandering upstairs to see some fine acts but this year I couldn’t leave the big room as it was proving too enjoyable. It helped that the bands were really quick to switch over. The hall seemed to be as busy as previous years, those watching the acts seemed to enjoy the various genres and warmly applauded all that played.

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Highlight? Yes. One of many. Pic Gregor Boyd

Miracle Glass Company were superb, I was transfixed by the drumming of Andy Duncan, he was keeping these Ringo Starr esq beats going at a pace while aptly performing his singing duties. There was good pacing to their set, Trouble is a great song.

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Transfixed we were, 57 rock. Pic Gregor Boyd

Then came a surprise. 57, a hard rocking duo from South Korea, took me by surprise.The crowd loved them. I liked the set it was impressive and it was a huge sound for just two people. I had no idea that this was coming.

By this time I was a little tipsy and thinking of work the next day (started in the afternoon folks) so my wife and I headed off into the night. The sounds slowly faded as we walked away from  the Dobbie hall.

Perhaps I’m biased as we played Shuffle Down this year but I felt that this was the most enjoyable year so far. The first year had big acts, the 2nd found its groove but this year felt different. It felt like a big party, a gathering of people who love music and will come to Shuffle Down regardless of who is on the bill and every band benefited from an audience that was open to hearing something new and it was fantastic to witness this.

Was Shuffle Down 2017 a success?  If success was a large group of happy people enjoying a wide range of music, surrounded by friends drinking local beer, eating local food and listening to local acts then yes it was a huge success.

I will probably attend another overpriced festival sponsored by Tennents at some point but I doubt that will enjoy it as much as I did Shuffle Down 2017.

So as the bands packed up and the Afterglow lamp was switched off, I do hope that next year it will illuminate the Dobbie hall once more. The Falkirk music scene would miss what is now becoming the most important date on our local live calendar.

words Pabs

 

 

 

17 reasons why you should’ve visited shuffle down 2017

All the information about the festival is on this fine website

Back in 2015  I was flicking through the Falkirk Herald when I stumbled across an article about a new local music festival called Shuffle Down. I was aware of this event however they had added the band Broken Records to the lieup. At this point I decided to delve further. Now intrigued, I bought my tickets and was pleasantly surprised at how good the festival was and how good the artists were.

Shuffle Down grew in confidence in 2016; once again back in the impressive Dobbie hall it had a more diverse line up and once again I had a great day with my wife and my mates

Now approaching its third year Shuffle Down is back on May the 20th and we’re playing! So below are 17 reasons why Shuffle Down should take a place in your 2017 musical festival calendar. Please note these are not in numerical order.

 

  1. It one of Falkirk’s best music festivals. The Falkirk scene is continuing to grow again which is fantastic news for local artists like us, Shuffle down started in 2015, created by Rikki and Laura Tonner with help from their friends including Gavin Brown . There are many great acts playing in a cracking venue and the vibe is brilliant.
  2. It marks the start of the summer. 20th May? Its that time between the end of spring and the start of summer. Shuffle Down is a great day to celebrate the sunny weather we get from May to September (well it seemed that way in the 80’s when I was a kid). If it rains falls head back into the halls and watch the bands!
  3. You’ll discover new acts. I have discovered a few great acts in the last two Shuffles including Iona Marshall, Yossarian, Paddy Steer and Dextro. There are moments when you are enjoying your beer chatting away in company when an artist plays a song that makes you stop, listen and discover which is a hundred times better than letting Spotify (et al) do it for you…

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    Paddy Steer you had to see him to believe it.
  4. It has a personal touch. Organisers Rikki and Laura plus family and friends put this together; the hall has always been decorated to give the festival a personal feel plus on stage there is a lamp. A little lamp that illuminates the corner which can be seen at many local gigs. A quirky touch that adds personality to an event that is a million miles away from the corporate festivals that clog the calendar.

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    From the classic surrounds of the hall to the decor the venue has always looked grand for Shuffle Down
  5. The craft stalls are a haven of gems. In the past couple Shuffle Down fests I’ve been drawn (pun intended) to the artwork of John Grieve. However there are many stalls populated by local people keen to display their talents. IMG_20150529_154054407_HDR
  6. The atmosphere is fantastic. From chilled out to pulsating to bouncing Shuffle Down has had it all. The crowd is friendly and there is a generally good atmosphere around the venue. 
  7. Dobbie hall is grand. This hall is a hidden gem in our area, I’ve been here a few times for various events and the decor is beautiful. From the carvings around the main stage to the high ceilings and decoration this is a hall the people of Larbert are proud of. Its here on the map
  8. It’s easy to get to. Just 5 mins from Larbert train station (hit link map link above), within minutes walk of buses, a ten minute drive from Falkirk, Stenhouse taxi rank just up the road. It couldn’t be easier to get to. Leave the car at home and enjoy yourself! 
  9. The food stalls are ace and local. Local butcher R Browns and Sons are just one of the vendors who provide much needed scran to soak up the local craft ales.
  10. Craft ales are yep…local. Tryst Brewery set up stall last year and are returning with a few kegs this year. What better to enjoy local acts while sipping a fine ale from a brewery just a few yards down the road.
  11. The line up is increasingly diverse. 2015 Shuffle Down took its first steps, in 2016 it found its stride with a more diverse lineup from the mad Paddy Steer, the indie tunes of Yossarian and the jumping ska of Esperanza. 2017 promises more with soul pop from Pronto Mama, American country from Have Mercy Las Vegas acoustic loops from Adam Stafford and a bit of rock from ourselves. 17835062_1395119577198251_8993517791303915887_o
  12. You meet old friends. It’s a great day out for friends and family, we go to Shuffle Down as a group and have a great day out however being at a local music festival it’s amazing how many old friends I bumped into the past two years. 
  13. Its great for local bands. The first Shuffle down helped raise much needed awareness of the local scene I couldn’t believe how many great artists were on my doorstep (I had lost touch over the years). Looking back at the past lineups I discovered I had missed even more acts that have played locally recently. There are even more local acts this year including to fine acts in Ghost Writer and Robbie Lesiuk to name just two.
  14. The festival contributes to charity. MND Scotland and Strathcarron Hospice have benefited from money raised by Shuffle down. This year the charity will be Kidney Kids Scotland
  15. £19 gets you a day of live music. For just nineteen pounds you will get you a full day of live music on two stages; can’t think of better value than that.
  16. You don’t have to travel to the other side of the country to see a decent music festival. Whether its Glasgow or Edinburgh or even to the middle of a muddy field travelling to a music festival eventually means you have to return, often with a monster hangover. With a local music festival you might still have the hangover but at least you can rest your head on your own pillow.
  17. Weird Decibels are playing! Come on give me this one! You are visiting our website aren’t you? We are delighted to be playing Shuffle Down 2017 and we’ll put everything into this. See you there!!

Pabs

Our Practise Room

The Speak music video shot in the practise room

Link to three live performances in our practise space

It was 1995 and there was a small advert in the music section of the Falkirk Herald; a practice room for hire, kit supplied and there was a phone number supplied.

Greg and I had just put the finishing touches to our new, as yet, unnamed band and we needed a place to play loud. I phoned the number printed and was met with a friendly chap who spoke in a low smoky husk. He explained that the room was near Grangemouth docks, a basement round the back of the bingo hall next to some wasteland. He added we’d be able to play as loud as we wanted. I booked a slot. It was to be a Wednesday night.

February 8th approached and we had bagged a lift off my Dad. Here was four young lads without much in the way of gear and band experience nervously wondering what was to happen next. I jumped out of the car in excitement to collect the keys. I frantically knocked on the door of the address that I was to pick up the keys. In the winter darkness the door creaked open and an elderly man, clearly dragged from his bed, mumbled that I was at the wrong door.

Later we finally found the dude he explained, under a haze of green smoke, the rules. We agreed a time for him to close the room and all was good. He dropped the keys into my hand and I raced back to the idling fiat Uno my Dad drove at the time.

After a great practise and three new songs we heard Greg’s dad Arthur pull up outside. He had kindly offered to take us all home. The hour came for the dude to meet us however there was noone to be seen. 15 minutes later Arthur was no longer waiting and we were to get going. We had to leave the room and all the gear unlocked.

The next week I nervously phoned the dude and for some strange reason he explained the location and rules of the room as if I had never used it and we had spoken for the first time. Then he explained that some arseholes booked last week left the room unlocked. He was so stoned that night he forgot we were even there. Had he remembered that fact we wouldn’t still be in that very room today.

In 1995 Grangemouth was a different place. We were in a basement, above us were various business that have come and gone over the years. There was noone around in this slightly dodgy location it was just a mass of overgrown trees swaying in the breeze from the forth river. The sky was (and still is) often lit orange by the flares of the refinery.

The basement is the size of a fairly large living room with a smaller passageway that leads around the back. There was never a toilet, just a sink. Heating was supplied via a gas heater that we used to huddle around in the coldest nights. We’d pay towards the gas as well as the rent and it was Greg’s job to get it lit.

In the early days there were white washed brick walls that gave it a clean look. There was a couch to dive onto and mirrors to check that the rock poses were all good; it was bright and spacious and a cool place for young musicians to create music. There were a number of bands booked in the room at that time.

In the late 90’s we used to cross the road to Haddows to buy carry outs prior to practising. Greg was now a driver and the rest of us saw this as an excuse to drink a number of midweek beers. It got ridiculous, I used to take down a pint class and sink a few calders creams. The three of us would be plastered and Greg would drive us home via the BP garage at Earls gate where we would buy food and Derek would take on any eating challenge presented to him. This included fitting a whole packet of cheese bites into his mouth.

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Haddows and drink; we had a lot.

The owners eventually ditched the room and we were forced to find a new rehearsal place which turned out to be in Bonnybridge. This lasted for a few months but as soon as we heard our old room was back up under new ownership we went start right back

Practise became a drunken stupor, we had lost focus and we stopped playing gigs so Wednesday nights were the only time we’d play music particularly around 1999 2000. The room was repainted by its new owners Frazer Law (Beany) and Russell Dickson in more a psychedelic palette and the drums were placed on a riser. We started taking a four track down and recorded a full album that would become Cold Home Street.

With the band stalling, Stu left for a few years and we became the Seventeenth. The room was now rented from a flower shop owner and we found the space was filling up with pots and flower beds (but sadly with no flowers). The room was split with a third used for storage for the florist. This was unfortunate as the place lost its feel for a while. However we still huddled around the same old gas fire in the heart of winter.

Time passed and in 2004 Weird reformed, the dividing wall fell much to our delight and the room was whole again however things were changing outside.

The bulldozers rolled in and swept aside the wild trees then an ASDA sign appeared. Our wee secret corner would soon be changed beyond recognition. A building merchant moved in upstairs and a fast food outlet next door to that. Then came the rats.

One cold wintry evening as Greg tried to start the gas fire I asked him to stop, the rest of the guys fell silent as I listened. Then from the pipes came the scurrying. The rats were here and getting bolder by the day. The room started to feel dirty and rundown.

Thankfully the rats were dealt with and Beany made an almighty attempt to clean the room to its past glory, however he was scuppered by the strange appearance of couches. Several monolithic chairs started to appear and we were battling for space with the furniture. Some of it was Greg’s and he promised to get rid of it (tomorrow, promise). Then the couches got mouldy, still he promised to get rid of it (tomorrow, always tomorrow).  Months passed and the mould grew greater; my love for the room was wilting. Finally one Wednesday when i was expecting to open the door to its usual musk I was delighted to see the seats were gone. Once more the room was spacious albeit a little grubby.

Today we still use the room most weeks and at occasionally we use it for recording. We do have to wait for the boy racers to drive out of the ASDA car park with their exhaust blaring. Haddows is gone, now it’s a sober trip to ASDA for water and sweets. Alcohol is gone, replaced by Tea and coffee supplied from flasks that I bring down during the winter months. A Chinese moves in upstairs every few months and one of the delivery drivers spends his life in his car with the engine running all night for some heat or to charge his phone as he attempts to combat the boredom of waiting for the next Chicken Chow Mein.

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We’ve adapted. When we get bored of writing songs in the room we hire a cottage to refresh the creative minds however even to this day we are still inspired by our rehearsal space to create new songs. We’ve now used the practise room for 22 years. Recently we moved things around the room and the sound feels refreshed; when I strike the first chords on the guitar and look around the room at the other guys I can’t picture us being anywhere else. Fingers crossed we can stay a while longer as we’ve had many many happy times in that wee basement. We even shot a music video in the room and several songs. Check them out at the top of this post.

Weird Decibels in session at Stirling City Radio (the story)

Huge thanks to Stirling City Radio, Stephen Franklyn and Jim Kettles

words Pabs

Social media can be great at times and in terms of raising awareness of the local scene it can work (although I find it increasingly frustrating and the ‘boost’ button is always just a click away asking you for money). So when Stirling City Radio appeared on my news feed I was interested to see what this new internet radio station had to offer. Intrigued, I had a look at the schedule and I was delighted to see that the station, that has been broadcasting on the internet since August 2016, had various shows to cater for all genres. This included rock and live performances from local acts so I sent them a message.

A nice guy called James returned my inquisitive email, he was more than happy to organise a slot on a Monday evening with Stephen Franklyn, a presenter who has an easy approach to playing rock and pop, in addition he hosts live local acts.

Once I got the guys to commit to a night James sent back some instructions, basically head to Stirling arcade and record some acoustic songs and talk about our musical journey so far.

Greg opted to sit this one out, his new house needed a bit of work and this included fitting shelves. More on that later…Derek, Stu and Myself rehearsed a couple of the quieter songs from Weird Decibels 2, we arranged a time to meet and the plan was set.

The train rolled through Polmont and I hopped on, Stu joined me later in Camelon with Derek running a half hour behind us. Stu and I walked onto the Stirling Platform and headed up to the arcade just up the hill from the station. As we approached we could hear tunes drifting out from the main entrance. We walked into the empty corridor of the arcade and headed to the centre where there is a cafe and the radio station itself. There, in the studio booth for all to see, was Stephen Franklyn broadcasting live. Our time to play was 7pm so we had 25 minutes to set up.

After a warm handshake Stephen explained what we needed to set up. It didn’t take us long, as Stu picked up his guitar to soundcheck Derek walked through the door with his beat box that was borrowed from our friend Kevin Byrne.

After some Aretha Franklin we were ready to go live on air, the clock hit 7 Stephen welcomed us to the airwaves. My 5 year old son Lewis was listening and I was told he went crazy at this point! We had a brief welcome and chat with Stephen about the band before we launched into Curtain Hits The Cast.

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Lewis listens to Daddy on the radio.

Thankfully it’s a fairly easy song to play as, surprisingly, the nerves had kicked in. I’m not sure how many people were listening but Stu, Derek and I wanted to get this right. It went well and Stephen asked us more questions about the band. We discussed how we write songs and Derek stated that I have an idea which is developed by the band, I said it was  more a collaborative approach whereas Stu, bold as brass asserted, Pabs comes out with a riff and I make it better! It was a great moment.

After Stephen played It’s Who You Know from the album we moved onto Almost Beautiful. We explained that Greg couldn’t attend the show as he was hanging shelves so we dedicated the song to him and renamed it ‘Almost Level’. It was a stuttery start from me, it’s a tricky wee riff when the nerves kick in but I recovered and it seemed to go down well. Cue another brief chat with Stephen before he closed with a play of Medicine, again from the album.

We had a chat with Jim Kettles who broadcasts on the station, he does rock show just after Stephen and he played It’s Who You Know later in the night which was a nice touch. Then we signed the pillar which was adorned with names of local acts who have played previously. We stood on a table to reach the top of the pillar; all was going well until Stu stood upon the frame, it slid from under him but luckily his reflexes are still razor sharp and he landed like Batman, on his feet.

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This is the view as Stu fell back to earth but like a pro he landed on his feet

We said our goodbyes and headed out of the door back into the arcade as the radios tunes floated across the empty concourse. I was tempted to have a pint but Derek sensibly said he needed to get back for the kids.

Stirling City Radio is a wonderful station set up to serve the local community, it is a fair distance away from the bland automated ‘local’ stations we have on traditional frequency. The station gives local artists the chance to play to a broader audience, the music it plays is varied to try and  capture the ears of the Forth valley. Central FM used to do this before it was turned onto a bland franchise. Now motivated people like Stephen and Jim are staring up their own platforms (Tommy Clark’s Third Class Ticket is also a prime example) and the local music scene can only benefit. Tune in here and find out for yourself.

Pabs

 

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.

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.

Weird Decibels live at North Star 27th May 2016

Credits

The Crowd: Thank you for attending a local gig and supporting the artists. Thank you for staying right to the end.

The Sonic Blues, Rabid Dog: Thank you for playing along side us

Rory (Eindp Photography): For taking photographs for this and many, many local gigs

Juls Sampson (photography and pictures used for this blog): Our friend has shot many pics over the years

Kevin Byrne: for keeping an eye on the desk as we played

North Star staff: for keeping us fed and watered with a smile and allowing us to use the venue.

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Setlist

  1. It’s who you know
  2. Speak
  3. I hear the city
  4. Forward
  5. Curtain hits the cast
  6. Quoted
  7. Molly lips
  8. Miss a
  9. The dancer
  10. Once more with feeling
  11. Joker
  12. Wait (request)
  13. Deliverance
  14. Medicine
  15. Kill it
  16. Industry
  17. Whole lotta rosie (request)

 

A couple of days before we were due to play, Clubby vocalist with Rabid Dog, texted to say that the North Star soundman couldn’t make the gig due to work commitments.

These things can’t be avoided but I was frustrated as I wanted to record the show. This would put a different spin on things. There were options, to use the house PA but I didn’t know its layout. To be honest it’s a vocal pa and it wouldn’t have been hard to use. Our pa had more versatility to send feeds to the multitrack so I opted for that.

 

It had (shamefully) been a couple of years since I operated it so that added to the stress. I had to relearn the desk within a couple of days. A few turbulent hours pushing buttons and moving faders I had managed to get to grips with the machine.

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Looking back I understand now that doing the sound, recording the gig and playing at the same show is perhaps a step too far. This aside it was a great night.

 

Once I unloaded the vast amount of gear (probably too much) into the buzzing North Star I got to work setting up the sound, the time was half 6. Unbelievably it was now 8 o’clock and The Sonic Blues were due on in 30 minutes.

 

I ditched all ideas of checking mic placements for the recording. It was more important to get a decent live sound. That went fairly well, and for the recording I literally flung mics in front of the amps and the drum kit.

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The Sonic Blues were up first and played another great set of bluesy rock songs and covers. Greg (guitars vocals) Allan (Bass) and Douglas (drums) are a sound bunch of lads and they are very keen. Their performance went well with the crowd and they set up the night in fine fashion

 

Clubby and the gang stepped up next; their ultra loyal fanbase was pleased to see them back on stage for the first time in a while. Andy had a cracking guitar sound, he has two amps hooked up and a wave of chords hit the eager audience. Andy on bass and Alan on the drums provide a solid backbone for Clubby to sing their set of punk covers. They played very well.

 

The gremlins came to visit us, it’s been a while, you can go many gigs without incident before the little creatures visit. Usually in the form of technical glitches and set up problems.

 

Just as we were getting ready to go on stage the power cut to both the PA and the desk. Scratching my head I looked back to the plug at the rear of the venue. Two chaps had seated themselves the unit in front of the socket and had unwittingly cut the power to the show. (not your fault gents)

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Once I got the PA back on and the desk reloaded we were ready to play, only Stu couldn’t get the guitar amp on. (using someone else amp is fine but every guitarist will tell you having your own backline has its advantages). Once that problem was fixed we were ready.

 

We launched into the first song and the first time I went to hit a chord the lights were right in my eye. Whoops! A bum note right at the first song ain’t good.

 

To nail the opening track is essential; if you miss it it can unsettle you for the rest of the set. To a certain extent it did; although I have to concede I had been concentrating all night on the sound and with this loss of focus came a pretty standard performance from myself. So i’m a bit gutted about that. Stu, Greg and Derek all played well and helped keep the gig on track
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Things did improve. As the night wore on we regained our composure (and confidence) and belted out tunes from both the decibels albums. I was too eager to play Quoted and nearly skipped Curtain hits the Cast! Quoted was manic as usual, Wait was requested and that gelled well with Deliverance and by the time we hit Industry I was scraping the guitar off a nearby pillar without much regard for my instrument.

 

As we reached the end of the night we reached our zenith and I was pleased it had ended on a high. If we can’t nail the songs we give it all to the performance and personally it was the most exhausting I have delivered for a long time. Our friends requested While Lotta Rosie, who could we be to resist! A little rusty would be an understatement but we had a whole lotta fun playing it!

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So as our song Quoted and the politicians it depicts often say lessons have been learned. If i’m playing, I just want to play. I’ve I’m doing the sound, i just want to do the sound. This was the first time I had manned a desk at a gig and I thoroughly enjoyed the experience perhaps this could be an avenue for the future.

 

All round it was a great hot loud sweaty night, with a little rawness and a whole lot of heart which is what music at its purest form should be.

 

The Final Touches to Weird Decibels 2

How we made Weird Decibels 2

Deluxe download at bandcamp

In the home studio

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Lewis loves the studio and he is at home there

As the Springfield bags were unpacked and I sat in the home studio I had an optimism about the forthcoming mix sessions. We seemed better prepared; all the tracking seemed to have gone well. There was still a lot of recording work to do but I’d be able to edit the drums and bass.

I looked at the small screen of the Korg D3200.  It’s a horrible tiny basic green lcd display that is your eyes for the whole project; a bit like a Nintendo Gameboy. A flicker of envy passed through me as I yearned for the bigger monitors of a typical DAW setup. Maybe I should go on Tipping Point and win some cash.

Editing is horrible on the Korg so discipline is needed at the tracking stage to make sure you are not wading through silence trying to reach the recordings. The drums generally edited well and sounded pretty good. The bass had a few problems with tone  so some EQ cutting was required. It turned out to be quite drastic and reminds me that I need to sharpen up on my micing techniques.

My concerns about Stu’s distorted guitars were justified. There was a good tone in there but it was laden with low mid eq. This was the biggest mistake I made, I wrestled with this frequency and tried to shoehorn it into the full sound. There was a creeping dread that I’d have to ask Stu do redo the entire distorted guitars.

Mastering?

Mastering is a topic in itself. To say Weird Decibels 2 is mastered would be stretching the term. It does have light compression, some subtle stereo track EQ changes and some limiting but it was also done by the same guy that mixed and recorded it, (me). I can understand why people say that  you do get too close to the sound.

When Derek texted to say that he felt the album sounded poor on his headphones I had a small fit. I knew he was right but wished it had been spotted sooner. The summer months had been a rain filled wash out but I had still spent them in a small room hearing the same songs many times over.

My mood dipped, I didn’t notice it at the time, others did but I did not see a problem. I soldiered on with the record trying to find out what was causing the album to sound muddy.

When I cut into Stu’s guitars it did the trick; his tone was still there but the rest of the album had opened up. Of course it knocked the mix out so that had to be done again. Then it had to be re-mastered all while I heard my son and my wife downstairs playing and possibly wondering when I’d join them.

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Snappy singer. pic Gary

Now I was getting snappy; frustrated that my normal life was getting in the way of the album (even though I had spent half a year on it). I missed the deadline, we wanted the album out for our 20th anniversary gig at North Star. I shouted at the guys that night; moaning at them for trivial things.

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Deadlines are pointless unless you are Guns and Roses. When its ready, its ready.

My wife had asked me to take a step back from it; I reluctantly agreed to take a couple of weeks off but that turned into three.

The Cracks Begin to Show

Things got worse; I awoke on the 11th of November 2015 and read some messages; I had been trying to get the practise room keys to record some vocals. I tried to get in touch with the band to get the keys but nothing happened and I couldn’t record the vocals. It was a small irritance but it infuriated me. I just wanted to get the album finished.

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21 years of band history could’ve been finished by a stupid disagreement. Thankfully it never happened

I quit the messages, cut myself off and walked to work convinced that I had quit the band.A sense of mourning had crept over me as I listened to Spotify while walking through the Quarry park. It was a weird feeling.

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Stu was a constant presence in the studio. Not sure what he is seeing here!

The guys laughed it off; Stu visited that same night and we sat over a coffee like nothing had changed; the dude was there and I was impressed with that. So we mastered the album. A few weeks later it would be done.

At 33 minutes Weird Decibels 2 is our most compact and focused album. It has its flaws; sometimes I think we are better live and there is no shame in that as many bands are the same.

It’s a quiet album by today’s standards; so sometimes it suffers in the ‘loudness wars’ but I think it sounds fairly good overall. This full album was recorded for around £500.

I should bite the bullet and let someone else record our stuff; think of all the spare time I would suddenly have.

The problem I have is that I love challenge of getting that sound; when an acoustic guitar sound crisp or the drums, as in Weird Decibels 2, sound like they are recorded in a grand room. Then the test of putting it all together.

Maybe I’ll leave the mastering to a pro….but how did the pros learn?

Weird Decibels 2 on Spotify

 

Its Ticket Time.

The incredible Third Class Ticket radio show

There are two gatekeepers of the music scene in Scotland. Two. Jim Gellatly and Vic Galloway. You send demos and you hope that they are in the mood to listen to what is probably the 100th WAV file they have heard on a cold damp March morning.

I guess it helps if you are young, energetic, lucky, well connected and to be fair, really good. There are established rock bands in Scotland; a few lucky acts have met the approval and allowed past the gates; however, generally, no one in the mainstream circuit wants to hear it.

Admittedly the Scottish scene had passed over Weird Decibels. It overlooked us and we had left it behind resigned to a life of full time employment with a bit of music on the side.

Then we wrote Weird Decibels 1 and played a one off gig at Box Glasgow. A sparse crowd enjoyed it and our confidence returned. We decided to hook up with PM promotions who asked us to support (the rather good) Life on Standby at the Oran Mor; grudgingly we accepted the harsh ticket deal just to play this venue. It was an incredible night.

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it does take you on a musical journey

The next day I woke up happy and energised then received a message from the guys; this bit is hazy… (hungover) a guy called Tommy Clark liked our tunes and wanted to play our music on his ‘Third Class Ticket’ show. Intrigued I contacted Mr Clark and I received a friendly message from him asking me to send some tracks from Weird Decibels 1 via dropbox.

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Discover these bands and many more

Tommy posted a playlist and a link to Mesi Radio; we were on the tracklist, I tuned in and since then I have enjoyed hearing our music nestled in beside many other band’s homemade and professional recordings. It is an eclectic mix.

Then there is Tommy. I have never met the man but he strikes me as a friendly individual who simply wants to share as much music as possible. His early shows (from when I listened) were an impressive collection of bands from up and down the UK. Tommy had networked and a wide range of unheard acts were submitting tracks and tuning into the show via the Mesi platform.

 

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Tommy wears his ticket tee with pride

At the time Tommy himself was a functionary presenter who stuck to the task of letting Scotland hear as many bands as possible. This included his ‘featured artist’ that would have the privilege of having a few tracks played on a show.

Admittedly I gradually tuned out; my Thursday nights had become more about getting the work week finished and while The Third Class Ticket continuously supported music I had returned to the gatekeepers for musical inspiration. I didn’t find any.

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the many acts who happily send Tommy music for the show

I had promised Tommy a first listen of our new album Weird Decibels 2. When we finally got it finished I got in touch with him and posted out our shiney new CD. Despite the loss of contact Tommy was as friendly as ever and genuinely seemed pleased to be getting first listen of our record. I found that he had moved from Mesi and was now broadcasting on a new platform.

As a returning listener something struck me about the show. The music acts were as delightfully varied as ever but the sound quality of the show had improved. Tommy himself is more confident and relaxed in his role; he adds more of his personality as he introduces the many new tracks that he has discovered. He creates scenes for the listener, in one story he tells of driving to work on a sunny Ayrshire day while listening to the latest songs from hopeful bands, some of which very few people have heard.

Listen carefully to the show. You can hear Tommy switch off his mic as a new song comes on. It adds to the feel of the Third Class Ticket. This is a show, I assume, lovingly crafted in the spare room of Tommy’s home. He plays music that has been crafted in the spare room of the artists.

 

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A cracking wee show created by Tommy

This is the beauty of the Third Class Ticket. It is a grass roots radio show untouched by critics, demographics or industry influence. This is one man encouraging hundreds of bands to get in touch and giving them their first play on a radio show.

In a selfish way I hope the Third Class Ticket stays underground; that’s its appeal. However if Tommy Clark is to become Scotland’s gatekeeper I hope he makes Weird Decibels his featured artist!

If there are other grass roots stations like the Third Class Ticket please get in touch. We want to listen.