Tag: music

  • It (Was) A Grand Day Out.

    It (Was) A Grand Day Out.

    Pabs looks back at how we created and recorded our unplugged album Its A Grand Day Out. Available to buy and download stream from Bandcamp. Alternatively you can stream on all digital platforms including Spotify.

    Words Pabs

    Photographs Kevin Byrne (cover art, station hotel, Larbert station), various (studio)GDODigDistro

    Nearly two years ago I celebrated my 40th birthday, my how time flies. Amid the generous presents there was a gift voucher for some studio time at a place in Edinburgh. It was a great idea for a present but it got me wondering what could be achieved in 6 hours. I’m terrible for procrastination and didn’t book the studio for months. Time was passing and the voucher was due to expire. So I got thinking again.

    An album would take weeks, and EP probably a weekend, certainly more than the six hours on offer. So I thought about a live studio performance, recorded professionally. It would be a great opportunity to capture our live sound. I contacted the studio from where the voucher originated and enquired if they would be able to facilitate the band playing live. They couldn’t. They did offer to move us to another studio outside Edinburgh but I didn’t feel this was an option. I suggested a refund for the voucher but the studio wouldn’t budge. I then suggested we strip back to an acoustic album. They agreed it could be done so the band started to prepare.

    A couple of weeks before we were due to record the studio contacted me to say they were pulling the plug. Thankfully, perhaps in mind they were letting us down, they offered a full refund it was a turn of luck that I was waiting for.

    So with the money safely back in the bank I wanted to fulfill the gift that was given to me and started to look around at studios. After a few emails I to some engineers I decided to go local and contacted Andy Taylor at Homegrown Productions in Larbert. He was happy to do the project but i’m not sure he was aware of how many tracks we were planning…

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    I visited the studio and met with Andy, a friendly chap who was happy to advise about the project. He was a little surprised when I suggested that we would be recording 15 tracks, I think he was expecting us to do a lot less. He offered some good suggestions, like different sticks for the drums and one really important point was practise, practise, practise.

    The feel of the studio is great, hidden away on a working farm just outside Larbert, you would miss it if you weren’t looking. Its well decked out, a comfortable control room, a live room and an additional area for guitar work (we wouldn’t need this). There was a mixture of analog and digital equipment. I guess I have missed the experience of recording in a professional studio and letting someone else do the work. We agreed a booking, now it was up to us to get the heads down.

    Picking the Songs

    We got together and had a look through the albums to see what would work with the distortion switched off. There were a few obvious choices and some surprising picks as well.

    Songs like ‘Vancouver’, ‘The Rain’, ‘Just For Today’, ‘Culture Creature’ and more recent tracks like ‘I Hear the City’, ‘Wonder’ and ‘Curtain Hits the Cast’ were picked. One thing that was quite obvious for the band was the high number of Whapper Stormer songs that were filling the set. So we looked again and found some of our forgotten favourites. ‘Flame’ has always been one of those songs we regretted not getting properly recorded. It was never mixed as we ran out of studio time. We put the track on Coldhome Street and that was never officially released (although if you are curious it is on our Bandcamp page). When we played at practise it sounded really good, it hadn’t aged much, although the lyrics were written by a heartbroken 21 year old and not the hand of someone of nearly 42 years so that was quite a strange experience stepping back into my old awkward shoes.

    ‘Side by Side’ was another song we hadn’t officially released (again you can find it on Bootleg 2 on Bandcamp). It was nice to play this track again. ‘Cold Calling’ was a little rusty but once Stu and I synced in it worked really well. Then Derek suggested ‘Industry’.

    One of our more heavier numbers I didn’t think It would work but it did. The mood was still there, the intensity of the track was still evident. Now we were growing in confidence and curiosity, we tried ‘Educational Suicide’ but that didn’t work, we briefly tried ‘Three Days Ago’, again that didn’t fit in too well.

    We were settling on songs but one was missing, a song that defined the early 2010’s for us, ‘Wonder’. It sounded good on the podcast version and went well when we practised it so it was in. Towards the end of our sessions the Rain was dropped, one of our best known songs from the early years. I was disappointed but the rest of the guys didn’t think it was going to fit with this volume of songs.

    On the Day.

    There is no denying that it was exciting to be going back into the studio after all these years. As much as I love DIY recording it was nice to think that someone else would be at the helm. We turned up to the small studio on a fairly overcast day broken by the cold winter sun. A sharp breeze passed the imposing wind farm nearby, the large white colossi steadily turning. Stu parked rather oddly and I couldn’t help but chuckle. Then Derek with his large SUV rolled onto the edge of Andy’s lawn. Car parking is not our strong points.

     

    We entered into the control room, the desk was fired up and ready to go. We headed into the live room and started to set up. There was a jovial atmosphere, it was great to hear band banter flowing again, we don’t do this enough, I thought.

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    I look on as Andy sets up. It was strange to let someone else do all the work!

    Andy entered the room after briefing introduction he got to work on setting up the sound. This was when I began to wonder if  we were stretching the session too far. However it didn’t take us long to set up, after a few soundchecks we were good to go.

    Playing through the first songs was straightforward, we had tea and coffee so it was all going well until the first mistake. Nerves started to creep into us all and we had to retake a couple of songs. We soldiered on, time was now an issue, we were aware of it and I think it was affecting our performance. There was one song, ‘Sky is Falling’ I think, where I completely forgot the vocal melody despite playing it for weeks on end. Our minds were just going blank as we reached into the 4th hour of our session. But we got there, a little bruised and battered, 15 songs recorded live. Now for the quick mix, could we really finish this album in 2 more hours?

    This was where I was trying not to impose on Andy, I forgot we had just over an hour to mix 15 songs. Now I realised how lofty my expectations had been. I guess because I’ve recorded the band so many times that I thought it was possible. I suggested some mix changes during the first song, put the vocals up, nah drop them again, essentially I was now doing what I do in the home studio, spending an age mixing, however time was something we did not have.

    So I reluctantly stepped back and opened my first beer and let Andy do his thing. 20 minutes past our time we had a CDR with the raw mixes. I had mixed feelings now.

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    Work starts on the mixes. 

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    Old Friends back in the Bar

    After a healthy wee cheese and ham roll from the shop next to the pub I was ready for a fair few pints and some catching up with the band. We dropped all the gear off at Derek’s and headed around to the Station hotel for a couple. Our good friend Byrne turned up for a blether. We didn’t stay long however, we headed back to Derek’s, the guys were eager to hear the CD. I just wanted a beer.

    After a few laughs and drinks by the fire we spun the CD. Already I was picking at it, what was I really expecting to achieve in 6 hours? 15 songs? An album completed? It sounded pretty good but not finished. It sounded thin, lacking in presence, my high hopes for this album were fading, but the guys around me were loving it, I didn’t have the heart to tell them at that time I wasn’t happy.

     

    I spiralled into a bit of a downer for a few weeks after it. It was a long winter for me, I just wanted to shut myself off from everyone. I logged off the internet for nearly 3 months and didn’t go near the acoustic album. I still wasn’t enjoying the record, but the performances were good. Perhaps revisiting the mix would work. We still had some money left from the gift voucher and the guys were happy to put some extra cash into the record.

    Some weeks later I returned to the album and started to take notes. I asked the rest of the guys to give me their opinion of the songs. They were generally good, one or two tracks were in danger of not making the final cut. I contacted Andy to explore further mixing.

    The extra studio time comes to the rescue.

    Springtime had sprung, green was returning to the trees and the last of a fairly mild Scottish winter was fading. Optimism was back in my thoughts, I had booked in another 4 hours of mixing and would be attending the studio with Andy during the May weekend. The mixes went really well, he had already started to work on the songs by the time I arrived at the studio. The tracks needed subtle tonal changes, in addition, turning up Stu’s solos and integrate guitar parts worked wonders for the feel of the album. It was now vibrant and full of personality. It was good too have input into the mixes. Andy is so laid back, he listens to all suggestions and will gently disagree if you suggest something that won’t work.

    As this was a live session all 15 songs responded well to the tonal and fader adjustments so it turned out mixed a lot quicker than anticipated. There was also a desire not to lose the live feel of the record.

    Mastering was booked next. I decided to step back for this. It was a subtle master, with Andy leaving a significant amount of dynamic range. Hearing the single (the Ending and Trying to Grab Hold) it makes sense, there is a good dynamic range in the streaming sound.

    The Photoshoot.

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    Pic Kevin Byrne. WdB with some of our lifelong friends. 

    Kevin Byrne is a great friend, always happy to help the band and he, like many of our friends, has been there from the start (in 95!). He takes a guid photo. We needed a theme for the album, ‘Its a Grand Day Out’ so we decided to head to the pub, the Station hotel, which, as its name suggests is next to Larbert train station. The idea was to invite our lifelong friends and have Kevin shoot pictures as we got drunk. It worked quite well, there was a brilliant portrait taken of us before we left the pub.

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    Kevin with Greg. Kevin has taken many great photographs for us. 

    As we passed the station I suggested we take some shots on the platform, after all most days out start and end at a train station. These shots were superb and one made it to the cover of the album. The guys suggested releasing a couple of singles, so I looked through the photographs that Kevin had taken but none seemed to fit. Kevin stepped up and took some stunning shoots. My favourite being the speeding train blurring past the static platform, we used that for the Ending.

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    Pic Kevin Byrne. Brilliant picture of the station hotel where we had a few drinks after the recording session. 

    After the original photoshoot had taken place we headed back to Dereks and drank into the night. Surrounded by friends, listening to vinyl and building beer towers. It felt like the old days that we used to have. We celebrated into the morning hours, after two years of highs and lows we finally had the album we wanted.

    Pabs

    Coming soon, the track listing and the story behind the songs.

    Click here to buy the album. All monies goes towards future recordings.

  • 29th June 1996 Crossgates Biker rally gig

    29th June 1996 Crossgates Biker rally gig

     

    WDB Original 3 track demo photoshootA story from the vaults. It was June 1996 and we had been offered a chance to play a festival in Fife. 

    After all the brilliant early gigs, the big crowds and the respect that we started to earn around the scene, it wouldn’t be long until we were brought back to earth with an almighty bump. We would play a gig that we would never forget, for all the wrong reasons.

    Chris (late singer of Cage and longtime friend of the band) approached us under the blue neon haze of the Martell, we were all well on under the influence of cheap lager. He asked us if we fancied playing a festival, a biker’s rally in Crossgates, a small mining village just 2 miles from Dunfermline. This would be one of our first ventures out of Falkirk. A festival ( T in the Park was in its prime and we wanted to play a festival), a chance to play outdoors to an enthusiastic crowd of rockers, let’s face it, everyone who rides a motorbike likes heavy rock…right?

    We didn’t enquire why Cage couldn’t do it but considering they had been asked to play the gig must’ve meant that it was a good setup. We agreed; Chris gave us the details of the organisers. It would be our tenth gig, the date was set, June 29th 1996.

    Greg drove us across the Kincardine bridge, the day was fairly clear with sunny intervals, the trees full and green. We were in a jovial mood, Stu and Derek had a carry out and were keen to have a few beers before we played.

    When we arrived, we bounced out the car, dressed in our checked shirts and ripped jeans, Stu in black, our long hair draped over our shoulders. The bikers turned to look at us, they stared for what seemed like an age, then lost interest. There was a mixture of leather clad bearded giants and weekend riders who on weekdays, we imagined, would be professionals that would spend Monday to Friday bored behind a desk trying to sell insurance. A short distance down the field stood, flapping in the early summer breeze, a white canopy tent. Within this, on some wooden pallets was the stage, to see this was rather deflating. There was a PA left idle. The speakers buzzing as we approached to set up. There was no sound engineer, no rack of lights or crowd barriers. Derek unpacked his kit and started to set up.

    We plugged in our gear, Pabs tapped the mic to ensure it was working. Stu shredded some chords as Derek hit a roll on the drums. A diesel generator nosily rattled as it spilled out fumes just beyond the tent, this was our power source. Outside, under the occasional burst of sunlight, the bikers were indifferent as they started to play their drinking games. With a bottle of whiskey in one hand, a biker held a pole as another leather clad rider wheezily ran up to the pole, placed his forehead onto the shaft and ran around in numerous circles before being egged on by his brethren to drink from the whiskey bottle. As the red-faced biker swigged the spirit the crowd roared in approval. Back in the tent we played a song then waited for the bikers to swagger into the arena. Still we waited. A young mother carrying her child, stepped under the canopy and took a seat at the back, this was to be our audience.

    We started to play our growing collection of songs, the generator in the background roaring over our guitars. The lady bounced her child to the music. After our first song we thanked her and tried to entice the crowd into the tent, it was not to be. Goaded by their peers the drinking games continued, roars and laughter spilled in from the field. We were the background music. Stu shouted, ‘any requests?’, a drunken biker hollered ‘aye get off the stage yer f*cking shite’

    By the time we had finished the set a couple of curious peeks into the tent was about the best we could muster from the crowd. We had played our own songs, perhaps flung in a cover but it made little difference. We stepped off the stage and back into the field. We avoided the cow pats and stares of the inebriated crew. Stu and Derek had somehow acquired onion rings crisps and were merrily drinking cheap lager under the late afternoon sun, after this a drunken Derek and a sober Greg piled into a transit van with some of the bikers to get a chippy. Pabs, alone in the field was keen to go home, an alien in this unknown world. To make things worse for the brooding singer, Derek had left his kit up on the stage which another band had started to use so we had to wait until they had finished. To compound his misery the bikers piled into the tent to listen to the band.

    We remember this gig to this day; we laugh at it now. Chris probably had a grin on his face when we accepted the gig, a wee chuckle knowing what we were getting into.

  • The Death Collective. Fund raiser gig.

    The Death Collective. Fund raiser gig.

     

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    It was a slightly fresh April night to be heading out to Stirling, however there was a promising gig organised by the Death Collective, a small collective of musicians supporting each other as a platform for releasing quirky left field music.

    After a brisk five minute walk from the station we arrived at the Mediterranea restaurant.

    At the back of the diner, nestled downstairs, is a beautiful wee space for small acts to play. Through the windows at the back of the stage the world flies past, speeding trains on the Dunblane line, police cars rushing past on the Stirling A9, lights flashing blue; this was a distinct contrast to the relaxed vibe that greeted the gathering crowd.

    Kenny Bates was on the door collecting donations that would go towards the Death Collectives own PA, which would allow them to start organizing more gigs for touring acts and musicians a little closer to home. Kenny was as chilled out as ever but he appears to be one of the driving forces behind the collective, through Leftfield and later Quitter he has toured Europe and played at gatherings similar to this.

    Thurmpy was up first, playing alongside Peter Russell on the clarinet, he played a number of enjoyable songs interlaced with some humorous exchanges with some of his fellow collective attendees.

    Next up three musicians took their seats under the colourful spotlights and subtle lighting. They tuned up, checked the mics and plugged in the snyths. There was a quick soundcheck as the growing audience breezily chatted, greeted each other and ordered drinks. Constant Follower, now content with their sound, started to play, the audience fell silent, except for the non intrusive, distant clatter of dinners and the till ringing (it reminded me of feel of First Watch, a track from Diamond Mine by King Creosote and Jon Hopkins). They played  beautiful measured music in the ilk of Bon Iver’s early work and the slowcore of Low. Their subtle tones layered over some slick guitar and soft baritone vocals was mesmerizing, the audience was captivated.

    3rd up Scott William Urquhart reminded me of RM Hubbert, he played a number of excellent  compositions. Hamish McBurney followed, passionately sharing some deeply personal lyrics, it was a strong performance.

    Sadly, the need to catch the last train home put paid to any hopes of seeing Quitter, so reluctantly we headed back out into the cold Stirling night, a world away from the atmosphere we had just left behind.  

    It was a fantastic event, many genres of music, acts I’ve discovered and a brilliant vibe. I wish the Death Collective every success, more nights like these will be great for Stirling’s scene.

    Pabs

  • Studios In Which We Have Recorded part 3. Red Eye Studios (1999)

    Studios In Which We Have Recorded part 3. Red Eye Studios (1999)

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    We are heading into our first professional studio in nearly 20 years in January 2019 so we are looking back at our previous experiences before we went DIY.

    The end of the 90’s was a strange time for four musicians who loved their rock. Grunge was long gone, rock was out of fashion (again) and Britpop was now a bloated mess of champagne and coke. Everyone apart from the general public were panicking about the millennium bug.

    The band was drifting, by now we were treading water, turning up every Wednesday to play some tunes then we would head home for another week. We were no longer playing gigs or making any attempt to promote the band. We were writing songs though, a lot of songs, now we were away from the ‘classic’ Weird setup, I was full time on rhythm guitars.

    After the slightly disappointing second return to Split Level we decided to look for a new studio to record some new tracks. I can’t even remember how we booked the place.

    Located in Clydebank, just a short walk from the river is Red Eye Studios, an unassuming single story brick building which seem tacked on the old Clydebank Cooperative. Like many studios it’s not obvious that a fully functioning music studio is set up inside.

    Greg drove the first day, I had my license by this time but Greg always seemed to find himself behind the wheel in the early days. We arrived at the studio, rather excited to what lay ahead and this time we were prepared. Derek and I would return for a second day of mixing. So here we look back at our session in this studio.  

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    Stu looks dejected in the practise room as we struggle to finish Cold Home Street.

    Pabs

    I thought the studio didn’t look like much when we arrived but this is normal, its whats inside that counts. I couldn’t wait to see inside. I was now getting an increasing enthusiasm for sound engineering. We walked in and there was a long corridor, the guy met us and took us into the control room. We were met by a large control desk and a window that looked into the live room. It was a fairly big room, I think we did all the drums in there, in fact everything. There was no vocal booth or anything like that.

    We picked three songs to record. ‘I Tried to Fly’, ‘Hope’ and ‘Sun Shines Brighter’. They were probably our most ‘pop’ sounding songs, quite far removed from the heavier rock we had done previously. They were fairly easy arrangements and pretty straight forward to record. Even when I recorded the vocals I didn’t go for the louder vocals, my style was changing, looking back it kind of lacked the passion that I usually have

    I always thought the guitars sounded a wee bit tinny, a bit thin, but we didn’t really cause a fuss, I was starting to wonder if we’d be able to record our own music. On reflection I think my setup didn’t help either.

    By the end of the day the only thing left to record was the backing vocals, Stu headed through and started singing the backing vocals to Hope, is quite a high key. There is a bit at the end, ‘la la la la laaaaa’ or something as we head towards the finale of the song. The music was blaring and I looked up, Stu was in the room singing his heart out. I looked back at the desk listening to the rough mix when suddenly the singing stopped. I looked back up and Stu was gone! We all rushed out of the control room, into the live area and there was Stu face planted into the sofa with the music blaring through the ear phones. He’d passed out, it was for a couple of seconds and then he was back up, if a little stunned.  

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    I looked up and Stu was nowhere to be seen!

    Stu

    I remember Bo driving me home after I passed out, my heart was still racing and he drove like a racing driver!

    Greg

    Ah the days when I had a (relatively) fast car..

    Pabs

    Greg’s love of cars and big exhausts goes back a long way.

    Greg

    For Redeye we recorded it all one day but only Pabs and Deek went back for the mixing and mastering. I seem to remember Pabs getting excited about a snare ring?

    Derek

    For some reason Pabs and myself went back through, just the two of us to finish the mix, was it the Monday? I remember listening to it in Pabs old Toyota on the way home marvelling at the reverb on his vocal at the end of Sun Shines Brighter like we just invented vocal reverb!!

    Pabs

    I remember the mixing of ‘I Tried to Fly’ the engineer had everything panned centre apart from the toms of the drums, so they really stuck out. The bass had a nice tone, the guitars tone was not too bad although having them all panned centre meant the tracks lacked stereo width. So when it came to Hope I asked the guy to pan the guitars, it did make a difference. I found it strange that I had to ask for this, it was another step to the bands eventual hiatus, we were just letting things pass over our head. I think these songs would have sounded brilliant had we not settled for these mixes. Maybe the sound engineer thought we just wanted a demo, I’m not sure. Maybe the guy was just starting out, you have to remember this was twenty years ago.

    We didn’t go back to Red Eye studios, the songs were used on the album ‘Coldhome Street’ an album that arguably proved to be our weakest. This wasn’t the studios fault, we had kind of lost out way at this point, this is the only album that we haven’t released on digital distribution but it can be found on Bandcamp.

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    I’ve always had a soft spot for Coldhome Street, despite its sound. Pabs

    Red Eye looks like it is still going strong today, judging by the photos it looks well kitted out with rehearsal rooms and the studio is well connected with the local scene. We still had lots of ideas that we wanted to put down for our third album so it was back to the yellow pages to see if we could find another studio. One caught my eye in Stirling.

  • Studios In Which We Have Recorded part 2. Split Level ’98 (2nd session)

    Studios In Which We Have Recorded part 2. Split Level ’98 (2nd session)

    Split level part 2 February 1998

    Split Level Facebook page

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    The Firkin Outburst Era and the around the time we headed back to Split Level.

    The heady early days of being in a band are irreplaceable from the euphoric high of writing your first songs to the adrenalized buzz of playing your first gig. A band in its infancy can produce a surge of creativity often known as the ‘early stuff’. Then there were the large high school Martell crowds, the first articles in the Falkirk Herald all the first targets were being met.

    So as the dust settled on our arrival at the music scene we knew that new songs had to arrive. By now we were students at college, drinking at every practise and generally having a laugh. We wrote many songs, probably forgot more than we remember. The tracks that did stick had to be recorded; there was a need to be back in the studio. There was only one choice for us. Split Level. Around the local scene our first demo had been a massive success, The Rain, Vancouver and Chameleon had been well received by the local radio station. With this in mind we had to pick three songs that would propel us further.

    So here are our thoughts and memories for what would be our last session at Split Level. Also joining us for a look back is our long time friend John Baines who with our late great friend Dave Brown visited during the session.

    Pabs

    The choice of studio was a no brainer, we just wanted to go back to Split Level, it had been around 18 months since we recorded our first demo. The choice of songs would prove to be more difficult. We had written a number of songs, we had forgotten a lot more, so much alcohol flowed and we lost focus, it was just a bit of a laugh at this point. I remember Culture Creature was pretty much certain to be on the demo. Summerhigh was an early choice as well I think but trying to pick the third track was tricky. We couldn’t agree on the third song and the studio was booked so there was like a deadline. So I don’t think we had decided, so on the first day in the studio we were picking the last song and that turned out to be Today Was Insane. I didn’t think it was our best, but we went with it. The excitement was still there are we drove to the studio, the place was still a bit of a scrap yard, a wee house hidden by trees just outside the Edinburgh airport.

    Derek

    I remember Neil’s cars, he had loads of VW Scirroco’s (in the yard)

    Pabs

    The set up was the same, the studio hadn’t changed which was fine. Neil arrived, he could remember us from the first time and he still had that laid back approach to everything.

    I think the atmosphere was different this time, it didn’t have the same feel for me, I don’t think we were ready to be honest.

    John Baines

    It’s all a bit hazy now but from what I can remember you’d blitzed through the majority of the songs on your first day and spent (most) your time there on 1 song. Am I right in saying it got a bit smoky in there too? Bizarrely my main memory is of Dave flicking a lit fag into his mouth. Lit end first obviously!

    Pabs

    I would’ve paid money to see that! I must’ve been in the vocal booth at that time, I spent many takes trying to get Culture Creature right, not only the vocals but the little guitar part in the middle. Stu and I play a strange dual solo that I don’t think we’ve properly nailed since!

    Culture Creature was difficult, it’s a sad song with dark lyrics, I remember after a few vocal takes coming back into the control room and everyone just looked flat.

    Stu

    I Remember deciding to record Today Was Insane either just before or when we got there. Culture creature depressed everybody! Neil wasn’t quite as jovial as the 1st time. Did we crash at Deeks flat in Edinburgh in between days. Can’t remember.

    Derek

    I didn’t have my flat then!

    Pabs

    John and Dave were just sitting on the couch. The rest of the guys were quiet and yeah Neil looked a bit bored. I agree with Stu he didn’t joke or have a laugh like he did during the first demo.

    John

    I’ll put my poor recollections down to repeated concussions (and alcohol perhaps). Was it not Culture Creature that took the longest? Well worth it in my opinion

    Pabs

    Yes definitely, it took the longest. Summerhigh was pretty seamless, I can’t remember how Today Was Insane took but to be honest I didn’t care much for it. Culture Creature was worth it, it was worth the effort to get it right. I think it is one of our best songs, even if it sits in disjointed (but fun) album, Firkin Outburst.

    Culture Creature

    John

    Is the studio still there? Always look out for it when I’m going past.

    Pabs

    It is! It’s still nestled behind the large trees, the airport parking edges ever closer though. I think Neil still works in the studio. I’m the same, I’ll take a wee glance over, we had great times in there but to date, sadly, we’ve not been back.

     

  • Studios in which we have recorded part 1. Split Level

    Studios in which we have recorded part 1. Split Level

    We did record in professional studios, most were pretty bad but one did stick out as a fantastic place to record. Split Level studios in Edinburgh; we look back at our first recording. We put down three songs in that session, The Rain, Vancouver and Chameleon.

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    Pabs
    We got this studio recommendation from Chris Mason; Cage had recorded their single there, Collapse if i remember correctly, for Baghdad records. He gave us a number and I got in touch with a guy called Neil. We discussed dates and a price and I booked us a slot. I put the phone down and I couldn’t be more excited.
    We had a few songs ready, The Rain and Vancouver were definite choices. We had entered a competition to write a song for an anti drug campaign in Falkirk. So we wrote Chameleon and decided to record that at the studio so we could submit the song.
    Greg drove (again), I remember heading to Edinburgh, the studio is just outside the city’s airport, you take a sharp left just after the turnoff for the main terminal. We were heading up this dirt track and i’m thinking we’re lost. Then past the bushes there was this yard, it was a bit of a dump really and there was this cottage and no one was there to meet us.
    I remember Neil tearing up the drive in a car and parking next to us, out jumped this tall fella with a mop of red hair, he was a friendly laid back guy who fitted into the ramshackle surroundings. He led us up to the cottage and unlocked the front door. I think we first went into a kitchen and it was untidy, then i think there was a toilet. I was a wee bit taken aback. Then we got into the control room and I was blown away.

    There was a huge mixing desk ( I was starting to have an interest in recording) a reel to reel and through the window there was a drum kit and a vocal booth. It was amazing.
    I stepped into the recording room, it was small, cosy, and there was this door that led to the vocal booth. It was padded out in green sound absorbing panels at that time i thought we were now a real band recording in the studio!

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    This was the first time I was recorded playing the acoustic guitar in the studio, it was nerve wracking! I learned that every chord scrape, every open string was heard and i quickly had to improve my playing.

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    I can’t remember the order of the songs or even the process of putting the songs down, i do remember screaming my lungs out on the Rain and Neil gently mocking my lyrics, ‘Trousers that keep us alive’ I also remember Greg placing his amp in the toilet to get the sound for the bass.

    Derek has always had a knack of putting drums down quickly, I can’t remember how we did the initial tracking but I do remember the overdubbing.
    I felt at ease in this environment, we’d flop down onto the big couch and listen as Stu laid his tracks, we were well rehearsed so the whole thing went quite well.

    wedb 20 yrs 4 - Copy (2)

    Greg

    I remember having a bit of a jam with Neil on drums at some point. Also that i felt very relaxed doing the recording. It was also the first time you really heard the individual parts being played in isolation as everyone recorded their part.

    Remember thinking that was cool. I still love that shot someone took of me taking my bass off in the sunlight from the window. I recorded my parts Sat next to Neil at the desk I think.

    Stu

    The studio was a hidden gem. A bit like Dr Who’s travelling police box. Just looked like a run down wee cottage from the outside… Then once (we got) past the ‘cold trainspotting loo’ a wonderful studio with huge mixing desk and sound proof glass. Amazing stuff I remember feeling under pressure to nail guitar parts but it was quite a relaxed atmosphere so it felt really easy to layer double tracked rhythm parts.

    On the track The Rain i use a lot of wah wah and coming back into the studio on the 2nd day Neil had added a delay effect over the top which sounded incredible…..needless to say I had to invest in a delay pedal shortly after this so the overall sound would be replicated live

    Pabs

    The mixing was quick, Neil asked if the tracks were for an album or a demo, we said demo, and away he went mixing rather quickly, in the background the tape reel was spinning back and forth. He had an Atari computer with music software and a huge rack of FX. Derek liked the drum sound, later he would reflect that the cymbals could’ve been louder. I was mesmerized at the speed that Neil worked, with a cigarette in hand he flitted between the desk, the reel to reel and the Atari.
    We started to hear the music back through the speakers and it was amazing, really amazing to hear out songs this way. Neil seemed to like the songs so I guess this made the job easier for him (we’d return a year or so later and it was a slightly different outcome) it wasn’t long before we were done.

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    There was time for photographs of us larking around in the studio, it was a fantastically optimist time for us, everything was new and we had youth on our side. We thought the world was waiting for us. I guess deep down I knew it would be a long shot making it in 96, Oasis had exploded and our demo that we had just cut was heavier rock. I shook this thought from my mind when I heard the demo played on the car stereo, it sounded amazing on the tape player.

    The story of the demo and what it led to is another story, however the legacy of the Split Level sessions would last until this day. These recordings are what we measure our home recording by and they still stand up well today. The three songs would all appear on our first album Whapper Stormer which remains one of our best albums. We recorded the rest of the album some ten years later on an 8 track, the quality of the Split Level sessions forced us to try and match what Neil had achieved.
    It was a fantastic experience, we would visit a few more studios but they would never match our first studio.

    pabs studio ws

    In the years that followed we distanced ourselves from studios, we had a couple of poor experiences and I was getting more involved in sound production. I think the band would’ve loved to have returned to a professional setup, I wanted to learn though, and I suggested we invest in our own gear. Eventually we would take our recordings a step further and higher remote cottages and lodges to record. This was a fantastic experience but we still look back on the professional studio experience with fondness. Perhaps we’ll do it again.

    Words Pabs, Greg and Stu

  • Gig Diary 22nd September 2018

    Gig Diary 22nd September 2018

    Kirkcaldy, Windsor Hotel,  22nd September 2018

    Photographs: Scottswansondesign

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    When our long-time friends the Buzzards of Babylon invited us to play at the launch of their new album we cleared the diary and jumped at the chance. We’d be back at the Windsor hotel, the first time we played there was back in 2005, the Buzzards were of course Kranksolo back then.

    Sure we were admittedly a little huffy at going on first, no band really wants to open the night; you fear playing in front of the sound engineer and maybe a couple of bar staff, I mean who goes to gigs to see the first band right? However it made sense, we weren’t bringing a crowd with us and we would be able to sink ale after ale as we listened to the metal riffing of Fife’s finest.

    Of course we had grand plans when the gig was booked, lets book a hotel, we dreamed, get drunk and have a party! Then I decided to enter a half marathon on the Sunday, looks like I’d be the designated driver then. Greg’s face lit up… I knew that at some point he would go into ‘wee dick’mode. Now this is not a slight on the man, this is a self-confessed state that Greg gets into when he’s had an ale or two. He gets a little annoying but in a bloody funny way. More on that later…

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    The day arrived far quicker than we knew and it was great to be playing a gig, it’s been strangely quiet year for us, holidays, work life you know the drill. So it was good to be on the road heading over to the Kingdom back to an old haunt to play some tunes.

    We arrived in good time at the Windsor, I couldn’t really remember it as much as the Path Tavern down the road (we played there a couple of memorable nights) however when we got into the function room it came back to us. The stage had moved to a better more loftier position and there was now a dedicated sound desk at which Travis Whalley  (He is the respected sound engineer who produced Micrometeoroid Modulation, Buzzards latest magnificent album) was attentively caressing a tablet that was mixing the stage sound (technology these days…) so he was able to walk around as he made fine adjustments to the mix. After a quick greeting we set to a soundcheck with Travis and we were ready to go.

    By the time we took to the stage, a small but appreciative crowd had gathered to watch our set.

    1. Take the Blindness from Your Eyes
    2. Once more with Feeling
    3. It’s Who You Know
    4. Kill it Kill it
    5. Speak
    6. Quoted, Not Voted
    7. Medicine
    8. Industry

    My plan had been to try and conserve some energy for the pending half marathon, but that plan went out the window as soon as we started playing. I had no idea how much i had missed playing live and it was great to be back on the stage.

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    New song Take the Blindness from Your Eyes was an unusual opener for us, we tend to go for easier songs to settle the nerves however we managed to nail this one. The set went well, Speak went a bit wayward when we decided to miss out a couple of bars, no one noticed, including Derek!

    I always love playing Quoted, every time I sing it the lyrics always fit in with the latest political shambles, Medicine is now a live staple, it’s such a great tune to play and we finished with old regular Industry. We were tempted with Fathers Verse from the new EP but we hadn’t played it for a while so we went with WdB1’s finisher.

    The audience was great, numbers were up a little so it was nice to reach new ears. After we were done the lads made a beeline for the bar and I settled for my Irn Bru. As I supped the soft drink I thoroughly enjoyed the 80’s metal dynamics of Volcano X, they looked like the were having a bawl on the stage and it spread to those who were watching. The vocalist Johnny Steel had a wide vocal range, from deep growls to soaring falsettos. The reminded me of the fun and high energy heard on Helloweens early (and best) albums. Smokestacks followed with a high energy set with some superb guitar work.

    Volcano X
    Smokestacks

     

    Buzzards stepped up a little later than planned, we stayed for the majority of their set (early rise for the big run on the Sunday was now on my mind). Eck suddenly appeared on stage with the first of his masks, he looked the part! No idea how he managed to play the guitar. The band sounded really tight, the new songs from Micrometroid Modulation were solid. Stuart was on form as he crafted his solo work. I had caught up with Rab and Mike earlier in the night and in a similar way to us the Buzzards are happy to keep writing and playing while juggling jobs and families. Fingers crossed this adventure will last for a while yet.

    Sadly we had to bail just before the end of their set. Derek and Greg were now giggling and laughing on their way to the car, Greg darted back to the venue for some reason, Stu was sticking up for me telling the guys to get in the car. It was becoming more like a family day out! I started to chuckled as all the nonsense was going on in the background. Greg had previously attempted to pack the gear in the care, that was a disaster…

    We set off and Greg went into his Wee Dick mode, being as annoying as he possibly could, it was a laugh. As we left Kirkcaldy we put on Micrometroid Modulation the CD player, tunes blaring, Greg and Derek laughing it wasn’t helping the tinnitus!

    As we reached the highway Greg asked if he could vape in the car, before it could answer Stu asserted, nope! Laughter ensued as Greg was shot down, however he had hatched a cunning plan.

    I need to pee, was the words that came from the bass player’s mouth. So we pulled over and let Greg out. It was the longest pee ever.. We waited…under the flashing orange of the parking indicators I could see that Greg’s cunning plan was at work! He was vaping! We started to pull away, Greg caught up and laughed as he bundled into the car and we headed back to the shores of Fallkirkshire with Buzzards blasting out of the stereo.

    Another good night was had, we should do it more often, except next time I ain’t driving!

    (Oh I managed 1:42:38 in the Scottish half marathon)

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  • Gig Diary. Montys Bar Dunfermline 22/06/2018

    Gig Diary. Montys Bar Dunfermline 22/06/2018

    Monty’s Dunfermline 22/06/2018

    Pictures Kirby (Weird Decibels playing) Pabs

     

    Seems strange that after over two decades I can’t recall Weird Decibels playing Dunfermline. That was until I remembered a biker rally we played in Crossgates between Cowdenbeath and Dunfermline, but that’s a story for another day.

    We were asked to play Montys a couple of weeks before the gig. The venue has a laid back approach to live music, they like to put on bands every weekend, you turn up and you play. The venue itself is a mecca for those who love their rock music. Posters of rock icons are pinned on the wall and the music heard in the background was a playlist of heavy tunes for the punters.

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    Derek and Greg working put how to pin up the banner

    We were made to feel very welcome but the place was empty. We wondered if this would be the first quiet gig for a while. We hadn’t really pushed this one.

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    We were on first which was fine, we did originally think we’d be on third so we had a longer set so we had to cut a couple of tracks.

    I stepped up with my guitar in hand ready to soundcheck. I approached the Marshall stack and switched on the head. Suddenly I heard a electric crunch and smelt burning. It was not I was hoping for. Gav who was on the sound remained calm, he did a very good job throughout the night. The only problem was that we did not have a spare amp head.

    Enter Kirby guitarist of The Other Side came to the rescue. He kindly allowed us to play though his valve amp. This saved the night.

    By the time half 8 arrived it was time for us to go onstage. The place was empty bar a few eager music fans how had arrived to watch the live music. They were regulars and explained that Monty’s can be packed one week and empty the next.

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    Undeterred we carried on and struck the first chords of Feeling, once the music was playing the other bands and other people wandered from downstairs and suddenly we had a small but appreciative crowd watching us.

     

    1. Feeling
    2. Speak
    3. Take the Blindness
    4. Who you Know
    5. A801
    6. Medicine
    7. Quoted
    8. I Hear the City

    I really enjoyed this gig, Feeling was a little ropey for me but things tightened up when we played Speak. It was wonderful to play Take the Blindness From Your Eyes live for the first time. Finally free from the restrictions of the studio the song felt great to play. A801 was also played for the first time; I only had a light distortion (I didn’t want to muck about with the settings on Kirby’s amp) and I thought it gave the song another edge. It went down really well.

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    Medicine is now my live favourite, it’s a great song to play. Quoted was angrier than usual and to end with I Hear the City seemed to work well,

    After we finished I caught up with the guys from The Other Side and we shared our joint passion for recording our own music; they were friendly bunch of guys who were helpfully sharing contact details of people to get in touch.

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    Turned out to be a good night!

    We stayed to drink a few beers, well Derek and I did.Stu wasn’t feeling too hot and Greg was working the next day so he was driving back. We took in the sets of Phoenix Lane and the fantastically entertaining AYE Hobos. On last was The Other Side who played many rock songs and a range of brilliant solos that made me want to listen to Dinosaur Jr all over again. Sadly we had to leave halfway through their set sdo Greg could get home but i liked what I heard.

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    The Other Side rock Montys

    It was a great evening for us, we really enjoyed a night out in the Dunfermline music scene hopefully we’ll be back in the near future and not leave it quite as long next time.

    Pabs

  • Our First gig. Martell. 17th Aug 1995

    Our First gig. Martell. 17th Aug 1995

    Stu and Pabs take a look back at our first gig at the Martell Falkirk in 1995. Thanks to Derek for the archive flyers, posters and clippings. Stu for the pictures. Not sure who took them.

    It was Thursday 17th August 1995, Bill Clinton was still president of the USA, Take That were in the top five and in the the cinema Waterworld was watched by noone. Another seismic event was about to take to place. Weird were about to play live for the first time.

    A few months earlier Greg and Pabs had set their first target, to form a band and play the Martell. They created Weird with Stewart and Derek in the deepest of winter in February 95. A few songs later, probably around 6 or so we were looking for our first gig. That offer came from the late Chris Masson who got us on the bill to support Cage, one of Falkirk’s finest and fiercist bands.

     

    We just had a handful of songs, we hadn’t even graced the studio but we had written some songs that earlier Weird followers would enjoy for years namely: The Rain, Vancouver and Educational Suicide, some of our best known tracks. We felt these songs were strong and it made us confident going into our first gig, well fairly confident!

    Pabs

    Back then the Martell was a big deal, it, alongside the Happening Club were the places for local bands to play. Greg and I had went every Thursday night for weeks, months even, to drink beer and listen to Cage. When the call came to play the Martell I was excited, nervous, but really excited. Derek kept a copy of our first flyer. We were third on the bill, we would open up the show for Cage and a band called Twister. A lot of bands in the local scene had ‘er’ at the end of their name.

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    Our first set list was penned in black ink, what a feeling that was, writing our first set list. Six songs. The Rain, Educational Suicide, Show Your Face Soon, Stay In, Vancouver and Go Away. We never recorded Stay In or Go Away.

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    We still use the flower logo to this day, The Rain occasionally appears in set lists 23 years on

    We pulled up to the Martell and had to load into the side door straight onto the stage. I walked onto the stage as Jimmy and the sound guys were setting up, I had long hair draped over my face I didn’t want anyone to see me. I was just doing vocals, the freedom! I could just turn up and sing. The classic days.

    Stu

    I remember walking into the venue and hearing Ewan the drummer from headlining band Cage sound check and the hairs were standing on the back of my neck.

    Sound checking my guitar felt amazing as It sounded huge through the massive pa system.

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    A slightly nervous Stu plays his first live chords

    Pabs

    I remember hearing the kick drum through the PA for the first time. What a sound. We just used a vocal PA down at our practise room. Derek never used mics on his kit in rehearsal so we had never heard the drums like this before.

    Derek was the cocky youngster so full of confidence and even in the early days he used to love winding me up. Greg was laid back as always. Stu if I remember correctly seemed quiet and a bit nervous.

    Looking up I saw the lights during soundchek, the blotted out my view of the Martell, at this time it was empty, I remember Stu shredding the guitar to test it, it seemed like a huge sound. This was it, we were going live. I can’t remember what song we soundchecked with but I do remember reading about Eddie Vedder and Pearl Jam. Even at soundcheck Vedder would give everything to his performance, so I did the same. I put everything into the soundcheck!

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    Stu (l) donning the summer rock look, Pabs (c) with vedder hair and Derek (r) takes care of the drums

    We were about to go on, by this time a  crowd had gathered, there were a lot of friends from high school. Phil and Juls were there as well (I’m sure Phil is in one of the photos), they only knew Stu at this time but we all became friends over the years. I walked up to the stage ready to play, I was really nervous. It’s always the first line you have to remember. Do that and the rest of the gig is fine. So I walked up ready to play and Derek was nowhere to be seen…

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    A young Greg graces the stage

    Stu played a riff as the crowd waited. Then Derek runs up after getting changed in the toilets. I was raging. Finally we were ready to play. I just recall the lights, the music took me and I just went crazy. I had seen Chris Masson of Cage do the same a few times on this stage, he put everything into his live shows so I did the same, it was natural. Something comes out when you play live, its like all the anger that builds up just pours out. My hair was everywhere. I was singing my songs to other people now.

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    Stu

    I stood on stage blasted out the 1st song the Rain the crowd went mental I thought that’s awesome but my guitar didn’t seem that loud on stage…I then realised the sound engineer hadn’t mic’d up my guitar amp!

    Pabs

    First song done and my confidence grew. The crowd cheered, the folk from the high school, were loving having a few beers on a Thursday!

    Stu

    After I moved the microphone in front of my amp it sounded a lot better and I grew in confidence.I was pretty nervous which I always am at gigs but after I nail the 1st song the nerves settle and after rehearsing at the practice room for months the live sound on stage was incredible.

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    A more confident Stu and Greg entertain the crowd

    Pabs

    The gig flew past, it was only six songs but it felt like 5 minutes. It was an amazing feeling coming off stage and our friends were congratulating us. We dissolved back into the crowd and enjoyed the rest of the night. Cage were amazing, Light years ahead of us, they had been together for a while and were getting into their stride.
    Stu

    Our 1st gig flew by so quickly. So many people came up to us after in Firkins on the Saturday night saying how good we had been. Such a buzz. We had arrived on the live scene.

     

  • Shuffledown 2018

    Shuffledown 2018

    Pics Greg McSorley, Pabs

    Words Pabs

    Greg, Pabs and Stu enjoy this years Shuffledown

    Shuffledown is now ingrained into the psyche of the local music scene; regular Shuffle goers will look eagerly for the line up announcements around the Autumn and plan a day of music and drink ahead. Past years have seen successful, subtle additions to the lineup that have helped broaden the range of people who soak in the sights and sounds at the Dobbie hall. Past lineups have included the impressive headliners Broken Records during Shuffledown’s maiden year to the unearthed gem that was Paddy Steer in year 2. There have been successes and surprises every year.

    Gifted to the people of Larbert by Major Robert Dobbie, the hall has matured into a grand building that generations of locals have been proud of. It’s become Shuffledown’s home; adding a touch of grandeur to the festival, many of the bands that play are often used to the trappings of more modest venues.

    As I reached the doors, ready to enjoy Suffledown’s fourth year I was greeted by a vocal quartet, food stalls and an area for arts and crafts. Not to mention a warm welcome from the many volunteers. I walked into the hall and admired the well decorated stage, I looked for the trademark Shuffledown lamp and it was proudly illuminated to the right of the stage. In addition to the lamp there was a new lighting rig and a large screen to enhance the visual experience.

    Two inviting drinks stalls were set up across from the main bar. I decided against the Prosecco, that stuff goes right to my head, it was Birds and Bees for me. The surroundings gave me the impression that Shuffledown is now well established and the leading music festival of the Falkirk area.

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    The Sonic Blues grace the stage. 

    At the back of 2 o clock the early comers were greeted by The Sonic Blues, a late but welcome addition to the Shuffledown lineup. In what is to be their last gig for an undefined hiatus, the Blues looked like there were at home on the big stage. The great sound helped the trios bluesy rock transcend over the hall. They played a few tracks of last years album ‘Something Today’ and ‘Purgatory Blues’ was as enjoyable as ever.

    A growing crowd gathered for Fairweather and the Elements; arriving back for a second year in a row. Under the impressive lighting and sound the band put on a great show. They closed with the impressive Go Far, the latest single from F.A.T.E.. This was a confident set from the six piece.

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    Fairweather and the Elements

    London act Davey Horne and his band arrived to a vibrant atmosphere. With threads of the War on Drugs their edgy southern rock had a psychedelic feel. Davey Horne switched between keys and guitar with ease. It was a very enjoyable set and went down very well with the audience. A highlight of the day for me.

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    Mt Doubt keep cool

    Somehow keeping cool in a large jacket the lead singer of Mt. Doubt and the band delivered a set of pop and rock with some urgency. Reminding me of the Sleepy Jackson they put on a good show. I enjoyed the set and as they finished I headed around the festival for a wander.

    This year there was more food stalls which was a good move given the growing army of all day drinkers. I had a few Birds and Bees from the Williams Brewery stall and I was even tempted for some Buckie from the main bar. I left it this time. I grabbed a quick coffee and a roll on pulled pork (nice) before heading back in to the venue from the crisp spring evening.

    Refreshed and refueled I grabbed another beer and waited for Fuzzystar. The bands bittersweet melodies are well suited to Shuffledown. Sporting one of the most impressive beards in the Edinburgh indie scene, Andy Thomson, Fuzzystars singer, sang low melodies over the impressive solo guitar work from Michael Morrison. Longest Day was a nice indentation amid the flurry of guitars; its subtle handpicked chords and slow build was a smart change. Given my love for Grandaddy and the National, plus the fact that I enjoyed Fuzzystar at the Artisan Tap back in 2017 this band was always going to be one of my highlights of the day and they didn’t disappoint.

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    Under shining lights, the impressive Fuzzystar

    Upstairs in the cloud room there was a bit of retro gaming reminiscing going on. Dusty Hayes played an uplifting set to a busy room, he clearly enjoyed the occasion as both artist and audience were punching the air in synchronized delight. I was mesmerised by the videos of Sonic, F Zero and the Ninja Turtle games. It was a neat touch.

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    Brilliant set from Onthefly

    I also caught OntheFly. A live drum kit was set up in the corner of the small stage providing analog beats to OntheFly’s digital mastery. It was an excellent set, a moody mix of driving electronica. This was the last act I saw in the cloud room and I’m glad I took the time to head upstairs this year, there was an intimate but great feel about the smaller stage of Shuffledown.

    Back downstairs the main stage welcomed Denny’s The Nickajack men, who flung themselves into an energetic set that went down very well with the crowd. Dead Man Fall entertained the crowd with a lively set, I missed much of this part as I soaked in other areas of the festival. The Birds and the Bees ale was still going down a treat and the end of the night was nearing. There was still time for Colonel Mustard to walk onto a colourful stage donned in yellow mustard hues and big hats. A party atmosphere had taken over (as it often does at the end of Shuffledown), the uplifting mood of the music transferred to the crowd.

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    Partytime with Colonel Mustard and the Dijon 5

    Shuffledown was over for another year and with all things you look forward to, the festival was over rather too quickly. The artisan feel of the event lends itself to a welcoming day of entertainment and it continues to evolve every year. It’s now an integral part of the Falkirk music scene; given its location and returning crowds there is no reason why Shuffeldown cannot become the leading indoor event of the Forth valley area.  

    This was an excellent year, continuing a consistent run of successful events. Next year will see its 5th anniversary, it’s now a young and confident festival, long may it continue.