Tag Archives: retro

We rate our recordings part 3. 5-1

Part 3

Photographs Neil Henderson, Sweet P, Kevin Byrne and various.

Don’t you just love countdown list? Yeah thought so! We’ve been rating our recordings and now we reach the top five records that we feel represent our best work. This is all to celebrate the forthcoming release of ‘Everyday Heroes’ EP.

So now that the teacups are running dry and the biscuits are nearly eaten we’ve finally agreed what are our favourite recordings are.  All albums are on Spotify, just hit the links. Feel free to follow us so you get notified of our new releases.

5. Firkin Outburst (1998)

firkin outburst
Drinks on the cover and drinks in the album. This is a wee table in the quiet corner of Firkins

Our second album. By this time we were enjoying the freedom of college and the fact that we hadn’t started full time jobs. We drank a lot of beer writing this and probably forgot more songs than we recorded. Nine songs survived.

Pabs

The front cover sums up the album. Drink and Firkins. We were having a riot. The band was young and we had had a successful couple of years thanks to Whapper Stormer and the vibrant local music scene. This album is messy, it was recorded in two different studios and on three different desks. I remember standing in Firkins asking a guy from Central FM what he thought of the new demo which had Culture Creature, Summer High and Today Was Insane (which never made the album) He didn’t think it was as good as the previous tape (The Rain, Vancouver and Chameleon) I was gutted, raging and walked away.

wedb 20 yrs 8
During the Firkins sessions we liked a booze in the practise room, apart from Greg who always drove. We owe you Greg!

But the assessment was correct, Firkin didn’t hit the heights of Whapper but it is a fun record that captures a great time for the band. We threw discipline and care out the window and had a laugh. 

Derek

Big highs, a couple of lows, probably an unfocused time for us but from the practise room point of view it was the best time ever.

Pabs

It was crazy, taking beer glasses and a carry out down to the room on a Wednesday night. Sometimes we’d drink more than rehearse.

Stu

Not as good as Whapper but has its moments. Culture Creature is an absolute classic. Loads of songs lost during this boozy period.

Bo

Excellent album, long way down is a totally underrated song in my opinion. Wasn’t quite as boozy a time for me as I was the one driving. Some good vids made then though that are fun to look back on.

Pabs

Greg drove all the time…He’s one of the most patient people I think I’ve met. He put up with our antics for years. We need to get these vids onto YouTube or something.

4. One More Solo (2004)

omscdbaby

Stu returns after a break and we write songs for fun and record in Derek’s old flat with our friends ever present cases of beer and Subways.

Pabs

All of us apart from Greg gave this the same score. One More Solo was plain good old fashioned rock. We were celebrating getting back together and it shows on this record.

The original master was bad though; in fact i don’t think we mastered anything back then. The bass swamped the record and there was these lovely ringing guitars at the end of nearly every song that Derek was a big fan of.

It was a great time for the band, we still believed that we could make a go of our music career ao we gigged this record quite intensely. We met some great friends on our travels. Its a good record and a wee bit or re-mastering has helped to clear it up.

 

 

Bo

The remastered version is better. Just think we’ve played the songs on this record so often that they lost out a bit to the other albums on my list.

Pabs

We haven’t played Waiting On the Sound Of Your High Heels that much.

Stu

Not! Great album. Love being back in the fold. Hanging out with my best mates and writing recording and gigging. Remastered version a lot better

3. Whapper Stormer (1995)

whapper stormer
Star Wars has always been a big influence on Weird Decibels

Our debut was always our favourite recording over the years, until the Decibels arrived!

Pabs

I love this record. Three songs were recorded at Split Level in Edinburgh: the Rain, Vancouver and Chameleon. In terms of quality they’re above the rest of the record so in that regard it’s a bit uneven. However the songs were some of the best we ever wrote. This album also has my favourite lyrics; my imagination was firing on all cylinders then, perhaps with the exception of Downer.

 

 

It was what we team as ‘classic weird’ I would stick to vocals and Stu would take care of all the guitars. The four of us wrote together. I would sing the melody to Stu, it was a time where i could keep melodies in my head for months. Stu would create a riff from it. I was fascinated by that.

Derek

You always remember your first!

Pabs

Although this album was written in the mid 90’s it would be in 2004 that we would record 7 songs to fit in with the three from Split Level. Just For Today was an early example of progress we were making at recording our music.

Stu

The classic Weird album. Still sounds amazing. Timeless. It was so easy to write those songs. Happy happy days.

Bo

The first professional recording we did at a proper studio by the chain smoking Neil on a reel to reel whilst muttering ‘the rain..in Spain’ to himself over and over. Was an exciting time.

Stu

And Neil added the delay effect over my wahwah guitar in the verses then I bought a delay pedal to replicate it live

Pabs.

Haha yeah I forgot about that, then he sang ‘trousers that keep you alive’ and I’m at the back shaking my head because he’s mocking my diction. It was a very exciting time; it felt like we were living the dream.

2. Weird Decibels 1 (2012)

WD 1
One of our best and it was a great era for the band

The second coming. 4 years after Quiet Act, finally back on the gig scene and about to have our most successful phase some 17 years into our career. Weird Decibels 1 was a defining album for us.

Derek

There isn’t much between WdB1 and 2. There would’ve been a bigger difference if WdB1’s tracklisting had been better, WdB1 would’ve been a clear number one.

 

 

Pabs

Ahh the WdB1 tracklisting debate. I stuck firm with this one. Psalm was a statement of intent. It was some 4 years after Quiet Act and we were nowhere on the local scene. Psalm had everything, big guitars, epic drums and bass. The intro is on an old acoustic, similar to Battery by Metallica. The acoustic linked Quiet Act with Weird Decibels 1. The song builds to one of our biggest crescendos. Stu played about three solos while I sang my heart out.

I’m worried about the concept of an album these days. I hope there is not a time where bands stop putting out collections of songs. An album is an experience for me, a beginning, a middle and an end. WdB1 had that.

I see the point that the other guys made about not starting with Psalm but I couldn’t see it any other way. The album starts big and ends big with Industry.

One thing I will say about my favourite recording is that the vocals are loud in the mix and a little harsh, if I had the time I’d have a wee go at mixing this album again.

I like the scope of WdB1, Jemma Burt added piano, keys and violin to three or four tracks but it adds so much to the album, it gives it a lot more texture than it normally would have. Derek and I rated this our favourite recording, there are a lot of solos, guitar riffs and vocals on this album.

WdB1 was also a great era for us. We ventured out of the practise room and started to head out to Glasgow playing some cracking gigs around the city. We shot our first music videos which were watched a few times. Until this time we were a largely ignored band so it was a highlight for us.

Stu

Wdb1 is a fabulous record. No acoustics just huge epic rock. So many great songs and still play many of them in our live set. I stand by the track selection although we never really play Psalm live. Love all the videos we made for this record which opened up new listeners to the band. I don’t think Steel had aged too well hence why I rated the album my 3rd favourite.

 

 

Pabs

It’s true what Stu says we do lean quite heavily on this album when building sets. We’ll need to write more!

Bo

This album had a limited edition release with hand written lyrics around excellent artwork by pabs which I really enjoyed. I also started making t shirts to sell at gigs with this album cover which seemed to be popular. Good songs which were well received when we played them live.

Pabs

Yep we put a lot into that record.

1.Weird Decibels 2 (2016)

wdb2cdbv1
Our favourite recording. A lot of things came together, the songs, the location of the recording. it just worked.

Our latest album is voted our favourite recording. At 33 minutes it’s a short, sharp burst of rock recorded at our biggest location yet, the grand Springfield cottage.

Pabs

I voted this my 3rd favourite recording, I like the record, its two years old now so i’ve had more time to reflect on it. It’s probably the best sounding record but it was hellish getting there. Recording the drums in Springfield was a good move. It gave the drums the room sound i was looking for. After the drums and bass things went a bit askew.

Whatever technique or mic placement i used on the guitars I could not get a decent tone for the distortion and spent ages during recording and at mix to get it to sound good. I used to use the Rode for the guitars as I liked the bright tone but the industry standard SM57 gives me more control of the sound. With the Rode I was always cutting a lot of frequencies so I guess it took me awhile to get round to using the SM57; I’m stubborn that way I just wanted to try something different.

I always thought numbering the albums (like Led Zeppelin) was a mistake as it felt like we were essentially doing WdB1 again. We scrapped a few songs at the start and hired a cottage to write, This was new for us and it saved the album. It turned out really good

10449162_969871476371274_2768909732338128340_n
We went away to write WdB2 and it saved the record. Pic Kevin Byrne
sweetp6
The highlight of promoting WdB2 was Shuffle Down. Pic Sweet P

Bo

An album full of excellent songs, some stronger than others but very fun to play. I feel we’re pushing ourselves a bit which can only be a good thing for future recordings.

Stu

I rated this my top album as there is not a weak track. It’s our best sounding album recording wise. I had an absolute blast recording my rhythm and especially solo parts (with Bo recording)

 

 

Pabs

Yeah I remember Greg recording the solos for me, I had had enough. I set up the mics, got the sound then said to Greg can you do it? Im done… Then I went for a walk in the freezing cold. Derek had went home early he was missing his family. So I’m standing at the end of a farm road, fed up, in the distance I hear Greg and Stu finishing the album and I’m thinking is this it? That was then, time has passed. I think we’re gonna do it again.

DSC00874
I was standing here thinking we wouldn’t ever do this again. Pabs

Stu

Once More with Feeling and Medicine kick arse and love playing those songs live. Plus it was the best lodge we have used to record. Very happy memories. A fantastic album and looking forward to you guys hearing our brand new EP coming soon.

Words Weird Decibels

Edited by Pabs

Advertisements

Demo tapes to Dropping

We’ve just ‘dropped’ a track; right now people all over the world can listen to our brand new song ‘Take the Blindness From Your Eyes’. This is a far cry from our first ever recorded release. A three track demo tape recorded and released in 1996 on cassette tape. I remember to this day when we drove home from the studio putting the tape into the car stereo and being blown away at hearing our first record.

IMG_20171215_192943905 (1)
we were chuffed with our first sleeve for our first demo tape.

The Rain, Vancouver and Chameleon were recorded at Split level studios at Ingliston, Edinburgh, it was a great experience for a young band. The reel to reel tape spun at the back of the mixing room as we laid down our the tracks that we thought would break us into the music scene.

The tracks were all mixed down to a DAT tape master and we nervously took this small cassette (which we couldn’t play on normal cassette players) to a duplication service called Chow Productions. While they could print out several copies of the tape artwork and print on the cassette they couldn’t duplicate the music from the master; so they printed off a batch of blank cassettes with our artwork. We had to get the DAT onto a CD and manually recorded the three songs onto the printed cassettes. This was done by a specialist who was able to convert the master DAT to a CD.

IMG_20171215_193019237 (1)
can you spot the three songs that would appear on our first album!

Our first demos would be packed in padded envelopes with a typewritten letter explaining who we were (an early version of a bio I guess). There were computers around in 1996, it’s just we didn’t have any. I got some addresses for record companies out of the NME and Melody Maker listings and sent off the package envelopes with the demo tape and hoped for the best.

CDRs became mainstream around the late 90’s early 00’s. The studios we were now working with handed us a shiny disc with our new demos. The world of home studios and doing this for ourselves was still a couple of years away. We would get these CDs duplicated then, in a similar way to the tapes, we would package them in a padded envelope and send it off to record company addresses that we found in NME and Melody Maker however this time we had a PC that we could print of letters with pictures.

IMG_20171215_193109814 (1)
By 2004 we were regularly sending off demo CDs

As the 2000s surged into middle age we now had our own studio gear and were recording our own demos and albums. The first self recording was Cold Home Street which we burned to CDR. After this we upgraded to digital multi track but CDR was still the format to send stuff to the ever silent record companies.

By the time we were recording One More Solo the internet was screeching (kids won’t get this ) into existence and loading up at around 500k, MP3’s were creeping in and the ipod was taking off. Bebo arrived and we were now sharing our music in a more direct route to our followers. Back then it was customary to let listeners hear 30 second previews of the track and they would buy the full MP3 in a frenzy of rapid Weird Decibels anticipation. They didn’t. However some people were still buying music but there was no doubt that the free tier was on the way and Radiohead’s In Rainbows, pay what you want, strategy was an interesting experiment. To be fair bittorrent, the pirate bay and napster had already set (arguably illegally, but record companies were still in the stone age) new ground rules and while they were now being dismantled by the ever eager record companies (who were still not calling us) the music distribution models had been changed. Many listeners were no longer paying for music.

Riot Act and Quiet Act were never sent to record companies, they were uploaded to the internet however CDs were still very much important to print as we had a fanbase that wanted them, we still have some if your interested. Shop Bandcamp

After a lengthy pause between Quiet Act and Weird Decibels 1 the music industry was changing rapidly. Spotify had arrived 2008 to try and muscle in on iTunes. It did in spectacular style. We were slow to adapt.

Weird Decibels 1 was released in 2011, demo tapes were now a long way off however we were still printing limited batch CDs. We tried to make WdB1 more attractive by offering a tiered approach to our music. You could listen free on Bandcamp, buy the normal CD or order the limited edition CD with added an artwork booklet, which we sold out of.

We also had to consider a growing number of formats including WAV, FLAC and ACC. Streaming was now a growing force; downloads still made us money though. We finally made the jump to streaming via a digital distributor. We could now effectively be our own record company.

Roll forward to 2016 and Weird Decibels was printed on CD and sold less than WdB1 however most of our top stream tracks are from WdB2 . Now we could see who was listening to our music, a slight nod of pride arose when we saw significant activity in South America and other far off lands.

Of course we were still behind the times, many artists were now ‘dropping’ tracks, no hype no fanfare, just uploading songs for people to listen to. Vinyl had also made a massive comeback. This appears to be out of our reach at present. The mastering techniques involved and the cost of printing are out of reach. Hopefully this will change.

blindness
Take the Blindness From Your Eyes is the first song we have ever ‘dropped’. Its a new approach to releasing music for us. We tend to write and release albums every few years.

So here we are now, we’ve dropped a track but now it’s getting harder to reach audiences without paying for promoted posts given that we’re not paid in the first place! Facebook isn’t helping, people are fed up with it, so we need to find a new way to reach an audience. Until we figure that out feel free to enjoy our new song.

Just a wee note, when we sell a CD at a gig it’s a huge thing these days. The money made from that single purchase can takes us months to raise on streaming services, So if you like a local act buy a CD!

Dear fellow bands please let us know what your first demo was!

Pabs