Notes on They Live
Because of delays and setbacks in making “proper” band recordings (no Stone Roses/last days of the Roman Empire style self indulgence, but more prosaic reasons like no money, illness, unreliable drummers etc.) we decided to make some of our better or more “unique” demos available, as it was high time people were aware of our presence. The recordings are by no means perfect and you might spot one or two instances of tape hiss, bum notes, and dada timekeeping, but this is all NECESSARY!
We decided to do things for ourselves because this way everything is on our own terms, and for the more practical reason that even supposedly “independent” minded labels can be as unimaginative as the rest (eg. chasing band wagons, trying to second guess what people want etc.) The bottom line is: do you want mass-produced supermarket value sausages (Robbie Williams, Travis, Boyz’R'Us, Boyz-U-Like, Stage-school-reject-of-the-week, Anonymous DJs featuring a histrionic munchkin, lazy sampled bollocks, lame guitar band pastiche etc.) or do you want sausages from a butcher, with no mechanically recovered material and only the finest ingredients? If the answer is “yes”, then consider the following:
Track details:
Buried Alive (Williams) (31/01/96)
Like many of my songs, this had an absurdly long period of gestation. It started life in 1994 and was tried by The Psychotic Mushrooms, who reckoned “it just sounds like Bo Diddley”. In January 1996, while helping Gary record some of his demos, we decided to have a bash at it. Recorded at Gary’s house on Fostex 4-track using Carlsbro reverb, Wem Copicat, Hondo bass, no-name Les Paul copy (largely inaudible) etc. All guitars and lead vocals by me; bass, drum machine and fuzz vocal by Gary. Two takes and finished in 20 minutes: that’s what rock’n'roll is all about!
Doe-Eyed-Luv-Struck-Bunny (Williams/Croft) (August 1997)
Erm… don’t ask. Recorded on a Saisho tape deck for added “authenticity”. Dave on vocals and percussion, me having an argument with a Columbus semi and Selmer amp (with Boss “turbo” distortion and Ibanez phaser). Reverb added by Matt Smith.
Clare Was There (Croft) (August 1998)
The first thing Dave ever wrote in 1996. We like contrasts. Dave would like to re-do this on a nylon string guitar. I reckon it would sound excellent on the Bass VI, which almost sounds like a nylon string. As it is, we had to settle for Gary’s “fucking tupperware” (©Dave) Ovation. Recorded at Gary’s house in Faversham; includes authentic Faversham birds!
Last Train (Williams) (August 1998)
Something me and Dave used to mess around with. Dave should have been on this, but he was in hospital (a long story). A last minute job, live to minidisc using Shergold Masquerader twelve-string, Hondo bass, Vox AC30, and vocals through Yamaha FX box. “Organic” is the word. I tried to avoid too many blues cliches (hence twelve-string, occasional chorus, and bad folky bit at the end). Sorry about the drum machine (aaaaaaarrrrrgh!). Smoooth… well, almost.
A Million Platitudes (Williams) (April 1999)
The first demo of this song, recorded within half an hour of being written. Framus f-hole acoustic; HH PA (for reverb and tremolo); Marathon bass; and my Frankenstein concoction of Woolworths guitar, Columbus/Matsumoku hardware, boat yard offcuts and a bit of old plastic fireplace veneer; plus our secret weapon…
How Am I Supposed To Know? (Williams) (June 1999)
Originally written in early 1996, this is the first good version of this song to be captured on tape. One of the acoustic demos: me, Framus, mic and 4-track; unplugged and naked!
The Stupid Cunt Song (Williams) (June 1999)
Normally I try to avoid turning the air blue in lyrics as it either smacks of desperate attempts to shock (eg. Placebo, Slipknot et al. — yawn!) or of bludgeoning self-righteousness (Rage Against The Machine, Rage Against Mom etc.), but “writing” this song was like lancing a boil; the result of nearly a year exposed to teeny-bopper TV, music industry platitudes and excuses, student newspapers and the sump tank of popular culture. This was largely the fault of a particular individual who shall go nameless, for the time being…
Apart from the lyrics, which we don’t pretend are big or clever, the music tries to avoid the loud/fast cliches that “angry” songs are “supposed” to have. It is a bit noisy, though.
It’s Like, Really Kitsch and Ironic (Williams) (July 1999)
A damning indictment of post-modernism (or something), or maybe just the results of prolonged exposure (again) to student 70s nights: three hours of Abba and the Village People is enough to drive anyone crazy. Anyone who thought flares were a good idea wants locking up! Features Arbiter double-neck, Jim Dunlop wah-wah, and even a Northern Rhodesian drum!
So there we have it. A small selection of our home demos. Thanks are due to Gary Green for his contributions to the pre-1999 demos, and to Matt Smith for his computerised sprucing up (removal of tape pops and adding some reverb and things) and mastering of the CD. The CD and artwork were duplicated by Fairview Studios at Willerby, who offer an excellent and very reasonably priced service. The cover photo was taken outside The Old Neptune on the West Beach in August 1998.