I'll be playing an early - 7:30 or 8:00 - set at this lovely venue beneath Soho, next door to The Commitments*, just round the corner from Old Compton Street and quite near the giant hole in the ground that will one day be Tottenham Court Road underground station.
More details here.
*Last time I checked. May be another musical.
- Learning to Crash
- The Rest of Our Lives
- Sin Nome
- River Rise
- My Bumper Book of Lies
- ... the Track a Week project petered out after about five months. Which is a shame. Hopefully there'll be more uploads in the future, if not, perhaps, on such a frenetic schedule.
- This is a fully arranged version of a song that appears in guitar-'n'-vocal form on The Secret Agent's Dream. Recorded a very long time ago, using Cubase - I don't think I have the original Cubase session, and even if I did, I don't know if I could find a copy of Cubase that will open it, it's that old. The percussive elements were MIDI triggers to my drum machine which I then recorded back into Cubase (so it was before virtual instruments, which I find unimaginable now). I wrote the song while staying at Woodstock Taylor's house during the Edinburgh festival of (I think) 1998, which in retrospect I find quite odd, as I was having a good time.
- I usually play this short instrumental as an introduction to the song 100 Horses. Ideally it would come immediately before a recording of that song, but it's not done yet, and the logistics have worked out so that... well, here it is.
This song is apparently impressive live, because the chords look quite difficult to play. That's rather a shallow thing to recommend it, I admit, and no use in a recording.
Another one from the sessions I did with Juan and Oscar last summer.
It should be a song this week, but I realised that the one I was going to upload wasn't ready yet.
I waited around for the longest time to see if this would turn into a song. Eventually I realised that it was probably supposed to be a sort of indie rock instrumental.
- This is a track that I've uploaded a couple of times before - though this is the latest version, a new mix with an organ track in there somewhere. Hopefully I won't feel it necessary to do it again. Anyway, the title is a nod to a certain dub melodica player, whose records used to scare me in the night when they were played on the John Peel programme. For some reason I found pretty much everything scary when Peel played it.
I wrote this in 1990, and recorded it several times, each time bewildered that I couldn't make a four-track tape recorder sound like a 24-track studio. I realise the Beatles did remarkable things with a four-track, but equally I realise that I'm not George Martin.
I'm not sure which version this is: not the first version, I think, although I remember that as being quite good (though beset with hiss, on account of my forgetting to turn on the noise reduction, although that might have been a different song), probably the second, so 1991 or 1992.
This is a song about n-dimensional geometry, believe it or not. Or at least that's what I thought at the time. I suppose I liked to comfort myself with the thought that it might be about something.
As I said, it was recorded on a four-track in about 1992, so there is a certain limitation to the audio quality.