July 1, 2007
When strangers chance upon Lee Mavers in Huyton or in town, they ask, ‘when is the new La’s record is out?’ he normally says something along the lines of, ‘really soon, or watch this space’. This has been going on for the last 17 years or so. Maybe, just maybe, one day he’ll put us out of our misery.
So what would the second La’s album sound like? I Am The Key and Was It Something I Said were destined for the second record and they are up there with the best but they never made it to vinyl or CD.
If you collect The La’s you’ll already have these two tracks from radio broadcasts…
The La’s – I Am The Key. DOWNLOAD
The La’s – Was It Something I Said. DOWNLOAD
And from the Kitchen tape…
The La’s – She Came Down In The Morning. DOWNLOAD
Human Race can be heard in our podcast. HERE
Rain Dance is penciled in for the next installment of the podcast.
This Is Music.
The links to these MP3 files are only live for a short length of time. The idea is to get you into some cool music that maybe you haven’t heard before. You’ll then be armed with the knowledge to make some serious purchases of the artist’s back / future catalogue.
April 20, 2007
In anticipation of ‘I Wish I Could Have Loved You More’, the amazing debut album by Candie Payne, to be released May 2007…
Press Release 29/03/2007.
“After a successful debut tour with The Bees and with two highly sought-after limited seven inch singles under her belt, Candie Payne releases a new single I Wish I Could Have Loved You More, a retro-futuristic gem that sounds like the Neptunes collaborating with Phil Spector on the soundtrack to a sixties Kitchen Sink drama.
After several years spent playing in bands in Liverpool and fronting Liverpool indie group Tramp Attack, Candie signed as a solo artist to Deltasonic, the same influential Liverpool label that brought us the Coral and The Zutons.
Now, after writing and recording with Simon Dine (Noonday Underground), Candie’s debut album is due in May 2007.”
Candie Payne backed by Edgar Jones and the Joneses
The first clip, above, is I Wish I Could Have Loved You More by Candie Payne live at the Luminaire, 28/11/06 for Fact magazine. This video offers a rare chance to see the right half of Edgar Jones in stereo. Interestingly The Joneses line up for the Candie Payne tour included Paul from The Stairs on drums. Rumours Ged Lynn turned up to the audition but was scared off by Candie’s Bolton Wanders scarf and Tarzan undies cannot be confirmed. As close as we’ll ever get to a Stairs reunion? Probably. Wonder if they had a go at Skin Up For Me Baby or Weed Bus in the soundcheck for old times sake? It’s also worth noting that Candie was the lead vocalist for Edgar’s original line up of The Joneses and although she’d long left the band she does feature on backing vocals on a couple of the tracks on Soothing Music For Stray Cats.
The second clip is an alternative video for ‘I Wish I Could Have Loved You More’. Click the big button above.
Noonday Underground and Paul Weller – I’ll Walk Right On
So, if you’ve read the press release you’ll know the album was co written with Simon Dine of Noonday Underground. Noonday Underground happened to cut this track with Paul Weller. It’s a cracker.
Now you’ll be going out to buy I Wish I Could Have Loved You More quite soon, I can tell you that there’s a Candie Payne track tucked away in the Good Heads hugely unsuccessful podcast thing. PODCAST HERE
Candie Payne will be getting remixed by The Good Heads real soon. She doesn’t know it yet. Neither do the other half of The Good Heads.
Sony BMG Press Release 2007
Candie Payne was four when she was uprooted from an idyllic suburb of Liverpool to 1980’s pre-Guiliani New York. Hip hop was the sound on the streets, and this fast moving, multi-racial metropolis was a world away from what the young Candie and her family expected she would be growing up in. She spent her pre-teen years’ roller skating around the landings of the many apartment blocks she was to move in and out of during this time in her life. “We were always in Queens, just different areas of it; Jackson Heights mostly.” It was a precocious talent for drawing that helped her bridge the gap between herself and her peers at the many different schools she attended “I wouldn’t say I was shy, but I was very sensitive and quiet, so I just used to absorb myself in my pictures and the other kids would come over to see what I was drawing, and get me to draw things for them. That’s how I would make friends.” It was art that would remain her passion up until her late teens, right through her permanent move back to Liverpool in the early 90’s- From block-rockin beats to smiley culture. Toughened up by her formative years in the Big Apple, Candie returned a more confident and outspoken character.
It was in her early teens that the music which had so far permeated her everyday life via her musical family began to gain real interest for her. “My mum and dad have always had fantastic records, Artie Shaw, Billie Holiday, Frank Sinatra, any of the greats you could name, and they were always on.” Aside from her parents’ quality taste in music, there were her elder brothers’ record collections to broaden her listening spectrum even more, bands like The Who, Nirvana, The Byrds and Jimmi Hendrix. And of course the obligatory tea making duties of a little sister as her brother made demos in his bedroom. Her reward? Committing her very own versions of ‘Norwegian Wood’ and ‘A Day In The Life’ to tape.
Fast-forward through a teenage happy hardcore rave phase, and Candie’s ambitions still lay in the art-world, particularly fashion design. So much so that she was already designing and making clothes for herself and her friends as a sideline to her exams. This enthusiasm continued until an ill-fated and short-lived spell on an art foundation course left her disillusioned and re-thinking her long held dreams of a career in the art-world. “I was totally directionless, I knew I wanted to do something creative, I just didn’t know what, so I made a conscious decision to be open to any opportunities that came my way.” And these proved to be many, due to a plum job landed in the trendy vintage clothes shop Resurrection in the centre of Liverpool, with all the bands, dj’s, photographers, movers and shakers passing through for jeans and stopping for coffee to exchange records or gossip, “It was in this environment that my interest in music stepped up a gear, and my lifestyle began to reflect that. It was in that shop that I heard bands like Sly and the Family Stone, Funkadelic, and The Metres for the first time; records I may not have heard otherwise. To me, those years spent working in Resurrection were as formative in musical terms as hustling on and off subways in New York was character building.”
So in between the modelling, illustration and other sideline offers that she dabbled with, Candie first dipped her toe in the musical waters with a rendition of the Dolly Parton classic “Jolene,” performed with local heroes Tramp Attack. The word spread and she was quickly headhunted by ex-Stairs lead man Edgar Jones to front his new project, and honed her skills in earnest for the best part of a year. A change of direction in the band and Candie jumped off at the next stop, which was little more than the occasional turn with a Liverpool based jazz band. However, fate was to intervene when Bandwagon lynchpin and long time friend Gary Bandit, introduced her to producer Simon Dine, who happened to be looking for a singer to co-write with. A rough demo and a clutch of hand written verse later, and Candie and Simon set to work in the studio on what was soon to become the debut album.
So how does Candie Payne sound?
The title track blasts off in confidant style, with an incessant melody and pounding drums and a soaring vocal. Next, ‘Why Should I Settle For You’ draws you into one of the albums many dark corners. Such as ‘A Different You’, a big brash epic – all booming drums and syncopated percussion that makes Candies’ love lost lyrics sound all the more fragile and beautiful. At the other extreme ‘By Tomorrow’ canters along like a three-minute white knuckle horse back ride. And ‘Hey, Goodbye’ beefs up Candies sixties sound to the point where is sounds like a train is coming.
Make no mistake this album is trenchantly modern, updating the sonic and stylistic tricks of decades past. There is a fresh and spontaneous sound to this record that stems largely from this 24 year olds’ passion for singing, music and recording. She recently recorded a selection of songs from the soundtrack to Bugsy Malone, just for the fun of it and because “they are amazing songs, and taken out of the context of the film, they stand alone as classic tunes.” Look out for them on future b-sides.
In all, ‘I Wish…’ evokes Dusty in the daisy age, an air of Francoise Hardy, Nancy Sinatra, John Barry, or Scott Walker with a warped modern approach not dissimilar to that of Aphex Twin or the Wu Tangs’ RZA. Her furious girl meets boy kitchen pop songs recall late sixties British cinema or a Smiths single sleeve. “It’s pop music on the surface, in the sense that it’s catchy. But there is an underlying eeriness and even loneliness. These songs are trying to communicate the thoughts and feelings that go through your head when you’re struggling in a relationship, the things that you might not be ready to say out loud yet. And they are very personal to me. I felt I could only write and sing about things I knew a little bit about.’
March 7, 2007
Yes, Edgar from The Stairs, The Isrites and The Big Kids. Yes, he from Ian McCullough, Paul Weller, Saint Etienne and The La’s bass duties. Yes, he’s from Liverpool. Yes, he did release a solo album. Yes, the record company did pay £100 to send it in for nomination for the Mercury Music Prize. Yes, there is a Japanese import of the LP available featuring bonus live cuts such as this… DOWNLOAD
Yes, you should buy it.
Here’s what they said in Japan. LINK
March 1, 2007
From the Kitchen Session, an embryonic version of Butterfly (a track that only recently surfaced on ‘…The Corner Of Miles And Gil 2006’)/ Your Mind And We Belong Together (jam) dating from the late 80s. Location a kitchen in Liverpool. DOWNLOAD
Lizzy Mallally sounds like it was recorded as a post-Waterpistol b-side. This version is far superior to the 2006 version. DOWNLOAD
24 Hours is perhaps the best non-album track of the HMS Fable period. DOWNLOAD
January 15, 2007
Some rare stuff by The La’s. Where do you start? Lee Mavers is sitting on a goldmine of amazing tracks (18 to 27 of them). But for now here are some odds and sods from various sessions…
This one’s called Rebound. It’s taken from ‘The Crescent rehearsal’, slyly recorded in the mid 90s. A studio version of this would be ace, eh? DOWNLOAD
From ‘the Kitchen sessions’ in the late 80s comes Our Time. DOWNLOAD
By way of contrast comes a rocking version of late 80s / early 90s live set closer Swashbuckler. DOWNLOAD
Next up is a version of Callin’ All dating from April 1986. That’s a long time ago. This is my favourite version of the song, proper spooky. DOWNLOAD
Finally, from the unreleased John Leckie session is Come In Come Out, late 80s. DOWNLOAD
Next time… I Am The Key, Raindance, Human Race, Was It Something I Said, etc?